Dissertations / Theses on the topic '130103 The creative arts'
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Verseput, Lisa. "The creative conservatory : a community media & creative arts centre." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60215.
Full textJohannesburg is gebou op die ontdekking en ontginning van goud, maar goud resereves loop nou leeg en 'n nuwe hulpbron kan die stad vorentoe dryf: menslike kapitaal. Die kreatiwiteit en aspirasies van 'n diverse bevolking onderhou Johannesburg as die ekonomiese spilpunt van die land, maar die stad het sy goue betekinis verloor en streef nou na 'n nuwe identiteit: om die Kulturele Hoofstad van Suid Afrika te word - 'n vergestalt diversiteit, kreatiwiteit en kulturele uitdrukking. Mense en kulture in die stad meng en nuwe idees word in publieke ruimtes gegenereer. Joubert Park is die stad se grootste en oudste park en huisves die Johannesburg Kunsgallery, hierdie ruimte kan 'n belangrike rol speek in die stad se transformasie na kulturele kapitaal. Die Joubert Park Konservatorium is 'n eeu-oue en eens indrukwekkended onrnamentele kweekhuis, nou verlate en onversorgd. Die Konservatorium en sy omliggende ruimtes dra nie tot die park by nie, maar sy ikoniese form en posisie hou potensiaal in wat herontdek kan word as 'n publieke ruimte van belang. Hierdie verhandeling ondersoek hoe ruimtelike veranderinge gebruik kan word om die vergete waarde van die terrein te herstel. 'n Nuwe program wat die erfenis van die terrein repspekteer kan dit terselfdetyd verbeter om as kulturele landskap by te dra tot Joubert Park en tot die stedelike omgewing daarom by te dra as kulturale kapitaal. Die program wat voorgestel word is die Kreatiewe Konservatorium, 'n gemeenskapsentrum vir media en kuns wat universele media toegang dryf en 'n omgewing skep vir die kultivasie van kuns en kulturele ontwikkeling en uitdrukking. Die Kreatiewe Konservatorium bedien die gemeenskap en mobiliseer die kunste ten einde sosiale en ekonomiese ontwikkeling te bewerkstellig en soedoende die kreatiewe ekonomie en kulturele landskap van Johannesburg te ondersteun. Die projek is ontwerp vir die hede, ge?nspireer deur en in reaksie tot erfenis, om plekke te skep wat relevant sal bly in die toekoms.
Mini Dissertation (MArch (Prof))--University of Pretoria, 2016.
Architecture
MArch (Prof)
Unrestricted
Tabor, Sarah Owen. "Creative Book Arts Preserving Family History." Fogler Library, University of Maine, 2002. http://www.library.umaine.edu/theses/pdf/TaborSO2002.pdf.
Full textChodoff, Rebekah B. "Developing the Creative Sector: A Comparitive Study of U.K. and U.S. Creative Industry Policies." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391782643.
Full textChang, Woong Jo. "Small Arts Organizations: Supporting their Creative Vitality." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1316377062.
Full textMunson, Janelle Francine. "Exploring Leadership in Theater Arts." The University of Montana, 2009. http://etd.lib.umt.edu/theses/available/etd-08042009-145939/.
Full textRichards, Michael John. "Arts Facilitation and Creative Community Culture: A Study of Queensland Arts Council." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16036/1/Michael_Richards_Thesis.pdf.
Full textRichards, Michael John. "Arts Facilitation and Creative Community Culture: A Study of Queensland Arts Council." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16036/.
Full textHughes, Pamela. "Microcomputers as creative media in fine arts education." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/28240.
Full textEducation, Faculty of
Language and Literacy Education (LLED), Department of
Graduate
Nyarambi, Arnold. "Drumming and Creative Arts in Health and Aging." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/8277.
Full textPurvis, Bryony. "Between echoes an experiment in creative collaboration." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/12466.
Full textI had been living in South Africa for almost a year by the end of 2010, when I instigated a series of creative collaborations with seven individuals, symbolically understood to represent the heterogeneous assortment of relationships that make up real-life social worlds. The people I began working with comprised those closest to me, those I live with, friends living in distant parts of the world and others that I have never met, but whose work or labour I have so greatly admired that I considered them to be an integral part of my world. I extended seven invitations to join me in a dialogue from which we could produce a visual artefact together. I asked that this dialogue address experiences and thoughts on the relationship between the individual and another; what makes us feel intimate and what causes us to feel estranged. The core aim of this project has been to develop a methodology/process that will produce art from dialogue. I centralised the need for the process to be sensitive to the identity and values of all those involved and capable of a deep engagement with the particularities of that encounter. Through this, a space between individuals is activated from which genuinely new ideas/social meanings are formed, and art produced. I regard this process of formation rather than affirmation as an approach that can redistribute agency in the production of meaning. Communication theorist Sara Diamond notes a distinction between collaboration that is ‘simply working together, creating in a context where there is an intention to either make that relationship on-going or create a product of that labour’, and the kind of collaboration that is ‘the process which combines the knowledge, experience and previous understandings or methodologies that are substantively different from that which the participants or even the partners entered the relationship with’ (Diamond 2003). Her distinction points towards a need to balance inter-subjective dialogue with the preservation of individual identities. Diamond’s later definition of collaboration implies that participants actively engage with difference, and resist conflating the initial diversity that made collaboration an appealing prospect in the first place. In this model, however, there must be an awareness of the limits of communication to represent an external reality as a shared reference. This is potentially a paralysing limitation: if communication of any kind can fail, where does this leave us? Shedding the security of relativism (of subjective expression) in exchange for the perilous task of cumulative, inter-subjective engagement has been key to the development of these eight experiments. The artist in this framework is a provider of ‘context’ rather than ‘content’, entering into collaborative encounters and communicative exchange (Dunn, cited in Kester 2004: 1). This document outlines the complexities of collaborative works, so as to do away with an easy reading. It contextualises the subtleties that define the collaborative approach in which I am interested. Much of what I understand about the work we have made, and the process that produced it, has only come about upon reflection and as a result of countless exchanges and conversations with the seven individuals I have worked with. As such I present the following document as both a retrospective of the collaborative experience, as well as a condensed cluster of ideas that help anchor this project’s core meaning. To structure this ‘research’ document, I have divided my work into nine chapters. The first describes my methodology in a wider context of collaborative practice from an ontological and genealogical perspective, before refining the key concerns that inform my making. These are: the space collaborative art occupies; a pluralistic sensibility towards multiple perspectives; and, finally, the role of dialogue in collaborative projects. The subsequent seven chapters are the visual and textual documents of the process of each collaboration. They illuminate aspects of the process specific to the seven working partnerships. Through separating each partnership my aim has been to preserve their authorship and prevent each collaboration from collapsing under the weight of my own agency. However, the process that unfolds in each of the chapters is only the process thus far, and many of these projects continue to evolve and form a part of my ongoing practice. I regard this research and the practical work it supports to be the generation of a specific collaborative methodology.
Davison, Christopher. "The visualization of the creative experience." Honors in the Major Thesis, University of Central Florida, 2001. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/268.
Full textBachelors
Arts and Sciences
Art
Ely, Robert. "Creating a creative university." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/621.
Full textHood, Emily Jean. "Creative Matter: Exploring the Co-Creative Nature of Things." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404623/.
Full textAdams, Tessa. "Creative experience and the 'authenticity' of psychoanalytic discourse." Thesis, University of Kent, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.317398.
Full textBarsh, William Alan. "Home Environment and Creative and Artistic Activity." Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/art_design_theses/5.
Full textMazzeo, Arianna. "Co-learning: An open pedagogy for creative arts education." Doctoral thesis, Universitat Oberta de Catalunya, 2020. http://hdl.handle.net/10803/670097.
Full textMi contribución gira en torno a cómo los métodos de aprendizaje basados en el diseño (diseño abierto y diseño etnográfico, en particular) pueden fomentar una mentalidad educativa interactiva que expanda el contexto de aprendizaje académico fuera de la escuela. Esta investigación es doble: en primer lugar, mi objetivo es contribuir a la innovación educativa en el campo de las artes creativas a través de métodos de aprendizaje basados en el diseño; en segundo lugar, exploro las posibilidades que el diseño abierto y la etnografía del diseño pueden aportar a la educación formal en el campo de la educación artística creativa al introducir la perspectiva somática como una perspectiva interdisciplinaria. Propongo explorar cómo pueden implementarse los conceptos de diseño abierto en un continuo que abarque la educación formal y la no formal. Finalmente, el diseño abierto como plataforma para el coaprendizaje, al cocrear y compartir, contribuye a un cambio innovador para desarrollar pedagogías de enseñanza-aprendizaje que abran el marco educativo formal al espacio público como comportamiento performativo incorporado para el bienestar de todos.
This work studies how design-based learning methods (open design and ethnographic design in particular) can foster an interactive educational mindset that expands the context of academic learning beyond the classroom. The aim of the research is twofold: first, to contribute to educational innovation in the field of creative arts through design-based learning methods; second, to explore the possibilities that open design and design ethnography can bring to formal education in the field of creative arts education by introducing an interdisciplinary perspective, namely the somatic. The goal is to explore how open design concepts can be implemented in a continuum that spans formal and non-formal education. Open design as a platform for co-learning based on co-creating and sharing contributes to an innovative shift in the development of teaching-learning pedagogies, where the formal educational framework is opened to the public space as a performative behaviour adopted for the well-being of all.
Quigg, Anne-Marie. "Workplace bullying in the arts : when creative becomes coercive." Thesis, City University London, 2007. http://openaccess.city.ac.uk/8559/.
Full textCarlson, Jacqueline Marie, and Hilda Mercedes Galan. "An Exploration Of Creative Arts Therapies In Pediatric Hospitals." Digital Commons at Loyola Marymount University and Loyola Law School, 2016. https://digitalcommons.lmu.edu/etd/293.
Full textArıkan, Harun Burak. "Collective systems for creative expression." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/36319.
Full textIncludes bibliographical references (p. 123-126).
This thesis defines collective systems as a unique category of creative expression through the procedures of micro and macro cycles that address the transition from connectivity to collectivity. This thesis discusses the necessary technology, context, and terminology, and provides a conceptual structure for the execution, discussion and evaluation of these procedures. This is supported through discussing the author's contribution to the OPENSTUDIO project and the Open I/O system.
by Harun Burak Arıkan.
S.M.
Namini, Susan Moin. "Digital arts in the context of traditional and contemporary creative arts training and practices." Thesis, Brunel University, 2005. http://bura.brunel.ac.uk/handle/2438/3976.
Full textBlatter, John Henry. "Creative Insubordination." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1825.
Full textKörlin, Dag. "Creative arts therapies in psychiatric treatment : a clinical application of the Bonny Method of Guided Imagery and Music (BMGIM) and Creative arts group /." Stockholm, 2005. http://diss.kib.ki.se/2005/91-7140-388-4/.
Full textStanley, Faye Tucker. "Re-Framing Traditional Arts: Creative Process and Culturally Responsive Learning." Thesis, University of Canterbury. School of Teacher Education, 2014. http://hdl.handle.net/10092/9471.
Full textRoque, Ricarose Vallarta. "Making together : creative collaboration for everyone." Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/77814.
Full textCataloged from PDF version of thesis.
Includes bibliographical references (p. 101-105).
This thesis explores how we can design learning environments to support broad participation in creative collaboration-that is, the process of working together on the construction of an artifact. I describe and analyze the design and implementation of Collab Camp, a learning environment that supports creative collaboration among members in the Scratch online community. The design of Collab Camp is based on four intersecting goals: encourage collaboration, support making, connect to interests, and cultivate community. I use a designed-based learning approach to iteratively design, implement, and evaluate this learning environment. I conclude by reflecting on the implementations and analyses to suggest ways in which we can support everyone in making together.
by Ricarose Vallarta Roque.
S.M.
Shiels, Justin. "A Report on the New Orleans Center for Creative Arts." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/aa_rpts/156.
Full textGuo, Wen. "Arts, Place, and Advocacy Coalition: Policy Network of Creative Placemaking." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1556840752146195.
Full textMasters, Tristan Andrew, and tristan masters@acma gov au. "Supply and Demand of Creative Arts in Regional Victoria, Australia." RMIT University. Economics, Finance and Marketing, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080507.152730.
Full textRhee, Nakyung. "Creative Aging: Building Capacity for Arts and Aging Policy Making." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1503003465529443.
Full textRide, Peter. "Putting it together : examining new media arts and creative practice." Thesis, University of Westminster, 2012. https://westminsterresearch.westminster.ac.uk/item/8z8yy/putting-it-together-examining-new-media-arts-and-creative-practice.
Full textCollins, Sarah K. "Creative Measures: Access to Arts Education in Oregon Public Schools." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11493.
Full textA growing body of research documents the benefits of learning in and through the arts, from academic achievement to personal efficacy. Federal law recognizes the arts as a core subject area for K-12 public schools, and Oregon content standards articulate sequential expectations of what all students should know and be able to do in the disciplines of music, theater, dance, and visual arts. Despite these statutory commitments, little is known about the actual condition of arts education in Oregon public schools. This study mines existing data from the Oregon Department of Education to: 1) establish baseline measures of access to arts education during the 2009-2010 academic year; and 2) identify relationships between access and other school characteristics such as geographic location, school type, and Title I designation. This study's findings hold significant implications for state policy, and its unique methodology can inform the wider field of arts education policy research.
Committee in charge: Dr. Jean Stockard, Chair; Dr. Terri Ward, Member; Dr. Lori Hager, Member
Haviland, Maya. "Side by side? : practices of collaborative ethnography through creative arts." Phd thesis, Canberra, ACT : The Australian National University, 2012. http://hdl.handle.net/1885/109596.
Full textHickey, Sean(Sean Michael). "Bricoleur : creative learning through video and computation." Thesis, Massachusetts Institute of Technology, 2019. https://hdl.handle.net/1721.1/123639.
Full textCataloged from PDF version of thesis.
Includes bibliographical references (page 115).
In his theory of constructionism, Seymour Papert asserted the importance of bricolage in the learning process. Papert defined bricolage as "a style of organizing work that can be described as negotiational rather than planned in advance." The bricoleur - one who engages in bricolage - works in dialogue with their materials, continuously experimenting and course-correcting as necessary. Throughout this process, the bricoleur creates relations between materials and in doing so, builds mental relations in their head among ideas and knowledge. In this sense, creating with materials is the thinking process and as a result, Papert claimed that "in the most fundamental sense, we, as learners, are all bricoleurs." In light of this, it is important to develop rich bricolage contexts and experiences to support learners in constructing their own knowledge. This thesis describes Bricoleur, a new tool for creating expressive projects in a bricolage style. Bricoleur builds off of the programming paradigm developed for the Scratch programming language to allow makers to create a wide variety of dynamic projects by capturing and programming video and audio media on tablet hardware. We describe the design decisions that led to the creation of a tinkerable tool that engages both the mind and body. In addition, we outline the types of projects and working styles that emerged during creative workshops in which makers created projects with Bricoleur. We then look at some broad outcomes of the work, noting that Bricoleur enables young makers to engage not just with computation and media, but also with their bodies, their environment, and the people around them. Through this process, makers encounter ideas about space, place, people, and time. We conclude with some reflections on future directions for the tool, mobile programming in general, and new possibilities of creative contexts for bricolage.
by Sean Hickey.
S.M.
S.M. Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences
Rife, Miranda L. "Cultivating a Creative Community: A Case Study of the Gahanna Area Arts Council." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1561911853082464.
Full textOakley, Kate. "Creative industries and the politics of New Labour." Thesis, City University London, 2010. http://openaccess.city.ac.uk/11884/.
Full textFox, Emily M. "Creative Expressive Abilities in Nursing Home Residents with Dementia: Are Creative Activities Better?" Miami University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=miami1366750974.
Full textLynch, Patrice M. "One woman's journey : a collection of creative nonfiction." Honors in the Major Thesis, University of Central Florida, 1999. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/73.
Full textBachelors
Arts and Sciences
English; Creative Writing
Navarro, Edwina Portocarrero. "Inside/out : mirrors for reflective, creative thinking." Thesis, Massachusetts Institute of Technology, 2011. http://hdl.handle.net/1721.1/69810.
Full textCataloged from PDF version of thesis. Page 99 blank.
Includes bibliographical references (p. 93-98).
In this document I present three tools for reflective, creative thinking: Pillow-Talk, the NeverEnding Drawing Machine and Calliope. These tools make use of the "distorted mirror" metaphor for self-reflection. They are designed to debunk myths of creativity as an acquired faculty and instead promote creative apperception and flexible thinking. Pillow-Talk is designed to prime dream recall and facilitate capture through voice recording. Considering the dream an aesthetic experience we all undertake, where the dreamer is free to test knowledge liberated from physical and moral constraints, its aim is to promote flexibility in levels of thought. The NeverEnding Drawing Machine and Calliope endorse flexibility in vehicles of thought through co-creative and collaborative play. One can incorporate any object found in the environment as a tool or material, thus making contextualized and personalized creations. They promote cross-cultural and cross-generational co-creation as the echo from which to recenter perception.
by Edwina Portocarrero.
S.M.
Psaltis, Heather. "Summer school for the arts| A study of arts classes and creative thinking in urban teenagers." Thesis, Capella University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3617707.
Full textThis study examined the relationship between participation in an intensive summer arts program and creative thinking as measured by pre- and posttests using the Torrance Tests of Creative Thinking. It sought to examine the experiences of the teen apprentices in the summer Art Camp program. The purpose of this study was to compare scores on the Torrance Tests of Creative Thinking before and after a 7-week arts apprenticeship across arts disciplines with urban teenagers. A parallel explanatory research design was used. The two research questions were as follows: What is the relationship between the pre- and posttest scores on the Torrance Tests of Creative Thinking (TTCT) after participation in an intensive summer arts apprenticeship? And How do Art Camp apprentices describe the impact of the program and their experiences as apprentices? Findings show an increase in creativity as measured by the TTCT and largely positive impact on the apprentices. Implications for transformational leaders include support for collaborative community partnerships as well as for the use of summer arts programming as a way to boost cultural capital for economically disadvantaged teens.
Ali, Safinah Arshad. "Designing child robot interaction for facilitating creative learning." Thesis, Massachusetts Institute of Technology, 2019. https://hdl.handle.net/1721.1/128416.
Full textCataloged from PDF of thesis. "The Table of Contents does not accurately represent the page numbering"--Disclaimer page.
Includes bibliographical references (pages 119-124).
Children's creativity - the ability to come up with novel, surprising, and valuable ideas - has been known to contribute to their learning outcomes and personal growth. Standardized ways to measure creativity and divergent thinking reported that as children enter elementary school, their creativity slumps and thinking becomes more convergent, especially around the 4th grade. One cause for this is school curricula become more structured and lose the aspect of creative play. This is especially concerning for kids growing up in the era of Artificial Intelligence, where mechanical and repetitive jobs that require structured thinking move to machines. To be successful in this world of intelligent agents, we must empower children not only to understand how these intelligent agents work, but also to be able to think creatively about generating new artifacts in consort with such agents, which requires imaginative novel thought.
In this thesis, I explore whether a social robot's interaction with children can be an effective way to help children think more creatively. I suggest two ways in which robots used as pedagogical tools can help children think more creatively are: 1. through artificial creativity demonstration, such as showing the use of novel ideas, and 2. through offering creativity scaffolding, such as asking reflective questions, validating novel ideas, and engaging in creative conflict. I designed four collaborative game-based activities that involve child-robot interaction and afford different forms of creative expression: 1. Droodle Game, which affords verbal creativity, 2. Magic Draw, which affords figural creativity, 3. WeDo Construction with Jibo, which affords construction creativity and 4. Escape Adventure, which affords divergent thinking and creative problem solving.
I designed the behavior of the robot such that it either scaffolds the child for creative thinking, or the robot gives the appearance of creative thinking by artificially emulating human creativity. I evaluated the role of the social robot in influencing children's creativity by running comparative studies between children playing these creativity games while interacting with the robot with creativity-inducing behaviors (creative condition), and without creativity-inducing behaviors (non-creative condition). Children who interacted with the creative robot exhibited higher levels of creativity than children who interacted with a non-creative control robot. I conclude that children can model a social robotic peer's creative expression via social emulation. When scaffolded for creativity, children exhibited higher levels of creativity. This enabled me to develop a robot scaffolding paradigm which fosters creativity in young children.
This thesis contributes design guidelines for child-robot interactions which promote creative thinking, and provides evidence that these creativity inducing behaviors exhibited by social robots can foster creativity in young children.
by Safinah Arshad Ali.
S.M.
S.M. Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences
Reynolds, Jackie. "Creative ageing : exploring social capital and arts engagement in later life." Thesis, Keele University, 2011. http://eprints.staffs.ac.uk/1679/.
Full textNyarambi, Arnold. "The Utility of Drumming and Creative Arts in Health and Aging." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/8278.
Full textGreen, Paul. "A framework for the consideration of narrative in creative arts practice." Thesis, University of Plymouth, 2018. http://hdl.handle.net/10026.1/11160.
Full textRiber, Henrik, and Pontus Sjögren. "Motivation in Creative Writing." Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35292.
Full textChan, Miu-kuen. "An evaluative study on the learning of creative thinking in visual arts." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B35312099.
Full textWinters, James Clayton. "Transformational Directing: An Analysis on How Leadership Affects the Creative Process." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3567.
Full textLopez, Melissa. "Genre Criticism: Is Testimonio A/Part of Creative Nonfiction?" Honors in the Major Thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/771.
Full textBachelors
English
Arts and Sciences
Creative Writing
Courage, Cara. "Making places : performative arts practices in the city." Thesis, University of Brighton, 2016. https://research.brighton.ac.uk/en/studentTheses/c8cc27b9-6119-46fc-a44c-3aadd241738b.
Full textDe, Maci Lola De Julio. "Curriculum design in creative writing." CSUSB ScholarWorks, 1995. https://scholarworks.lib.csusb.edu/etd-project/1012.
Full textCoy, Joshua A. "Making Places or Making Waves: Cultural District Policy Making Considerations for the Public Good." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1440356497.
Full textAssogba, Yannick Mahugnon. "Creative networks : socio-technical systems for loosely bound cooperation." Thesis, Massachusetts Institute of Technology, 2009. http://hdl.handle.net/1721.1/55192.
Full textCataloged from PDF version of thesis.
Includes bibliographical references (p. 118-123).
This thesis introduces a programming environment entitled Share that is designed to support and encourage loosely bound cooperation between individuals within communities of practice through the sharing of code. Loosely bound cooperation refers to the opportunity members of communities have to assist and share resources with one another while maintaining their autonomy and independent practice. We contrast this model with forms of collaboration that enable large numbers of distributed individuals to collaborate on large scale works where they are guided by a shared vision of what they are collectively trying to achieve. Our hypothesis is that providing fine-grained, publicly visible attribution of code sharing activity within a community can provide socially motivated encouragement for participation as well as pragmatic value of being able to better track downstream use and changes to contributions that an individual makes. We shall present a discussion of loosely bound collaborative practice in various creative domains and the technological and social factors that contribute to the salience of these forms of cooperation today as well as discussing the motivational factors associated with open source development and how they differ in the case of cooperating individuals who do not share a project. We will also present an overview of the design of our tool and the objectives that guided its design and a discussion of a small-scale deployment of our prototype among members of a particular community of practice.
by Yannick Mahugnon Assogba.
S.M.