Thematische Bibliographien / Geneplore model of creativity

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Auswahl der wissenschaftlichen Literatur zum Thema „Geneplore model of creativity“

Autor: Grafiati

Veröffentlicht am 30. Juni 2021

Zuletzt aktualisiert am 1. Februar 2022

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Zeitschriftenartikel zum Thema "Geneplore model of creativity"

Pike, Christopher. „Exploring the Conceptual Space of LEGO: Teaching and Learning the Psychology of Creativity“. Psychology Learning & Teaching 2, Nr. 2 (Juni 2002): 87–94. http://dx.doi.org/10.2304/plat.2002.2.2.87.

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This paper reports on the use of the construction toy LEGO as an effective learning resource for undergraduate classes in the psychology of creativity. Students first attended a short series of lectures on aspects of creativity, including learner characteristics such as motivation and metacognition, and theoretical approaches to problem-finding and problem-solving including the Geneplore model and the metaphor of learning as navigation in a multidimensional conceptual space. This was followed by three sessions in which students explored the conceptual space of LEGO under each of three conditions: freeplay in session 1, constraints on process in session 2 (rules for assembly), and constraints on product in session 3 (set goals). Throughout this time, students were required to keep a ‘metacognitive diary’ of their experiences, and to reflect on their own learning processes within and across sessions. Evaluation was carried out by means of a post-activity questionnaire. The paper reports on the kinds of structures produced under each set of constraints, patterns of student learning experiences, motivational changes, and student evaluations of the activity as a whole. It is suggested that, used in this way, LEGO provides a simple, highly enjoyable, yet effective medium for teaching, learning and research in the psychology of creativity.

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Hertel, Frederik, und Michelle Wicmandy. „Metaphorical creativity: an aspect of everyday creativity cleans-up a work-based problem“. Development and Learning in Organizations: An International Journal 35, Nr. 5 (15.02.2021): 15–18. http://dx.doi.org/10.1108/dlo-09-2020-0200.

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Purpose According to Mumford et al. (2018), case studies illustrating creative-problem solving at work is lacking. To help fill this gap, this study aims to show how metaphorical creativity was integrated in the realm of everyday creativity to form a new soap that solves a cleaning crew's challenge. Design/methodology/approach Participatory observation was the qualitative methodology used to conduct this study. The cleaning team understood they were the research participants under investigation in the food plant. Participatory observation favored an efficient and flexible process for the cleaners to demonstrate their experiential knowledge while the researchers documented the cleaners' routine cleaning practices and challenges. Directly observing and analyzing the cleaners' everyday creative acts inferred face validity. This ensured to a degree that the study was effective at exploring everyday creativity. Findings Following Finke's Geneplore model in creative cognition (Birdsell, 2019), the consultant shifted between cycles of analogical reasoning in the generative process with exploratory processes to test hypothesis and tailor his thinking. Through this process, the consultant leveraged everyday creativity to develop a small innovation of foaming a non-foaming soap. The foaming process changed the soap's chemistry, enabling the cleaners to remove the spot quickly, accelerating the cleaning process. Research limitations/implications According to Mumford et al. (2018), case studies illustrating creative-problem solving at work are lacking. In this study, we aim to show how metaphorical creativity was integrated into the realm of everyday creativity to form a new soap that solves an industrial cleaning crew's challenge. To fully understand the variety of metaphorical creativity more qualitative cases need to be analyzed and qualitative research is needed to grasp the scale of metaphorical creativity in everyday creativity. Practical implications The findings gleaned from this study are beneficial to help organizations solve problems. Viewing problems metaphorically in everyday creativity involves unconventional thinking. When confronted with a challenge that seems impossible to solve, employees should approach the problem from a different angle. Sometimes, a small, innovative act can solve problems that appear hopeless, similar to the Columbus Principle. After all, a challenge is only simple once you know how to pull it off – the triumph is having the courage to try something new and succeeding. With practice, metaphorical creativity is a skill that one can develop. This could e.g. be viewing old problems through a new lens. Applying a new approach may reveal an unconventional solution. Originality/value According to Mumford et al. (2018), case studies illustrating creative-problem solving at work are lacking. To help fill this gap, this study aims to show how metaphorical creativity was integrated into the realm of everyday creativity to form a new soap that solves a cleaning crew's challenge.

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Bogunović, Blanka. „Creative cognition in composing music“. New Sound 53, Nr. 1 (2019): 89–117. http://dx.doi.org/10.5937/newso1901089b.

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In this paper we presented an overview of theoretical and empirical research in a domain of cognitive psychology of music, psychology of creativity and interdisciplinary studies concerning the creative cognitive processes in composing music, with an intention to bring them into connection and to raise questions about further research. We brought into focus the cognitive processes in composing music since the key role of cognitive mechanisms and processes, next to the emotional experience and imagery, was shown in our previous research. The wide scope of knowledge, within a time span of some 35 years, was introduced covering the following themes - generative models of creative cognition, metacognitive strategies in composing, the relation between creativity, knowledge and novelty, creativity in the social-economical context. We paid attention to the several crucial theoretical models, some of them developed on the basis of exploration of compositional practices, one of the first being John Sloboda's psychological Model of typical compositional resources and processes (1985), that gave a global overview of the relevant components of the composing behavior. Psychology of creativity gave several process models that can be applied in a field of composing music. One of them, developed by Wallas (1926) and adapted for music making by Lehmann, Sloboda and Woody (2002), is the well-known theory of the creative process stages. We considered as the most prominent the Creative cognition approach formulated by Smith, Ward and Finke (1997) and their Geneplore model (1992). The authors listed a wide range of processes that are crucial for creativity, nevertheless they are engaged in the generative or exploratory phase. In our paper, we discussed metacognitive strategies engaged in a process of composing while considering music creation as a self-regulated activity. Further on, the relation between immersion, knowledge, the production of heuristic ideas and the cognitive strategies of problem solving were brought into focus. It was pointed out that quality of the creative outcomes will be influenced by the extent of the person's long-term knowledge structures, drawn intentionally or intuitively during the process, and by the manner in which the elements of that knowledge are accessed and combined. The social and cultural factors were considered in a frame of several confluent models, first of all Csikszentmihalyi's systems theory of creativity (2004), focused less on the creative person but on involving multiple factors. Simonton took into account massive and impersonal influences from the Zetgeist or Ortgeist and grouped them into four categories: cultural factors, societal factors, economic and political factors (2004). Further on, models and concepts, new research methodologies and new technology, that were developed specifically in a domain of music creation, as well as their results, were presented.

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Huh, Yoon-Jung. „Talk Aloud Protocol with Geneplore Model on Concept Generation“. World Journal of Game Science and Engineering 1, Nr. 1 (30.10.2017): 1–18. http://dx.doi.org/10.21742/wjgse.2017.1.1.02.

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Styhre, Alexander, und Mats Sundgren. „Creativity as connectivity: a rhizome model of creativity“. International Journal of Internet and Enterprise Management 1, Nr. 4 (2003): 421. http://dx.doi.org/10.1504/ijiem.2003.003908.

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Stevens, Catherine, Stephen Malloch, Shirley McKechnie und Nicole Steven. „Choreographic Cognition“. Pragmatics and Cognition 11, Nr. 2 (31.12.2003): 297–326. http://dx.doi.org/10.1075/pc.11.2.06ste.

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The process of inception, development and refinement during the creation of a new dance work is described and explored. The account is based on annotated video of the professional choreographer and dancers as they create and sequence new movement material, as well as weekly journal entries made by one of the dancers. A 24-week chronology is reported. We analyse the choreographic process using the Geneplore model of creative cognition as an organising framework and identify generative and exploratory processes including problem finding and problem solving, metaphorical thinking, non-linear composition, and multi-modal imagery. An analytical tool adapted from the discipline of music analysis is used to explore relationships between recurring themes and visual, visceral, spatial and tactile images. Ideas for experimental work relating to choreographic cognition are discussed.

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Hosseini, Afzal Sadat. „The Effect of Creativity Model for Creativity Development in Teachers“. International Journal of Information and Education Technology 4, Nr. 2 (2014): 138–42. http://dx.doi.org/10.7763/ijiet.2014.v4.385.

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Basadur, Min. „Managing creativity: a Japanese model“. Academy of Management Perspectives 6, Nr. 2 (Mai 1992): 29–42. http://dx.doi.org/10.5465/ame.1992.4274394.

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Fleming, David J., Brooke Taylor Culclasure und Daniel Zhang. „The Montessori Model and Creativity“. Journal of Montessori Research 5, Nr. 2 (14.11.2019): 1–14. http://dx.doi.org/10.17161/jomr.v5i2.7695.

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Prior research has demonstrated that the characteristics of school environments can impact the development of creativity in children. Thus, we explored the construct of creativity in the context of a Montessori environment. We used the Evaluation of Potential Creativity to measure creativity in children during one academic year. The study sample comprised 77 third-grade students at a Montessori public school in the southeastern United States and 71 demographically similar students at a traditional public school. Results show that Montessori students performed somewhat better on the Evaluation of Potential Creativity assessment than similar non-Montessori students did. Subgroup analyses indicate that male Montessori students demonstrated higher creativity than did male non- Montessori students. The findings of this study augment the body of research supporting creative development in Montessori children and suggest that researchers should continue to focus on the measurement of creativity in studies related to the efficacy of the Montessori model.

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Széll, Zsófia. „The Two-way Model of Creativity“. Central European Journal of Educational Research 3, Nr. 2 (19.07.2021): 56–65. http://dx.doi.org/10.37441/cejer/2021/3/2/9263.

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Creativity is a term that has proven difficult to define. The field of English language teaching (ELT) especially struggles with this concept, often treating it as an axiom that eludes clear definition or a notion that everyone has an implicit understanding of. In other pieces of research, creativity is equated with divergent thinking as evidenced and measured by performance on different standardized creativity tests. In contrast to these views, this paper argues that sound research begins with a clear definition of key terms; as such, there is a need to establish a suitable model of creativity specifically for the field of ELT. After a review of notable existing views and definitions, a new model for creativity in ELT is outlined. The two-way model of creativity proposes that certain conditions enable creativity through specific tasks that allow for creativity to emerge. This will produce creative results that eventually have a reactive effect on the conditions.

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Dissertationen zum Thema "Geneplore model of creativity"

Deltner, Johan. „Varaktig förgänglighet : En undersökning av kreativitet inom ramen för ett historiskt tänkande kring kontinuitet och förändring“. Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-44286.

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Creative thinking is a popular and ambiguous ability but so far we have limited knowledge about how creativity work within history education. The purpose of this study was therefore to investigate how individual creativity and a historical thinking with a focus on continuity and change relate to each other within history education. Data was collected with the help of an authentic history assignment and analyzed with qualitative content analysis and statistical correlations. A constructivist framework with a specific focus on the The Geneplore Model of Creativity and Historical thinking was chosen to guide the analysis. Results point to several similarities between creativity and historical thinking on continuity and change, with both concepts focusing on constructing new and meaningful knowledge. Here, the strongest correlation was found between creative thinking and reflections about change through history. The analysis also pointed to cognitive processes with a particularly promising potential to develop both creative and historical thinking, namely divergent thinking with the purpose to generate several alternative answers, and janusian thinking with the purpose to generate contradictory perspectives. Further, the analysis also revealed some differences between creativity and historical thinking on continuity and change. Here, thinking creatively with help of distant analogical thinking was particularly difficult since those conclusions seldom were rooted in historical facts. In fact, many of the creative conclusion identified in this study showed a potential to develop students understanding of the past, but were still in an undeveloped stage. These results indicate a need for a continued critical exploration of creative answers after initially being generated. In sum, the identified similarities and differences between creative and historical thinking on continuity and change demonstrate that creativity could play a role in the development of students historical understanding and points to a promising direction for future research interested in creative comparisons over time.

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Khazanchi, Shalini. „A "Social Exchange" Model of Creativity“. Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1115336085.

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Thesis (Ph. D.)--University of Cincinnati, 2005.
Title from electronic thesis title page (viewed Apr. 11, 2006). Includes abstract. Keywords: Creativity; Social Exchange; Fairness; Trust. Includes bibliographical references.

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Kong, Jing, und Toyohide Watanabe. „CREATIVITY SUPPORT THROUGH A KNOWLEDGE HANDLING MODEL“. INTELLIGENT MEDIA INTEGRATION NAGOYA UNIVERSITY / COE, 2006. http://hdl.handle.net/2237/10435.

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Qokweni, Noluvuyolwetu. „A creativity model to increase employee productivity“. Thesis, Nelson Mandela Metropolitan University, 2016. http://hdl.handle.net/10948/5401.

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For business firms to continue as going concerns, productivity is a primary goal. In order for the firms to remain productive, it is imperative that managers continuously explore ways of improving productivity and employee performance. Employee productivity, in particular, is the measurement of performance and competitiveness in any business firm. A competitive advantage enables a business firm to, amongst others, survive financially, expand its operations and grow its market share. Creativity and innovation are fundamental sources of competitive advantage. In order for a business to retain its competitive edge, it must effectively enhance employee productivity, creativity and innovation. The primary purpose of this study was to investigate a creativity model that could contribute to the enhancement of employee productivity. More specifically, the study investigated how employee productivity (the dependent variable) was influenced by the independent variables rewards, a climate conducive for creativity and innovation, employee creativity, self-esteem and performance intent. The sample consisted of 82 blue-collar employees from various manufacturing firms in Port Elizabeth. The empirical results revealed that the firms’ rewards for performance and their climates for creativity and innovation were positively related to the creativity of their employees. The creativity and self-esteem of their employees were positively related to their employees’ performance intentions, while collectively these three variables were positively related to their employees’ productivity. The managerial implications of these and other findings are discussed in the study.

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Perez, y. Perez Rafael. „MEXICA : a computer model of creativity in writing“. Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285399.

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Mollison, Deborah. „Children's musical perception and creativity as a compositional model“. Thesis, Middlesex University, 2001. http://eprints.mdx.ac.uk/13636/.

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The intention of this study was to understand more fully the process of creating musical composition. As a means to to this I created a compositional model, "Maya's Words", a conscious experiment which utilised the techniques I discovered and codified from children's compositions. By utilising rhe model as a working tool and the information extracted from the children's works I was able to draw together my own theories and observations concerning the process of musical composition and how it works. Within this study I have also examined my own process of musical composition and drawn, in a limited way, upon my work on the methodology behind the compositional procedures of composer Elisabeth Lutyens. The way in which the children used their own musical ideas in a flexible and original manner illustrated a mental state that seemed to be able to grasp thoughts from anywhere, without reference, for example, to tradition or style. This dexterity brought to my attention the notion that the children were using fragments of ideas/music/sound and integrating them into their own compositions. In the compositional model for this study I chose to compose in a way that utilised information from this study in many manifestations but it also had to be an organic growth as a means to be real and for me to have a true input into it a sa composer. It also had to incorporate many of the study elements into it otherwise it would not be a conscious experiment. The two forces here, for me haave worked in tandem as the flexibility of approach used by the children has allowed me to work in a flexible way in this compositional model and yet the uncomplicated way in which the children evaluated their own progressions has had a profound influence on me too and provided me with a method of self-evaluation which does not create self-inflicted damage to my own feelings about my composition. I hope in the same way that this study will allow composers a freedon of perspective that will open for them a new understanding of musical composition.

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Calonico, Cipriano. „Towards a multidimensional model of creativity: an analysis of six models of creativity and the creative process“. Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-32099.

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Creativity appears repeatedly in the curricula for the Compulsory School and the Upper Secondary School in Sweden, as well as in the course syllabi for Art Education.The purpose of this essay is to achieve a better understanding of the building blocks of creativity, in order to widen the range of tools that can be used in teaching situations. Departing from six established models of understanding creativity, the essay attempts to find some common aspects among the models, which can help teachers to unify and organize the models with the ultimate aim of achieving a wider and more comprehensive understanding of creativity.Close reading is used as the method of analysis and interpretation in order to find common categories among the selected models of creativity. The process of close reading is performed and organized using the structure and concepts of Qualitative Content Analysis (QCA), with an inductive approach.The analysis of the six models of creativity results in the identification and classification of two common themes: flexibility and bird’s eye view, the combination of which can be used as a way to achieve a more comprehensive, complete and thus enhanced model to understand creativity, which can give teachers a wider range of tools to apply creatively in the classroom.

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Blain, Peter J., und N/A. „A Computer Model of Creativity Based on Perceptual Activity Theory“. Griffith University. School of Information and Communication Technology, 2007. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070823.171325.

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Perception and mental imagery are often thought of as processes that generate internal representations, but proponents of perceptual activity theory say they are better thought of as guided exploratory activities. The omission of internal representations in the perceptual activity account has led some to see it as computationally implausible. This thesis clarifies perceptual activity theory from a computational perspective, and tests its viability using a computer model called PABLO. The computer model operates in the Letter Spirit domain, which is a framework for creating stylistic variations on the lowercase letters of the Roman alphabet. PABLO is unlike other computer models of perception and mental imagery because it does not use data-structures to represent percepts and mental images. Mental contents are instead modelled in terms of the exploratory activity in which perceptual activity theory says they consist. PABLO also models the flexibility of imagery, and simulates how it can be harnessed and exploited by the system to generate a creative product. PABLO is a first attempt at an implementation of perceptual activity theory, but the results suggest that the theory is computationally viable, and that it has advantages over other theories of mental imagery in the context of creativity.

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Riedt, Johanna. „A model of organisational creativity : learning from two creative giants“. Thesis, University of Kent, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498860.

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Scratchley, Linda Sharon. „Managerial creativity : the development and validation of a typology and predictive model“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0019/NQ27241.pdf.

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Bücher zum Thema "Geneplore model of creativity"

Csikszentmihalyi, Mihaly. The Systems Model of Creativity. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9085-7.

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O'Neill, Sharon. Sensational thinking: a teaching/learning model for creativity. [S.L.]: [S.N.], 1994.

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Lee, Kun Chang. Digital Creativity Model and Its Relationship with Corporate Performance. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-39991-1.

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The creative process: A computer model of storytelling and creativity. Hillsdale, N.J: L. Erlbaum, 1994.

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C, Kaufman James, und Pretz Jean, Hrsg. The creativity conundrum: A propulsion model of kinds of creative contributions. New York: Psychology Press, 2002.

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Yu, Alexander Tsz Chung. Artificial life: a model for understanidng creativity: M. A. Communication Design Thesis 2001. London: Central Saint Martins College of Art & Design, 2001.

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Beyerlein, Michael, Soo Jeoung Han und Ambika Prasad. A Multilevel Model of Collaboration and Creativity. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190222093.003.0008.

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This chapter provides a framework for making sense of multilevel collaboration for enabling creative knowledge work. The work environment can be deliberately designed, but it must allow for emergent properties as the flow of information creates changes in the team members, the process, the structure, and the outcomes. The interrelationships that provide the channels for the flow represent a complex system subject to both enhancing and constraining influences from multiple sources. We examine network structure, learning, and complexity as key facets of that complex system that generate intangible forms of capital that fuel the creative work.

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Thinking Through Creativity and Culture: Toward an Integrated Model. Taylor & Francis Group, 2014.

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Turner, Scott R. Creative Process: A Computer Model of Storytelling and Creativity. Taylor & Francis Group, 2016.

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Hankins, June Strang Chase. Creativity theory and the writing process: A telelogical model. 1987.

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Buchteile zum Thema "Geneplore model of creativity"

Gogatz, Arthur, und Reuben Mondejar. „A new brainstorming model“. In Business Creativity, 142–48. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230510265_10.

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Csikszentmihalyi, Mihaly, und Jeanne Nakamura. „Catalytic Creativity“. In The Systems Model of Creativity, 185–94. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9085-7_11.

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Csikszentmihalyi, Mihaly, und Jeanne Nakamura. „Creativity and Responsibility“. In The Systems Model of Creativity, 279–92. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9085-7_17.

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Clement, John. „Learning via Model Construction and Criticism“. In Handbook of Creativity, 341–81. Boston, MA: Springer US, 1989. http://dx.doi.org/10.1007/978-1-4757-5356-1_20.

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Puccio, Gerard J. „Polarities in Creativity: Revisiting Amabile’s Componential Model“. In Creativity at Work, 143–55. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-61311-2_14.

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Walia, Chetan. „Creative–Strategic Theoretical Model: Conclusions and Implications“. In Creativity and Strategy, 113–33. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70466-7_7.

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Reuter, Monika E. „A Sociological Model of Creativity“. In Creativity — A Sociological Approach, 40–64. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137531223_4.

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Fulton, Janet, und Elizabeth Paton. „The Systems Model of Creativity“. In The Creative System in Action, 27–43. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137509468_3.

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Panicker, N. N. „A New Model for Creativity“. In Creativity and Innovation: towards a European Network, 31–42. Dordrecht: Springer Netherlands, 1988. http://dx.doi.org/10.1007/978-94-009-2827-5_7.

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Shalley, Christina E. „The Importance of the Componential Model of Creativity“. In Creativity at Work, 179–84. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-61311-2_17.

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Konferenzberichte zum Thema "Geneplore model of creativity"

Lee, Kyunghwa, und Kyounghoon Lew. „An Effect of Creativity Curriculum in the Elementary ‘Model School’ on Creativity“. In Education 2013. Science & Engineering Research Support soCiety, 2013. http://dx.doi.org/10.14257/astl.2013.36.31.

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O'Neill, Shaleph J. „The Artist as Model User“. In C&C '19: Creativity and Cognition. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3325480.3325492.

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Szopinski, Daniel. „Can Stimuli Improve Business Model Idea Generation?“ In C&C '19: Creativity and Cognition. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3325480.3326572.

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Zhou, Xiaowei, und Danyang Zhang. „How Ethical Leadership Affects Employee's Creativity“. In 2019 International Conference on Economic Management and Model Engineering (ICEMME). IEEE, 2019. http://dx.doi.org/10.1109/icemme49371.2019.00123.

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Barrios, Pedro Chavez, Davy Monticolo, Sahbi Sidhom und Alex Gabriel. „An Organizational Model to Understand the Creativity Workshop“. In 2017 13th International Conference on Signal-Image Technology & Internet-Based Systems (SITIS). IEEE, 2017. http://dx.doi.org/10.1109/sitis.2017.87.

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Chaiyasoonthorn, Womchanok, und Watanyoo Suksa-Ngiam. „A model of socio-technical systems enhancing creativity“. In 2017 IEEE International Symposium on Technology and Society (ISTAS). IEEE, 2017. http://dx.doi.org/10.1109/istas.2017.8318977.

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Breeze, Mez. „Recyclic: A VR Model Hybrid for A Futuristic Sustainable City“. In C&C '21: Creativity and Cognition. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3450741.3464783.

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Schmalfeldt, Thomas. „The IDEA Model“. In FabLearn Europe'18: Conference on Creativity and Making in Education. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3213818.3213840.

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Perlovsky, Leonid I. „Creativity and thinking according to cognition-language-music model“. In 2011 International Joint Conference on Neural Networks (IJCNN 2011 - San Jose). IEEE, 2011. http://dx.doi.org/10.1109/ijcnn.2011.6033253.

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de Vreede, Triparna, Imed Boughzala, Gert-Jan de Vreede und Roni Reiter-Palmon. „A Model and Exploratory Field Study on Team Creativity“. In 2012 45th Hawaii International Conference on System Sciences (HICSS). IEEE, 2012. http://dx.doi.org/10.1109/hicss.2012.66.

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Berichte der Organisationen zum Thema "Geneplore model of creativity"

Ruff, Grigory, und Tatyana Sidorina. THE DEVELOPMENT MODEL OF ENGINEERING CREATIVITY IN STUDENTS OF MILITARY INSTITUTIONS. Science and Innovation Center Publishing House, Dezember 2020. http://dx.doi.org/10.12731/model_of_engineering_creativity.

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The troops of the national guard of the Russian Federation are equipped with modern models of weapons, special equipment, Informatization tools, engineering weapons that have artificial intelligence in their composition are being developed, " etc., which causes an increase in the requirements for the quality of professional training of future officers. The increasing complexity of military professional activities, the avalanche-like increase in information, the need to develop the ability to quickly and accurately make and implement well-known and own engineering solutions in an unpredictable military environment demonstrates that the most important tasks of modern higher education are not only providing graduates with a system of fundamental and special knowledge and skills, but also developing their professional independence, and this led to the concept of engineering and creative potential in the list of professionally important qualities of an officer. To expedite a special mechanism system compact intense clarity through cognitive visualization of the educational material, thickening of educational knowledge through encoding, consolidation and structuring Principle of cognitive visualization stems from the psychological laws in accordance with which the efficiency of absorption is increased if visibility in training does not only illustrative, but also cognitive function, which leads to active inclusion, along with the left and right hemispheres of the student in the process of assimilation of information, based on the use of logical and semantic modeling, which contributes to the development of engineering and creative potential.

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Taylor, Aisha. Transformational Leadership, Diversity, and Creativity at Work: A Moderated Mediation Model. Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.2338.

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Fullan, Michael, und Joanne Quinn. How Do Disruptive Innovators Prepare Today's Students to Be Tomorrow's Workforce?: Deep Learning: Transforming Systems to Prepare Tomorrow’s Citizens. Inter-American Development Bank, Dezember 2020. http://dx.doi.org/10.18235/0002959.

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Disruptive innovators take advantage of unique opportunities. Prior to COVID-19 progress in Latin America and the Caribbean for integrating technology, learning, and system change has been exceedingly slow. In this paper we first offer a general framework for transforming education. The framework focuses on the provision of technology, innovative ideas in learning and well-being, and what we call systemness which are favorable change factors at the local, middle/regional, and policy levels. We then take up the matter of system reform in Latin America and the Caribbean noting problems and potential. Then, we turn to a specific model in system change that we have developed called New Pedagogies for Deep Learning, a model developed in partnerships with groups of schools in ten countries since 2014. The model consists of three main components: 6 Global Competences (character, citizenship, collaboration, communication, creativity, and critical thinking), 4 learning elements (pedagogy, learning partnerships, learning environments, leveraging digital), and three system conditions (school culture, district/regional culture, and system policy). We offer a case study of relative success based on Uruguay with whom we have been working since 2014. Finally, we identify steps and recommendations for next steps in Latin America for taking action on system reform in the next perioda time that we consider critical for taking advantage of the current pandemic disruption. The next few years will be crucial for either attaining positive breakthroughs or slipping backwards into a reinforced status quo.

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