Dissertations / Theses on the topic 'Creative Arts'
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Ely, Robert. "Creating a creative university." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/621.
Full textVerseput, 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 textMunson, Janelle Francine. "Exploring Leadership in Theater Arts." The University of Montana, 2009. http://etd.lib.umt.edu/theses/available/etd-08042009-145939/.
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 textBlatter, John Henry. "Creative Insubordination." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1825.
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 textDavison, 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
Richards, 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 textBarsh, William Alan. "Home Environment and Creative and Artistic Activity." Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/art_design_theses/5.
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 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 textNamini, 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 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 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 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 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 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 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.
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 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 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 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 textPsaltis, 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.
Adams, 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 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 textCourage, 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 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.
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 textRife, 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 textCada, Suzanne M. "Critical Programmatic Success Factors of Select Arts Programs for Older Adults." Thesis, Virginia Tech, 2004. http://hdl.handle.net/10919/9931.
Full text- Reminiscence regularly occurs among individual participants. Older adults who have the opportunity to reflect, without inhibition, on events from their past tend to experience more self-satisfaction, a reinforcement of their identity, and a ready connection with other adults.
- Programs establish and maintain a safe, non-threatening environment. Allocating a small amount of time for everyone to acclimate to the new environment allows older adults to feel more at ease, encourages their participation, and increases their enjoyment.
- Teaching artists are personally committed to the context in which they work and exhibit patience when engaging with older adults. Teaching artists find a balance between activities that are aesthetically enjoyable and educationally and socially rewarding.
- Another organization or venue serves as a host for the program. This reciprocal relationship sustains the arts program and increases the vitality of the host organization by providing a wide range of programs.
- The organization's leader is enthusiastic and mindful of both challenges and opportunities in the field. A single person in a highly-placed administrative position is identified as an essential driving force behind successful programs.
- Teaching artists demonstrate loyalty by committing several years to the programs. The long-term retention of all teaching artists ensures consistent, reliable, and quality programs.
Master of Fine Arts
Roque, 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.
Chen, Shang-Ying. "From arts administration to creative versatility adapting the Taiwanese arts administration training system for the twenty-first century /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu148640044637245.
Full textBuscemi, John. "The visual arts and religion the changing relationship /." Theological Research Exchange Network (TREN), 1986. http://www.tren.com.
Full textChan, Miu-kuen, and 陳妙娟. "An evaluative study on the learning of creative thinking in visual arts." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B35312099.
Full textLash, Sarah. "Singing the dream the bardic arts of the Society for Creative Anachronism /." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3358930.
Full textTitle from PDF t.p. (viewed on Feb. 8, 2010). Source: Dissertation Abstracts International, Volume: 70-05, Section: A, page: 1745. Adviser: Henry Glassie.
Hickey, 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
Gnezdilova, Anastasia. "Sculptor Nina Slobodinskaya (1898-1984). Life and search of creative boundaries in the Soviet epoch." Doctoral thesis, Universitat de Girona, 2015. http://hdl.handle.net/10803/334701.
Full textAquesta tesi doctoral estudia l’obra de Nina Konradovna Slobodinskaya (1898-1984), escultora a l’època soviètica. La seva obra creativa abraça més de 50 anys i inclou totes les tendències artístiques, temes actuals i tota classe de gèneres culturals en el període més contradictori i sanguinari de l’art rus del segle XX. Nina Slobodinskaya és una artista del seu temps, que va reaccionar als reptes del moment i que va saber reflectir-ho en les seves obres. No obstant, encara que es trobés immersa en plena era soviètica, va crear de manera independent, escollint temes humanistes i atemporals. Com que va seguir les seves pròpies inclinacions artístiques, va contradir les estrictes normes soviètiques, es va oposar a seguir els dictàmens artístics de l’Estat, i això va fer que se la menystingués i se la ignorés, i va caure a l’oblit. D’origen noble i pertanyent al cercle d’artistes, filosofs, esculptors i escriptors de l’ elit cultural russa, va saber captar i transmetre els seus valors i la seva visió del món a les seves escultures; les va enriquir amb un profund contingut simbòlic i espiritual. D’aquesta manera descobrim una escultora amb una visió artística pròpia i un estil individual que ens porta a entreveure creences espirituals i filosòfiques, inherents a la tradició russa, que pel seu sistema de valors encara pertanyia a la Rússia imperial que, per tant, va estar condemnada a l’extermini per les polítiques de Lenin i Stalin
Wang, Xuning. "Realist painting and its relationship to my creative practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2010. https://ro.ecu.edu.au/theses/122.
Full textOakley, Kate. "Creative industries and the politics of New Labour." Thesis, City University London, 2010. http://openaccess.city.ac.uk/11884/.
Full textBader, Angela. "A personal exploration of the creative process." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/960.
Full textWebber, Colin. "Creating a virtual heart: Arts practice with a defective mind." Thesis, Griffith University, 2011. http://hdl.handle.net/10072/367466.
Full textThesis (Professional Doctorate)
Doctor of Musical Arts (DMA)
Queensland Conservatorium Griffith University
Arts, Education and Law
Full Text