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Dissertations / Theses on the topic 'Creative communication'
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1
McClure, Ashley. "Humanizing Technical Communication With Metaphor." Master's thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3228.
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This thesis explores how metaphors can humanize a technical document and more effectively facilitate user comprehension. The frequent use of metaphor in technical communication reminds us that the discipline is highly creative and rhetorical. Theory demonstrates that a technical text involves interpretation and subjectivity during both its creation by the technical communicator and its application by the user. If employed carefully and skillfully, metaphor can be a powerful tool to ensure users' needs are met during this process. The primary goal of technical communication is to convey information to an audience as clearly and efficiently as possible. Because of the often complex nature of technical content, users are likely to feel alienated, overwhelmed, or simply uninterested if the information presented seems exceedingly unfamiliar or complicated. If users experience any of these reactions, they are inclined to abandon the document, automatically rendering it unsuccessful. I identify metaphor as a means to curtail such an occurrence. Using examples from a variety of technical communication genres, I illustrate how metaphors can humanize a technical document by establishing a strong link between the document and its users.M.A.
Department of English
Arts and Humanities
English MA
2
Knellwolf, Christa, and n/a. "The Alchemist's fever." University of Canberra. Creative Communication & Culture Studies, 2001. http://erl.canberra.edu.au./public/adt-AUC20060811.153839.
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This novel describes the uncompromising struggles of two very different characters
against the crippling influences of conventional morality. The autobiography of the
late medieval Johannes Faustus is interwoven with the third-person story of the
twentieth-century figure Sybil Wagner. In their different historical contexts they fight
against abuse, violence and depression in order to gain the ultimate objectives of
sexual fulfilment, professional success, and a harmonious relationship with self and
others.
Part I describes the two characters' first encounters with love and death. It shows how
their indomitable spirits cope with the hypocrisy of the adult world, with the confusing
experience of their adolescent bodies, and the puzzling moment of losing their
virginity. Part II describes their respective attempts to find out who they are and what
they want. The structural parallelism between a male and a female Faustus from
different social and historical backgrounds invites the reader to think about the barriers
of historical and gender difference.
Both narrative strands engage in a sophisticated play with the ambiguities of the
archetypal story of transgression and allow for a number of different interpretations of,
for instance, the nature and role of immaterial forces such as the devil. Both narrative
strands portray a credible or 'realistic' framework for the uncanny elements of the
Faustus narrative and thereby explore the borderlines between conventional and
subjective reality.
3
Page, Courtney Hodges, and n/a. "A belly full of arms and legs." University of Canberra. Communication, 1997. http://erl.canberra.edu.au./public/adt-AUC20061027.142947.
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Page, Sue, and n/a. "The travellers." University of Canberra. Communication, 1997. http://erl.canberra.edu.au./public/adt-AUC20061027.143720.
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Hetzel, Eugene David. "The mad rhetoric: Toward a rigor on radical creativity and its function in consciousness as a communicative principle." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3293.
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This thesis explores three creative works, "The music of Erich Zann" by H.P. Lovecraft; the film "Eraserhead" by David Lynch; and the "Self-Portrait (blue)" by Vincent Van Gogh, as examples of different forms of mad rhetorics as a way in which to demonstrate the application of the theory of "mad rhetorics" and the role "radical creativity" plays in the construction of mad rhetorics by "mad rhetors" play in society.
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Jones, Neil N. "Improving congregational involvement in preaching through the creative use of dialogue." Theological Research Exchange Network (TREN), 1989. http://www.tren.com.
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Boucher, Romagne Hoyt. "Creative breakthrough emergence| A conversational accomplishment." Thesis, Fielding Graduate University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3642065.
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Many people, organizations, institutions, and governments want and need to generate creative breakthroughs and foster creativity, but are not aware of what conversational conditions make their occurrence more likely. The creative collaborative process is dependent upon communication. There have been few studies that have analyzed in situ group creativity with a robust communication theory capable of showing what actual kinds of conversations create new and useful meaning. The purpose of this research was to identify conversational conditions that facilitate creative breakthroughs in collaborative workgroups.
A case study is presented of a 4-month creative collaboration between members of a design consultancy and a senior university design class tasked with designing 21st century communication products for a well-known greeting-card company client. The research design utilized a social constructionist communication theory, the coordinated management of meaning, (CMM). Creative breakthrough moments were identified in three different interactions from questionnaires and videotaped data. Reflective interviews of all the participants also enabled insight into the creative breakthrough moments and the narrative process that developed new meaning. The videotaped conversational patterns that produced those creative breakthrough moments were then recursively examined and analyzed with conversational analysis, CMM research methodology, and figurative language. Six specific conversational conditions were discerned as present in creative breakthrough emergence.
A reflexive pattern of critique, relationship, responsibility, idea generation, and reframing authorship enabled participants to co-evolve design narratives that made new meaning. Creative breakthroughs and new creative meaning emerged from an improvisational structure of six specific conversational conditions. By participating within this improvisational structure, group members utilized critique as a creative springboard for innovation and took fresh perspectives. These findings are counter to the dominant themes in design and sociocultural literature that nonjudgmental conditions, brainstorming, and individuals building on input are the main pathways for creativity.
Key Words: Creative breakthrough, conversational conditions, facilitate, in vivo collaborative workgroups, relational responsibility moves, new meaning-making, improvisational language structure, figurative language, CMM, social constructionist communication theory, creative and generous listening, creative collaboration
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Lipic, Persson Sandra, and Ida Lundin. "The Complexity of Communicating Sustainability in a Co-Creative Context : a case study of a co-creative incubator." Thesis, Högskolan Kristianstad, Fakulteten för ekonomi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-18268.
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This thesis is concerned with the complexity of communicating sustainability in a co-creative context. Sustainability is seen as three dimension, namely economic sustainability, social sustainability and environmental sustainability. This thesis includes all three dimensions in the sustainability communication. The purpose is to investigate how sustainability can be understood and explained in a co-creative incubator. Since the research of sustainability communication within the co-creative literature is relatively undiscovered this thesis makes an attempt to conceptualise the sustainability communication. The context of the study is a single case study of an incubator with a co-creative approach. The research took an abductive approach with the method of a qualitative empirical collection. The empirical data collection consists of semistructured interviews with actors in the co-creative incubator, namely top management, business designers and startups. Findings reveal that the sustainability communication can be understood and explained through a challenge based view. Every startup face different challenges and sustainability is communicated accordingly. However, the communication of economic sustainability is more direct than the other two dimensions. Additionally, the complex communication in the co-creative incubator shed new lights on the concept of trust within co-creation. The intensity of sustainability communication implies to be dependent on trust between incubator and startups. This thesis adds original insights to the field of combining co-creation and incubators, specifically factors that influence the sustainability communication in the co-creative incubator.
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El, Yousfi Fatima. "La gestion des projets de création dans les agences de communication." Thesis, Paris, CNAM, 2016. http://www.theses.fr/2016CNAM1039/document.
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Ce travail porte sur l'exploration de la nature de la relation créativité-organisation. Dans les travaux antérieurs portant sur la créativité dans les organisations, nous constatons la dominance de l’approche déterministe, dans le sens où les chercheurs se focalisaient sur l’influence des facteurs organisationnels sur les actions créatives. Dans la présente recherche, nous examinons la relation créativité-organisation avec une mise en exergue de l’influence des actions créatives sur l’organisation. Ainsi, nous soulignons la pertinence de la perspective structurelle de l’étude de la créativité.Afin de générer de la connaissance sur la nature de cette relation, nous l’avons examiné dans le contexte des industries créatives, en particulier celui des agences de communication. La pertinence de ce contexte se justifie par la place centrale de la créativité dans les activités de ces dernières. En adoptant une approche qualitative, nous avons réalisé une étude de cas multiples dans huit agences de communication. Ainsi, nous avons étudié la gestion des projets de création au sein de ces agences.Les résultats de la recherche appuient d’une part les travaux antérieurs plaidant pour l'influence des facteurs de l'environnement du travail sur la créativité. D’autre part, ils montrent que, dans le sens contraire, la créativité influence et change le contexte organisationnel.Ce qui nous porte à croire qu'il faut examiner davantage les mécanismes sous-jacents mobilisés par la créativité menant à introduire des changements organisationnels ainsi que le contexte qui favorise ces mécanismesThis research aims the exploration the relationship between creativity-organisation in the particular context of creative industries. To do so, we tried to answer the following research question: how do communication agencies manage creation projects since creativity is the hearts of these projects? To address the research question, we conducted a multiple case study on eight communications agencies through a qualitative approach. Previous works on creativity in organizations highlight the influence of organizational factors on the creativity of individuals and workgroups. The current research highlights the enactment role of creative actions on established organizations.The results of this research support earlier works showing the influence of factors of the working environment on individual and workgroup. In addition, the results highlight the influence of creativity on the established organization by generating changes in the existing routines and processes.This leads us to believe that more should be done in examining the underlying mechanisms mobilized by creativity leading to introduce organizational changes and the context that enable these mechanisms to happen
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Laguda, W. B. "Electronic government, information communication technologies and social inclusion." Thesis, University of Salford, 2003. http://usir.salford.ac.uk/26767/.
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The UK's E-Government agenda was found on the principles of improving the quality of services offered to the public by Central and Local Government. This would be made possible through various national projects. Most notable were the use of Customer Relationship Management (CRM) and Community Informatics involving the use of public libraries and outreach workers. However there is growing fear on the emergence of inequalities between the information rich and information poor termed the 'digital divide'. This has prompted the subject of research - to explore the reality of e-government in reducing social exclusion. Both qualitative and quantitative research techniques are used to this end. Analysis is made on the use of CRM in 27 Local Authorities including a detailed case study at Newham Council and a public survey in Salford. Universal access and social inclusion is tackled through the analysis of public libraries in Salford offering ICT services. In addition the effects of free ICT courses organised by Salford City Council on a number of community groups was included in the survey. The findings confirm the widespread use of CRM and reveal a series of barriers to its success. These include a lack of skilled CRM staff, inefficiencies in channel management, high emphasis on technology, and low levels of ICT usage. Results from the public library survey also revealed some barriers. Inadequate staffing levels, inappropriate training, and lack of IT support were all identified. In addition the library failed to attract novices and new users. The evaluation of Community Informatics in Salford showed the problems faced by outreach workers. As well as providing some academic research in a field lacking representation in IS research (due largely to recent emergence), the thesis also contributes to E-Government practice by, highlighting issues often over looked in its implementation, addressing its failures, and providing some reasoning on the current situation.
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Vétillart, Guillaume. "Creativity & Leadership : The introduction of creative internal communication practices in organizations." Thesis, Linnéuniversitetet, Institutionen för organisation och entreprenörskap (OE), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-38654.
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This thesis investigates the impacts of introducing creative experiences in a rigid organization. Based on the methodology suggested by Strauss and Corbin (1998) I have conducted a qualitative study through 8 semi-structured interviews of heterogeneous profiles in an organization where I worked for two years as an apprentice. Specific creative experiences were introduced in order to improve the internal communication, facilitate an organizational change transition and sustain a better social climate. I aimed at understanding the impacts resulting from experiencing such activities both at an individual and organizational level. My findings reveal three positive categories (well-being, corporate affiliation and organizational change facilitation) and three negative categories (individual irritations and a lack of coherence with the corporate identity). I conclude my work with the possible reasons justifying unexpected negative results, stating that trustworthy leadership and the corporate culture are essential when introducing such collaborative activities. My thesis might contribute to the discussions of creative problem solving for the sake of communication and values-added resulting from creative interventions in organizations.
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Gordon, Adam. "How Can One Decide and Stick to One Creative Idea from Several?" Thesis, Konstfack, IBIS - Institutionen för bild- och slöjdpedagogik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5636.
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In pursuing my aim to provide a methodical easy to follow ideation to creationprocess didactic instructional tool to be used both for design and art projects, ledme to produce a multimedia film.An A2 poster with 3 5 step tried and tested hybrid methods started action research,acting as a didactic teaching tool and point of reference.Further to an interview with gymnasium (high school) art and storytelling teacher,the defining process began by editing live test case documentation from her finalyear 2013 art and design class. Audio clips from a creative director and teacherinterviews’ along with still picture quotes added valuable process method narration.Practical hands on experience in addition to the gymnasium class usability findings,led to final stage development in the form of a digital mobile application, "id'8." Anend sequence animation illustrates simplified, refined and combined 2 5stepprocesses in action, as I work the id’8 process tool interactively.
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Bazazordeh, Atefeh. "Exploring communication in networked publics through a dramaturgical approach." Thesis, University of Salford, 2015. http://usir.salford.ac.uk/35578/.
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The use of social network sites (SNSs) in Iran, where people's freedom of expression is limited, provides new opportunities of sociality to be explored. The introduction of SNSs and in particular Facebook, provided an opportunity for Iranians to experience a different way of life online while living with the restrictions and control of authorities in offline settings. Drawing on the perspectives of dramaturgy and networked publics this study examines how Iranians use Facebook and why people engage with it the way they do. It has undertaken a qualitative field study approach. The empirical data are sourced through semi-structured interviews and participant observations with 30 individuals. This study demonstrates that Iranians are using the SNSs and Facebook as an independent platform from offline life. This study found that Iranians are developing their own approaches and strategies to control privacy, arranging the privacy freatures of the Facebook to meet their needs and self-presentation goals. The constant engagement with overcoming Internet censorship and devising privacy control strategies to maintain privacy enabled this group of users to develop a particular set of digital skills. Facebok cannot be treated as an independent platform for communication in society, but as a technology that is shaped by people and their perceptions about privacy violation based on the impact of ongoing social and political forces in Iran.
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McDonald, Zoe Nicole. "Writing Gets Personal: Listening at the Intersections of Creative Writing and Writing Tutoring." ScholarWorks @ UVM, 2018. https://scholarworks.uvm.edu/graddis/842.
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In this thesis, I investigate the extent to which creative writing impacts the ways writing tutors work with student writers on their academic writing. In doing so, I interview five writing tutors with creative writing experiences for their personal definitions of creative writing, and the extent to which drawing on, or ignoring, creative writing impacts their writing tutoring.
Through combining the interviews with reflections into my writer identities, I find creative writing focuses on self-expression and narrative features which strengthen disciplinarity and conventions. Additionally, focusing on creative writing’s influence in the writing center allows tutors to engage as fellow writers able to learn alongside the students they tutor.
Specifically, I notice writing tutors perceive a division between creative and academic writing. Crossing that perceived division requires a willingness to confront assumptions about academic and creative writing, but allows for the opportunity for tutors and the students they tutor to deepen their writing processes.
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Scott, Kirsten. "Pidgin plait : fashioning cross-cultural communication through craft." Thesis, Royal College of Art, 2012. http://researchonline.rca.ac.uk/1152/.
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Through this research, I examine how new, natural, socially and environmentally sustainable materials for western couture millinery may be sourced from a group of marginalized women in south-eastern Uganda, underlining the continued relevance of craft as a mode of production that is both flexible and inclusive. Post-colonial, western perceptions of ‘African’ aesthetics are deconstructed and reconstructed through plaited, palm leaf braids that reflect the irregular surface texture found in traditional African artefacts. These create both a metaphorical and visual ‘pidgin’ language that holds meaning for craftspeople in the developed world as well as for the makers. In the process, questions have been asked about western requirements for product uniformity and how the ‘hand of the maker’ - as signified by irregularity – may be positioned in the markets of industrialized and post-industrialized societies. By creating a product with the potential for longevity and versatility, I have attempted to minimize some problems inherent in sourcing from small-scale craft development projects. The research has been practice-led and is supported by this written dissertation. My own craft practice as a millinery designer and field trips to Uganda - in order to establish a working relationship with the makers, understand their circumstances and to develop the Pidgin Plaits - has been at the core of a process of exchange. Cultural and industrial networks have also been developed in Uganda that may support the longer-term sustainability of the project. Through my research, I identify the considerations confronting the designer seeking to establish such a project and explore the multiple social, cultural and economic factors that impact upon the makers in Uganda,in a project with the potential to transform lives and cultures.
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Marsh, Meredith. "Good Writing: Integrating Creative Writing Elements in Undergraduate Composition." University of Findlay / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=findlay1469050437.
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Markham, Julie T. "Face-to-face with the Essay: Pedagogical Contributions Through Examining Nonverbal Communication in David Foster Wallace’s Essays." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4864.
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This inquiry focuses on creative nonfiction essay writing and its pedagogy, operating under the conceit that this category of literature possesses rich potential to render fruitful study of nonverbal communication. Creative Nonfiction pedagogy can be enriched and analysis of this genre broadened if somewhat familiar aspects of these texts are considered through the interdisciplinary lens of interpersonal and nonverbal communication. Through critical review of existing creative nonfiction pedagogy and close examination of the role of nonverbal communication in the essays of David Foster Wallace, this document aims to open possibilities through an interdisciplinary study of essay writing in order to contribute to the scholarship and knowledge available to professionals responsible for craft instruction, criticism and analysis of creative nonfiction literature.
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Edmonds, Timothy, and Terry Maher. "Virtual Teams and The Group Creative Process : How does the group creative process function in a virtual team enviroment?" Thesis, Uppsala universitet, Företagsekonomiska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-227032.
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The purpose of this paper is to explore group creative processes in a virtual environment to better understand how virtual communication influences creativity. After reviewing literature, a theoretical foundation in creativity was established and with three common themes derived: Task motivation and task orientation, social environment and participation, and communication. This was coupled with a review of current virtual team interaction theories, demonstrating intersections between them. The method used was a qualitative exploration using semi-structured in-depth interviews. The interviews were conducted via VOIP, with notes and recordings taken for further analysis. Analysis was conducted on the three common creative themes viewing virtualization as the mediator. Trends emerged demonstrating that asynchronous communication had a substantial influence on group creative processes. Conversely, virtual teams employing real-time communication found little influence on the creative process. Other anecdotal trends can be seen regarding motivation and social environment. This paper identifies key areas where virtualization influences the group creative process, and provides a base for future suggested research.
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Lynch, Brenda A. "Generating creative ideas at work a qualitative study of an advertising agency and a state rehabilitation agency /." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117570358.
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Thesis (Ph. D.)--Ohio State University, 2005.Title from first page of PDF file. Document formatted into pages; contains xi, 166 p.; also includes graphics. Includes bibliographical references (p. 154-160). Available online via OhioLINK's ETD Center
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Evans, K. "Introducing information and communication technologies into marginalised neighbourhoods : an exploration of the digital divide." Thesis, University of Salford, 2002. http://usir.salford.ac.uk/14843/.
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This research explores the development of discourses of information society and the claims which have been made as to the transformative capacities of information and communication technologies (ICT) in particular. It explores the experiences of groups affiliated to two women's centres in the city of Salford, England. These centres, and associated groups, are situated within two economically disadvantaged areas which could be said to be peopled with "the information poor". The research argues that the enthusiasm with which technology has often been placed before such communities has been inspired by debates which have largely taken place at a high level of abstraction and generalisation and have not been grounded and connected to the needs of the residents of "real world", physically based localities. The importance of locality, of "situated knowledge", of networks built around trust and shared experience it suggests, have been largely disregarded and the global, the expert and disembodied community unconstrained by the limits imposed by place have been perceived as the most significant relationships in contemporary western societies. This has distorted perceptions of more traditional and locally-based, face-to-face interaction which has been considered limiting, insular and in many ways as looking backward rather than forward. From these perceptions have arisen a terminology which places responsibility for success or failure on the individual and the community (the digital underclass) and which suggests that a need for experts and professionals to enlighten and educate certain groups (the information poor) in order that they can be enabled and empowered in the new digital age. The research argues that this discourse, and the assumptions which lie behind it, have infused policy agendas around widening access to technology and informed many models which aim to introduce these technologies into such communities. The research concludes that there has been a disproportionate interest in technology and its powers to transform and a concomitant disregard of the human potential and abilities which enable technology to work and the personal and social relationships which will facilitate its use.
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Herbert, Elanna, and n/a. "Hannah�s Place: a neo historical fiction (Exegesis component of a creative doctoral thesis in Communication)." University of Canberra. Communication Media & Culture Studies, 2005. http://erl.canberra.edu.au./public/adt-AUC20070122.150626.
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The creative component of my doctoral thesis articulates narratives of female
experience in Colonial Australia. The work re-contextualises and re-narrativises
accounts of events which occurred in particular women�s lives, and which were
reported in nineteenth century newspapers. The female characters within my novel are
illiterate and from the lower classes. Unlike middle-class women who wrote letters
and kept journals, women such as these did not and could not leave us their stories.
The newspaper accounts in which their stories initially appeared reflected patriarchal
(and) class ideologies, and represented the women as the �other�. However, it is by
these same textual artefacts that we come to know of their existence.
The multi-layered novel I have written juxtaposes archival pre-texts (or intertexts)
against fictional re-narrativisations of the same events. One reason for the use of this
style is in order to challenge the past positioning of silenced women. My female
characters� first textual iterations, those documents which now form our archival
records, were written from a position of hegemonic patriarchy. Their first textual
iteration were the record of female existence recorded by others. The original voices
of the fictionalised female characters of my novel are heard as an absence and the
intertext, as well as the fiction, now stands as a trace of what once existed as women�s
lived, performative experience.
My contention is that by making use of concepts such as historiographic metafiction,
transworld identities, and sideshadowing; along with narrative structures such as
juxtaposition, collage and the use of intertext and footnotes, a richer, multidimensional
and non-linear view of female colonial experience can be achieved. And
it will be one which departs from that hegemonically imposed by patriarchy. It is the
reader who becomes the meaning maker of �truth� within historical narration.
My novel sits within the theoretical framework of postmodern literature as a variant
on a new form of the genre that has been termed �historical fiction�. However, it
departs from traditional historical fiction in that it foregrounds not only an imagined
fictional past world created when the novel is read, but also the actual archival
documents, the pieces of text from the past which in other instances and perhaps put
together to form a larger whole, might be used to make traditional history. These
pieces of text were the initial finds from the historical research undertaken for my
novel. These fragments of text are used within the work as intertextual elements
which frame, narratively interrupt, add to or act as footnotes and in turn, are
themselves framed by my female characters� self narrated stories. These introduced
textual elements, here foregrounded, are those things most often hidden from view
within the mimetic and hermeneutic worlds of traditional historical fiction. It is also
with these intertextual elements that the fictional women engage in dialogue. At the
same time, my transworld characters� existence as fiction are reinforced by their
existence as �objects� (of narration) within the archival texts. Both the archival texts
and the fiction are now seen as having the potential to be unreliable.
My thesis suggests that in seeking to gain a clearer understanding of these events and
the narrative of these particular marginalised colonial women�s lives, a new way of
engaging with history and writing historical fiction is called for. I have undertaken this
through creative fiction which makes use of concepts such as transworld identity, as
defined by Umberto Eco and also by Brian McHale, historiographic metafiction, as
defined by Linda Hutcheon and the concept of sideshadowing which, as suggested by
Gary Saul Morson and Michael Andr� Bernstein, opens a space for multiple historical
narratives.
The novel plays with the idea of both historical facts and historical fiction. By giving
textual equality to the two the border between what can be considered as historical
fact and historical fiction becomes blurred. This is one way in which a type of textual
agency can be brought to those silenced groups from Australia�s past. By juxtaposing
parts of the initial textual account of these events alongside, or footnoted below, the
fiction which originated from them, I create a female narrative of �new writing�
through which parts of the old texts, voiced from a male perspective, can still be read.
The resulting, multi-layered narrative becomes a collage of text, voice and meaning
thus enacting Mikhail Bakhtin�s idea of heteroglossia.
A reading of my novel insists upon questioning the truthfulness or degree of reliability
of past textual facts as accurate historic records of real women�s life events.
It is this which is at the core of my novel�an historiographic metafictional
challenging by the fictional voices of female transworld identities of what had been
written as an historical, legitimate account of the past. This self-reflexive style of
historical fiction makes for a better construct of a multi-dimensional, non-linear view
of female colonial experience.
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Feenstra, Kuiper Kim. "Improving the Creative Processes in Remote Collaboration via Video Communication : Identifying Problems and Designing a Solution." Thesis, Uppsala universitet, Institutionen för informationsteknologi, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-262171.
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When using video communication to collaborate with different parties in a creative process, several issues often arise that are due to the different locations of the participants. Limited research has been done on the use of video communication in a work environment. To research this area more closely, I have conducted an exloratory research using a case study approach. Issues were identified through observation and contextual interviews and then the identified issues were validated via a questionnaire. Based on these results I designed a solution to improve communication over distance. A whiteboard application provides the ability to working together to visualize ideas beyond the usual focus on written notes. Thoughts of different users can be better explained and combined though the possibility of drawing. This application was designed through conducting iterative tests to verify the build statements around the application.
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Lynch, Brenda. "Generating creative ideas at work: a qualitative study of an advertising agency and a state rehabilitation agency." The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1117570358.
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Olorunda, Olufunmilola. "Creative pedagogy a qualitative study of immersive learning at the Center for Information and Communication Sciences (CICS) /." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/764.
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Lombardi, David. "Communication and Creative Process Between Musicians From Different Cultures : A report of travels, experiences, exchanges and encounters." Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4221.
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Charalambous, Zoe. "A Lacanian study of the effects of creative writing exercises : writing fantasies and the constitution of writer subjectivity." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/10021663/.
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This thesis explores the effects of Creative Writing exercises on student writer subjectivities. It explores the hypothesis that an encounter with enigmatic Creative Writing exercises can facilitate a shift in students’ relation to their writing, or their writer subjectivity. The study used a methodology informed by Lacanian psychoanalytic ideas. Data was generated through an “experiment” course: an intervention of six sessions especially for this research with five volunteer participants, Creative Writing students from a UK higher institution. In addition, free--‐associative one--‐to--‐one interviews were carried out before and after the intervention. Lacanian theory informed the attempt to maintain ambiguity in both the exercises and in the researcher’s enigmatic stance throughout the intervention. The analysis proposes the concept of writing fantasy as a formalized structure that orients a writer’s spoken and written discourse about her writing. Using the (emergent) structure of fantasy in the participants’ texts and interviews, the analysis chapters explore the participants’ writing fantasies and how the research project shifted or added to their fantasy, thus affecting the structure of their writer subjectivity. The outcome of the analysis suggests that writing fantasies can be shifted, at least momentarily, through the exercises. The analysis, however, also indicates that fantasies do not shift easily; the interpretation of the setting and/or the exercises’ instructions as threatening to a participant’s writer subjectivity seemed to impede the shift. The design of the research with pre and post interviews and an intervention aimed at disrupting or shifting fantasmatic attachments constitutes an approach to exploring fantasy that has not previously been explored in the field of Psychosocial Studies. The thesis also constitutes an original contribution to the field of Creative Writing Studies in the way it conceptualizes learning in relation to the inherent assumptions in writer--‐students’ spoken and written discourse. More specifically, it provides an initial knowledge--‐base for the pedagogical and psychosocial function of Creative Writing exercises used in Creative Writing pedagogy.
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Graves, Darlene Richards. "Creative Drama as an Instructional Strategy in Adult Christian Education." PDXScholar, 1991. https://pdxscholar.library.pdx.edu/open_access_etds/1350.
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This study reviews the tenents of adult learning. Christian education and creative drama and presents the observation that there are parallel objectives in each of these three major areas. Noting that creative drama is rarely used in adult Christian education, which is primarily cognitive-based and lecture-discussion oriented, the study proposes the application of creative drama strategies to provide an alternative experiential learning process and therefore create a drama strategies to provide an alternative experiential learning process and therefore create a balance of focus between cognitive, affective, reflective and active learning styles in adult Christian education. It also suggests that through the application of creative drama strategies teachers may more effectively realize the intentions of Christian education: to nurture sensitively aware individuals who are continually growing in faith and empathic love for others. Extant theoretical writings about the practice of creative drama and also literature dealing with the principles and intentions of adult Christian education are reviewed for this study. In the process of surveying current theory and practice in adult evangelical Christian education, the study elaborates on its two basic concerns: adult learning and Christian education. The study discloses a discernible gap between theory and practice through which creative strategies in adult evangelical Christian education have fallen. The study advances the conclusion that this gap may be addressed by application of the creative drama process. Creative drama is presented as one viable means of refreshing individual adult creativity and adult group creativity in Christian education and as an additional way through which to nurture empathic awareness and personal spiritual growth. The underlying assumption is that creative drama is a powerful, often neglected, tool by which adult evangelical Christian education groups may be stimulated to more effective learning and growth. Creative drama, adult learning, and Christian education converge in this study to present an advantageous educational angle. Creative drama is an improvisational, non-exhibitional, process-centered form of drama in which participants are guided by a leader to imagine, enact and reflect upon human experiences. Built on the human impulse and ability to act out perceptions of the world in order to understand it, creative drama requires both logical and intuitive thinking, personalizes knowledge, and yields aesthetic pleasure. The strategy clearly interfaces with current findings in adult learning which represent the effective teacher as a facilitator who seeks to guide the adult learner toward more enhanced self-direction and growth rather than primarily as a disseminator of information who seeks to lead the learner into gaining more knowledge. Adult development findings reveal that adults learn best when their needs and interests are considered, their backgrounds, skills and knowledge are recognized as key resources, and they engage in active problem-solving. Likewise, creative drama draws its framework and impetus from similar concerns of the participants, using their interests and resources as the basis for enactment. In another venue, the intention of evangelical Christian education is to nurture believers toward higher levels of faith development, enhanced integrity in moral behavior, and clear exhibition of genuine love and service toward others. In a similar vein, creative drama also seeks personal growth and moral development through empathic awareness in enactment. Hence, the potential for achieving the ideal outcomes in the fields of adult education, and specifically adult Christian education, is more realizable with the application of the creative drama process to adult Christian education. In the course of literature review and the establishment of a rationale for considering the integration of the creative drama process as an instructional strategy in adult evangelical Christian education, additional ancillary, yet significant, aspects of personal and group growth and awareness are considered as part of the affective learning process and therefore discussed in terms of their applications to the proposal. These aspects include: major learning styles, the experiential learning cycle, adult development, group ctynamics, moral education, creativity development, play and the dramatizing impulse, imagination, metaphor, and empathic awareness and sensitivity. Each is considered as an important link in the connection of the creative drama process to adult evangelical Christian education. The study then lays out potential guidelines for the application of the creative drama process as an instructional strategy in adult Christian education. The potential benefits of creative drama are considered in the processes of determining educational objectives and setting up instructional guidelines for the adult student in the Christian education context. The guidelines include: considerations for effective adult motivation, establishment of positive physical and emotional atmosphere for creative experiential learning, and the sequential process for creative role-playing from warm-up, through enactment, to final evaluation. Suggested specific applications of creative drama in Christian education are presented with extensive sample lesson plans, including the rationale and implementation of guidelines for each step. The study concludes with suggested future research and training to achieve the potential of inculcating creative drama techniques in an adult evangelical Christian education context on a more systematic basis and over a broader scope of application. Recommendations are made for future publications and presentations in order to raise awareness of the need find potential effectiveness of more creative and experiential strategies in adult Christian education as well as to train for better teaching and leadership in those areas.
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Frulla, Lisa, and Stefan Söber. "The Process : a study of an advertising agencys creative work procedure." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-115728.
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Kreativitet och kreativa processmodeller kan ses som verktyg som i marknadskommunikationsbranschen kan användas för att ta fram marknadskommunikation som tilltalar och når den tänkta målgruppen och som gör att det önskade kommunikationsresultatet uppnås. En kommunikationsbyrås uppdrag är att ta fram kreativa kommunikationslösningar för en kunds räkning. Det är viktigt att kunden får valuta för sina pengar, alltså att kommunikationen ger en effekt som uppfyller eller överträffar de mål som ställts upp av kunden. Därför är det nödvändigt att det kreativa arbetet genomförs på ett sätt som leder till dessa resultat på ett så kostnadseffektivt sätt som möjligt. En del byråer använder sig av definierade metoder för det kreativa arbetet. Metodernas syfte är att vägleda och underlätta det kreativa arbetet, samt att säkerställa att de idéer som genereras håller så hög kvalitet som möjligt. Mumford et al. (1991) har tagit fram en kreativ processmodell bestående av en uppsättning delprocesser som behöver genomföras för att en kreativ problemlösning ska nås. Syftet med denna studie är att undersöka den kreativa processen på en kommunikationsbyrå som inte har någon uttalad arbetsmetod, för att sedan jämföra resultatet med den kreativa processmodellen framtagen av Mumford et al. (1991). Detta för att ta reda på om rekommendationer för förändring av kommunikationsbyråns kreativa process kan ges, och i så fall på vilka grunder. Kommunikationsbyrån där undersökningen ägde rum valdes ut genom ett målinriktat urval och en mikro-etnografisk undersökning i form av observationer och en intervju genomfördes. Den insamlade datan analyserades utifrån den modell som beskrivs av Creswell (2009). Modellen anpassades något. Undersökningen visade att det finns likheter mellan deltagarnas kreativa process och den kreativa processmodell som beskrivs av Mumford et al. (1991). Processmodellen innehåller ett antal steg som är nödvändiga för att ett kreativt resultat ska nås. Under våra observationer av deltagarnas kreativa arbete kunde vi identifiera samtliga delprocesser som ingår i modellen. Deras arbetssätt var dock inte lika linjärt som modellen föreskriver. I stället hoppade deltagarna fram och tillbaka mellan de olika delprocesserna. Genom att arbeta efter den kreativa processmodellen kan deltagarna förbättra sina kreativa problemlösningar och nå resultat på ett mer effektivt sätt. Vi rekommenderar också att deltagarna utvecklar egna strategier för hur de olika delprocesserna genomförs eftersom det är av stor vikt för resultatet att de genom förs på rätt sätt. Medarbetarna utvärderade inte alla idéer som de genererade. Vi rekommendrar att de arbetar mer med idéutvärdering eftersom Mumford et al. (1991) menar att det är en viktig delprocess för att ett kreativt resultat ska nås.
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Arnaouti, Eirini. "The cultural and creative function of moving image literacy in the subject of English in the Greek secondary school." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/10021631/.
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Teaching media literacy as a separate school subject or as part of another school subject is lacking from the Greek educational reality, despite the international academic research and the development and application of media literacy teaching models. This thesis is an analysis of two case study research projects carried out in groups of students in two Greek secondary schools with the aim to study the students’ response to media projects, which are totally new for the Greek educational reality, realized in the English as a Foreign Language class. The data is analyzed according to Burn and Durran’s 3-Cs model of media literacy, and more precisely its Cultural and Creative functions are the aspects used that include the concepts of Cultural Taste, Identity, and Creativity. These concepts are interpreted within the framework of Cultural Studies and Psychology theories. Important theoreticians considered are Bourdieu, Bennett, Giddens, Vygotsky, Jenkins and Bakhtin. The examination of students’ participation in the media projects and their production work suggest that their cultural taste is a combination of global and local influences, a glocal result, in which the family, the peers, the media and the education play an important role. Their identity is multi-faceted, as a reflection of various aspects of their selves, and it is closely related to their cultural taste and their cultural capital. Students’ creativity is also expressed as a complex process, affected both by the guidance of the official educational context and the youth popular culture tendencies. The tensions that emerge in the expression of the students’ cultural taste, identity and creativity during moving image projects characterize the Greek adolescents’ response to the newly-learnt moving image literacy, and raise important questions for educators and researchers.
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Stadler, Christopher J. 1972. "How Innovation Traits in Members of Advertising Agency Teams Propel the Creative Process: The Professional Opinion." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11478.
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xii, 54 p. : ill.Advertising agencies trade on their creativity, which is supplied by teams of creative and account workers to create customer-centered advertising that is both novel and interesting. This research explores the magic of the advertising creative team - the team of creative, strategy and management staff that is responsible for creative execution - to find out more about how creative teams function at the goal level (team effectiveness) and at the individual level (individual cognitive styles). To study creativity and decision making, individuals involved in the creation of ads were tested for their innovator traits. Also, connections were explored between an industry effectiveness award and innovator scores. Innovativeness was judged by individual performance on a scale to measure cognitive style. Effie Awards were not associated with innovation in agency personnel. However, account planners and creatives scored higher on an aggregated innovator scale than did administrative and account executive staff.
Committee in charge: Prof. Kim Sheehan, Chair; Prof. Harsha Gangadharbatla, Member; Prof. Deborah Morrison, Member; Prof. David Koranda, Member
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Schmitz, Michael Glenn. "Key Tension Points of creative Machine Learning applications keeping a Human-in-the-Loop." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-264570.
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Machine learning (ML) and artificial intelligence (AI), might have earlier primarily found industrial use, improving production chains, efficiency and the like but are now an integral part of private and commercial application. Many systems are using, or are claiming to use, machine learning to improve the end user's experience. This study aims to explore applications that are using creative ML, in which output might have a plethora of solutions instead of a single correct one. More specifically the focus is to evaluate which Key Tension Points, central lesser components of a complex and bigger issue, arise for researchers, designers and users coming into contact with this technology. The goal is to draw upon these Key Tension Points and attempt to frame guidelines which researchers and designers can use to further their understanding of the relationship between ML and design and how they can be accounted for to build and develop better application. The study found that these tension points (Impersonality, passive consumers & transparency) vary considerably depending on the application and presents how designers can account for them.Maskininlärning (ML) och artificiell intelligens (AI) har sedan tidigare oftast använts på en industriell skala, för att effektivisera produktionskedjor eller förfina dessa. Dock har det skett ett skifte och nuförtiden är ML en betydande del i applikationer som har privatpersoner som målgrupp. Den här studien undersöker kreativa maskininlärningslösningar, sådana som kommer med fler än ett förslag. Mer specifikt så undersöker den här studien vilka Key Tension Points, dvs. betydande mindre komponenter av komplexa stora problem, som forskare, designers eller användare kommer i kontakt med. Målet är att ta fram Key Tension Points och sedan undersöka huruvida riktlinjer kan formuleras som underlättar för forskare och designers att hantera frågor rörande design och tillgänglighet av ML. Dessutom underlättar användandet av Key Tension Points vid byggandet och utvecklingen av kreativa ML applikationer. Studien fann att Key Tension Points varierar betydande beroende på vilken typ av applikation som används av konsumenten.
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Dorgan, Kelly A. "Black Ribbons." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/5391.
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Dorgan, Kelly A. "Black Ribbons." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/5394.
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Dorgan, Kelly A. "Under the Rhododendrons." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/5393.
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Climer, Amy E. "The Development of the Creative Synergy Scale." Antioch University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1464731255.
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Hanson, Cara C. "Pizzapreneurship: A Creative Solution Directed at College-aged Consumers to Enable Better Access to Little Caesars Pizza." Ohio University Honors Tutorial College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1492689430373602.
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Forest, Heather. "Inside Story: An Arts-Based Exploration of the Creative Process of the Storyteller as Leader." [Yellow Springs, Ohio] : Antioch University, 2007. http://www.ohiolink.edu/etd/view.cgi?acc_num=antioch1193235618.
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Thesis (Ph.D.)--Antioch University, 2007."Submitted to the Ph.D. in Leadership & Change Program of Antioch University in partial fulfillment of the requirements for the degree of Doctor of Philosophy August 2007."--from the title page. Title from PDF t.p. (July 31, 2008). Advisor: Carolyn Kenny Keywords: storytelling, leadership training, creative thinking, change leader, arts-based research, autoethnography, communication skills Includes bibliographical references (p. 213-238 ).
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Chan, Lai-ying Joyce, and 陳麗英. "The relationship between creativity and Chinese oral proficiency of senior secondary students in Hong Kong = Gao zhong xue sheng chuang yi neng li yu Zhong wen shuo hua neng li de guan xi yan jiu." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/202302.
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In the Reform Proposals for the Education in Hong Kong published in 2000, it was clearly stated that the priotity of education in the 21st century should be ―to enable our students to enjoy learning, enhance their effectiveness in communication and develop their creativity and sense of commitment‖. This paper aims to respond to two of the aspects — the enhancement of effectiveness in communication and the development of students’ creativity. For years, schools have focused on promoting students’ creavity in reading and writing, but not in speaking. In fact, among the various language skills, ‘speaking’ is the skill students have to demonstrate the most in their daily interaction. Compared to reading and writing, the ability to express one‘s views verbally in a creative manner can give rise to more direct interaction, acting as a genuine reflection of a student’s wisdom, knowledge, capability and potential. It is also a lifelong skill that students can apply when they join the workforce in the future. It is therefore meaningful to place emphasis on cultivating students’ creativity in speaking.
This research aims to explore the correlation between the Chinese oral proficiency and creative ability of senior secondary students in Hong Kong based on existing theories on the development of creativity and speaking. Target participants, recruited from two aided secondary schools of different abilities, receive training on speaking and creative thinking, and analysis is done adopting both the quantitative and qualitative approaches. Students of each school are first randomly divided into two groups — the experimental group and control group. Students of both groups are required to take a pre-test and a post-test, as well as complete a set of questionnaire in each session. Results obtained are compared and contrasted to gauge the changes in their oral proficiency and creative ability. In between the tests, the experiemental group receives seven experimental design lectures on News and Report, one of the elective modules of the NSS curriculum in Chinese Language Education, while the control group receives lectures on News and Report which reference on the samples from Education Bureau only, no experimental design lectures will be delivered. In the end, the three teachers involved in the study were interviewed, during which the teachers offered their observations on the change in the students’ learning behaviour and attitude.
Based on the data collected from the administration of tests, questionnaires and interviews, the following conclusions are made: first, there is a correlation between oral proficiency and creative ability; second, students’ attitude and values have a direct impact on the effectiveness of the module; third, the Speaking and Creativity Assessment rubric used in the study proved to be successful in assessing the said abilities, enhancing learning effectiveness. Through the analysis of data collected, this research contributed to Chinese Language Education to some extent, especially in the teaching of oral proficiency and creativity. It opened up a new set of criteria for the assessment of creative speaking ability from different perspectives to ensure objectivity of results, offered diversified course materials that can effectively raise the standard of students’ speaking and critical thinking ability.
香港在2000 年教育制度改革建議中明確指出教育首要目標是培養學生成為「樂於學習、善於溝通、勇於承擔、敢於創新」的新一代，其中，本研究特別回應「善於溝通」和「敢於創新」這兩個重點。過往，學校及教師多注重學生閱讀能力及寫作能力創意的培養，而忽略說話能力的創意訓練。其實，在各種語文能力中，「說話」是學生日常生活最主要的表達能力。口語表達比閱讀及寫作語言起著更直接的交流及溝通作用，是一個人智慧、知識、能力、素質的綜合體現，是學生立足社會、終生受用的語文能力。因此語文教學以創意思維培養學生的說話能力是有實在意義的。
為探索本港高中學生口語表達和創意能力的相互關係，本研究以創造力(Creativity) 和說話能力訓練的理論為依據，對上述課題展開試驗及分析工作。本計劃以香港兩所不同程度的津貼中學學生的說話能力為研究對象， 施行融合創意和說話能力訓練的實驗教學模式。本研究採用量化和質化方式為主要研究的方法。首先， 每所學校的研究對象隨機分為實驗組 (Experimental Group) 和控制組 (Control Group)。兩組對象分別安排前測和後測來量度實驗前後的數據變化。在前測及後測之間， 實驗組將會進行結合了創意思維訓練元素的中國語文選修單元「新聞與報道」共七節課的教學，從而探究這次實驗課能否提高學生創意說話能力學習的成效。而控制組卻不會在實驗教學施行期間安排進行任何實驗教學，有關的課堂教學，只按照原本學校的「新聞與報道」課程進行。在公平的原則下，所有控制組的學生會在暑假補回教授有關的實驗課程知識。本研究同時在兩班實驗組學生發出前後兩次的問卷調查，以檢視受試者的說話能力及創意能力的變化。最後，訪問兩所受試學校參與研究的三位老師，以深入瞭解學生整體的學習行為和態度情意的改變。
透過分析實驗教學資料、問卷調查數據和訪談結果，本研究主要有以下幾方面的總結：第一，確立說話能力和創意能力的相互關係。第二，學生的學習態度和品德情意直接影響課程的學習成效。第三，本研究所採用的「說話及創意能力評量表」能客觀評估學生的說話及創意能力，促進學習效能。經各種測試及結果分析，本研究對中國語文教育作出了一些貢獻，尤其是在融合說話與創意能力方面，以提高學生說話和思考水平；開發創意說話能力的評核標準，包含多角度的評審考量為評核精神，以客觀的等級描述為評量依據；提供多元化的創意說話課程設計，有助提升學生的創意說話能力表現等多方面的意義。published_or_final_version
Education
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Doctor of Education
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Terry, Ryan Luke. "On the Convergence of Cinema and Theme Parks: Developing a Predictable Model for Creative Design." Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/5784.
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The goal of this research study is to develop a model of information that will enable media conglomerates and other companies, with theme park investments, to make informed and effective decisions based on scholarly and empirical evidences. In order to do this, the following research study uses historic, scholarly, journalistic, and focus group evidences to consolidate the information necessary to create a model to support concepts and designs. The paper begins with establishing why it is important for media conglomerates, with theme park investments, to integrate cinema into the park’s design. Then it looks back through the history of cinema and theme parks, identifying the similarities and differences. Furthermore, it analyzes the development of Universal Studios Hollywood and Disneyland. The study uses the history of Hollywood from its beginning to the decentralization to parallel the development of the movie-based theme park, and how the decentralization of Hollywood and the rise of the movie-based theme park support one another. As the idea of the convergence of one media with another is not a new concept, information on media convergence is used as part of the scholarly research in this area. Because movies and movie-based attractions are each forms of storytelling, the study includes prolific information on media, film, literary, and psychological theories as supporting evidence. The empirical research method utilized in the research, specific to this study, includes four focus groups in Florida, New York City, Cincinnati, and Los Angeles and one interview with a theme park president. Throughout the study, concepts of narrative, spectacle, pleasure, character, and setting are addressed in terms of how these elements work in movies and movie-based theme park attractions.
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Fidrmucová, Naďa. "Nové formy komerčních komunikací a jejich využití v kreativních průmyslech." Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-136195.
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The thesis "New forms of Commercial communications and their use in the Creative industries" is focused on two phenomena of our time. The new forms of commercial communication like response to the abandonment of traditional communication methods, channels and media. The second phenomenon is the creative industries as an opportunity for the new economy. This work includes the analysis of specifics of marketing communication in the creative industries, analysis of commercial communication and its selected new forms and practical examples of their use in the creative industries. Based on these analyzes, I draw general conclusions and specific use of new forms of commercial communications in the communication of creative industries.
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Allen, Denise Mildred. "Writing pedagogy of the news report genre across the intermediate phase in one school." Thesis, Cape Peninsula University of Technology, 2015. http://hdl.handle.net/20.500.11838/2134.
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Thesis (MTech (Education))--Cape Peninsula University of Technology, 2015.Writing pedagogy of the News Report genre across the Intermediate Phase in one school. The low levels of writing proficiency that are experienced by students is a global phenomenon and South Africa is no exception (DBE, 2008; 2013). The NEEDU Report (2012) and Hendricks (2007, 2008) argue that insufficient extended writing takes place in South African classrooms, resulting in limited textual and linguistic progression across grades. According to Hendricks (2007, 2008) and Dornbrack and Dixon (2014) little research around writing pedagogy has been carried out in South Africa, particularly on how genres or text types are taught and extended across the grades. This research examines the teaching of the News Report genre across the Intermediate Phase in one school, the discourses and positioning of literacy by the three teachers and how these are translated into practice. This study is underpinned by the notion of literacy as a social practice which Street (2003) and Prinsloo (2013) propose is not merely a technical and neutral skill but that it occurs in social practice not only through formal schooling but within a social context which has a direct bearing on it. Themes that emerge from the semi-structured interviews conducted with the three teachers include inadequate information on writing in the CAPS documents, an “overloaded” writing curriculum, a lack of pre-service/ in-service training, gaps in espoused pedagogy and the impact of teachers’ writing histories on their conceptualization of writing and espoused pedagogy. Classroom observations of writing lessons on this genre reveal the dominance of a skills discourse by two of the teachers. However, the third teacher who clearly articulated her own writing history as being “fraught and contested” illustrates evidence of a socio cultural writing pedagogy which deeply engages her students (Ivanic, 2004).
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Boström, Louise, and Elin Hoffmeister. "Vad är kreativitet - En fenomenologisk studie om en reklambyrås definition och tolkning av begreppet kreativitet." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-115730.
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With the development of modern GPUs, the computational power they provide have become more accessible and versatile. This has fueled the development of interactive visualization techniques and among them volumetric visualization. The objective of this project is to implement a volumetric path tracer as a reference renderer for volumetric visualization with OpenCL as the target platform. The implementation is created as a processor in an existing visualization framework called Inviwo. The components of the implementation are validated with the help of an analytic single scattering test scenario. The implemented path tracer is then used to render a series of scenes containing both sparse and dense participating media, where the different terms and parameters are studied. The results show comparisons of extinction coefficients, anisotropic scattering using the Henyey-Greenstein phase function, single vs. multiple scattering and a mixed BSDF that is comprised of both a BRDF and an isotropic phase function. One of the conclusions drawn from the results is that multiple scattering not only result in indirect lighting which light up the shadowed regions of the image, but also results in more vivid colors thanks to the sub-surface scattering that naturally occurs.
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Boström, Louise, and Elin Hoffmeister. "What is creativity - a study of the usage and interpretation at an advertising agency." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-94554.
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Inom kreativitetsforskningen har det gjorts omfattande studier för att försöka definiera och mäta kreativitet. Innebörden av kreativitet har förändrats utifrån de historiska och kulturella sammanhang som begreppet använts inom. Genom att förstå begreppet kreativitet menar forskare att människan kan lära sig att identifiera och förstå varje persons unika kreativa förmågor. Det gör oss även till bättre problemlösare - då kreativitet enligt vissa forskare berör olika problemlösarstilar. Sist men inte minst är det viktigt att förstå begreppet kreativitet då det ger människan intellektuell tillfredsställelse. Genom denna studie vill författarna försöka klargöra den egentliga definitionen av begreppet kreativitet, om någon sådan existerar. Författarna vill även studera om en utvald reklambyrå tolkar begreppet likvärdigt som de utvalda kreativitetsforskarna samt se om den utvalda reklambyrån lever upp till sin egen definition av begreppet kreativitet. Inför denna studie valdes ett fenomenologiskt forskningssätt då författarna ville studera ett fenomen utifrån en utvald fokusgrupps perspektiv, vilket i detta fall var en reklambyrå. Datainsamlingen skedde genom 6 intervjuer av semistrukturerad art, vilket fick representera den praktiska definitionen av kreativitet på den utvalda reklambyrån Byrån. Respondenternas svar resulterade i många olika definitioner och beskrivningar av vad de anser att kreativitet är och det är svårt att ge en övergripande tolkning eftersom svaren skiljer sig åt. En slutsats som författarna av denna rapport kan dra utifrån datainsamlingen är att orden; problemlösning, banbrytande och målinriktat, är de mest omnämnda orden som respondenterna använt för att beskriva kreativitet. Likaså är; okonventionell, lösningsorienterad, öppet sinne och urskiljningsförmåga personliga egenskaper som respondenterna anser att en kreativ person bör besitta. Dessa beskrivande ord och egenskaper återkommer i den vetenskapliga teorin av kreativitet och kan därför till viss del visa på likheter mellan teoretisk och praktisk definition. Dock finns det ingen vetenskaplig definition som exakt överensstämmer med någon av respondenternas svar. Av detta drar författarna av denna rapport slutsatsen att definitionen av kreativitet i praktiken är en subjektiv bedömning som skiljer sig från varje användare av begreppet.Extensive research has been made aiming to define and measure creativity. The meaning of creativity has changed throughout the historical and cultural context. By understanding the concept of creativity, researchers believe that humans can learn to identify and understand each person’s unique creative abilities. The understanding of creativity also allows us to improve our problem-solving abilities. Last but not least, it is important to understand the concept of creativity as it gives people intellectual satisfaction. Through this study, the authors want to clarify the true definition of creativity, if that exists. The authors also want to study whether a selected advertising agency interpreters the term equaly to the selected creativity researchers and see if the selected advertising agency lives up to their own definition of creativity. Prior to this study, a phenomenological research method was chosen as the authors wanted to study a phenomenon based on a selected focus group perspective, which - in this case - was an advertising agency. The data collection was collected through six interviews of semi structured nature, which would represent the practical definition of creativity in the chosen advertising agency.' The respondents' answers resulted in many definitions and descriptions of what they believe that creativity is. It is difficult to give a comprehensive interpretation because the answers differs. The data collection shows that; problem-solving, pioneering and goal-directed are the most mentioned words respondents use to describe creativity. Similarly; unconventional, solutionoriented, open-minded and discernment are all personal characteristics that respondents believe that a creative person should possess. These descriptive words and features recur in the scientific theory of creativity and therefore to some extent show the similarities between the theoretical and practical definitions. However, there is no scientific definition that exactly match any of the respondents answers. From this, the authors of this report concludes that the definition of reativity in practice is a subjective assessment that differs from each user of the term.
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Dorgan, Kelly A. "Miscarriages of Social Justice." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/5392.
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Lewis, Abby N. "A Poetic Ethnodrama: Discussing the Impact of the Pressure to Publish on Creative Writers' Production." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3690.
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This study examines the presence of the pressure to publish while in college as an undergraduate or graduate student, and the impact that pressure has on students’ ability to produce creative work. After interviewing participants, the researcher created an ethnodrama to best represent participants’ emotions and unique experiences with publishing while in school. An examination of the literature reveals that master’s-level students are often overlooked in scholarly research on the subject of publishing. This study uses a qualitative research method to identify key emotional experiences from students at the master’s and undergraduate level in the hopes of providing a platform for these marginalized voices.
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Marčiulaitytė, Eglė. "Su vieta susijusios kūrybinės veiklos ir jų svarba regiono regeneracijai bei ekonominiam vystymuisi: Varėnos rajono atvejis." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130613_151629-55568.
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Dėl intensyvios žmonių migracijos per pastarąjį šimtmetį išaugę miestai virto naujų kultūrų formavimosi židiniais, tuo tarpu kaimo regionai ištuštėjo, suiro vietos bendruomenės, nunyko lokalinė kultūra. XXI a. ypatingą reikšmę įgyja kūrybiškumas ir juo pagrįstos kūrybinės ekonomikos vystymas, kuris šiandien dažnai laikomas pagrindine miestų plėtros bei kaimo regionų atsikūrimo jėga.
Magistro darbo objektas – su vieta susijusios kūrybinės veiklos. Tikslas – išsiaiškinti su vieta susijusių kūrybinių veiklų svarbą regionų regeneracijai bei ekonominiam vystymuisi ir pagrįsti tai Varėnos rajono atvejo studija. Teorinėse dalyse pristatoma vietos samprata, žmogaus santykis su vieta, vietos tapatybės, įvaizdžio formavimo(si) ir prekės ženklo kūrimo procesai, lyginamas miesto ir kaimo regiono kūrybinis pajėgumas, identifikuojama su vieta susijusių kūrybinių veiklų įvairovė, vertinama jų nauda visapusiškam regiono atsinaujinimui bei plėtrai. Empirinėje darbo dalyje pateikiama Varėnos rajono atvejo studija, atlikta remiantis humanistinei geografijai būdinga į žmogų nukreipta tyrimų strategija ir žvilgsnio iš trijų studijų figūrų – vietinio gyventojo, lankytojo ir tyrėjo – perspektyvos metodologija.
Tyrimo metu nustatyta, jog kaimo regionams būdingas ypatingai glaudus žmogaus ryšys su gamta, išsaugota autentiška lokalinė kultūra, gausūs teritoriniai ir rekreaciniai ištekliai, todėl šiandien daugiausia dėl migracijos nunykę kaimo regionai yra potencialios kūrybinės ekonomikos vystymo... [toliau žr. visą tekstą]Due to the intense migration, expanding cities have become hubs for the formation of new cultures while rural regions have been suffering the loss of human resources, decline of local communities and culture. The 21st century, on the other hand, can be called the age of creative economy, based on seemingly inexhaustible resource – creativity, which today is often considered and invoked as the main driving force for both urban development and the regeneration of peripheral areas. This Master’s thesis is dedicated especially to rural areas and their regeneration through the application of creativity and development of related to the site creative activities. Theoretical parts of this thesis focus on the concept of relation between the people and the place (or site), identity, image and brand of the place, creative capacity and various creative activities are examined as important elements for the overall renewal of the rural region. In the empirical part of this thesis the case study of Varėna district is presented. The investigation is based on humanistic people-centred research strategy and a specific methodology by which the research object and the field are examined from the perspective of three discursive figures – a local inhabitant, a visitor and a researcher. This study leads to the conclusion that rural regions can be characterised by a very close relation between people and nature, preserved authentic local culture, rich territorial and recreational resources... [to full text]
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Rosenberg, Lauren. "Exploring the idea of the creative class in an African city : a case study of ICT professionals in Nairobi." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80081.
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Thesis (MPhil)--Stellenbosch University, 2013.ENGLISH ABSTRACT: This study is an exploration of Richard Florida’s Creative Class theory within an African city context. The economic value of the Creative Class is that their work revolves around innovation, a quality seen as essential to ‘new economy’ urban growth. Quality of place (that which makes ‘New York, New York’) is said to attract the Creative Class to certain cities, as lifestyle amenities are valued as much as employment opportunities. Nairobi is an example of an African city currently attracting both Kenyan and expatriate Creative Class workers, particularly in the information and communication technology (ICT) sector. The research aimed to understand why this group chose to live in Nairobi and to describe Nairobi’s quality of place, with a particular focus on infrastructure disruption. Overall, the Western city is the reference point for Creative Class literature and quality of place is embedded within a framework of urbanisation through industrialisation - a period known as the first urbanisation wave. The fastest growing cities on the African continent (Nairobi included) are part of the second urbanisation wave, an urbanisation process spurred by a set of vastly different dynamics in which industrialisation is virtually inconsequential. Urbanisation through industrialisation induced concomitant investments into infrastructure and thus it is unsurprising that the Creative Class literature assumes that urban infrastructure is ‘always on’ – available at all times as an inherent attribute of place. The point of the study was not to draw modernist comparisons, but rather to emphasise that notions of quality of place are incomplete given the rise of technological innovation in urban Africa, where cities often suffer from disruption of basic infrastructure. Until more recently, African cities did not feature in the Creative Class literature; the predominantly rural focus of ICT diffusion in the literature is a contributing factor to the lack of information on the Creative Class in African cities. The case study revealed that Nairobi’s quality of place is fundamentally different to normative prescriptions given to urban planners and, in some instances, is highly frustrating and unattractive. Contrary to Florida’s theory, those interviewed were not leaving Nairobi in search of cities with higher quality of place attributes or better infrastructure provision – individuals were rooted to the city because of their work and the professional networks with which they were associated.
AFRIKAANSE OPSOMMING: Hierdie studie is ‘n verkenning van Richard Florida se teorie van Kreatiewe Klas binne die konteks van ‘n Afrika-stad. Die ekonomiese waarde van die Kreatiewe Klas is dat hul werk rondom innovasie draai, wat as noodsaaklik beskou word vir die stedelike groei van die “nuwe ekonomie”. Plekkwaliteit (dit wat ‘New York, New York’ maak) lok luidens Florida se teorie die Kreatiewe Klas na sekere stede, aangesien hulle leefstylgeriewe net so hoog soos werksgeleenthede op die prys stel. Nairobi is ‘n voorbeeld van ‘n Afrika-stad wat tans beide Keniaanse en buitelandse werkers van die Kreatiewe Klas lok, veral na die plaaslike Informasie- en Kommunikasietegnologiesektor (IKT-sektor). Die navorsing het gepoog om te verstaan waarom hierdie groep gekies het om in Nairobi te woon asook om Nairobi se plekkwaliteit te beskryf, met ‘n spesifieke klem op die onderbreking van infrastruktuur. Oor die algemeen is die Westerse stad die vertrekpunt vir literatuur oor die Kreatiewe Klas. Daarby word plekkwaliteit gewoonlik beskou binne die raamwerk van “verstedeliking deur industrialisering”, wat bekend staan as die eerste verstedelikingsgolf. Die vinnig groeiendste stede op die Afrika-vasteland (insluitend Nairobi) is deel van ‘n tweede verstedelikingsgolf wat deur gans ander dinamika gedryf word, waarvan industrialisering ‘n feitlik weglaatbare faset is. Verstedeliking deur industrialisering het tot gelyktydige beleggings in infrastruktuur aanleiding gegee, dus maak dit sin dat literatuur oor die Kreatiewe Klas aanvaar dat stedelike infrastruktuur “altyd aan” is – dit wil sê, immerbeskikbaar as ‘n onafskeidelike kenmerk van die plek. Die doel van die studie was nie om modernistiese vergelykings te tref nie, maar om te beklemtoon dat begrippe van plekkwaliteit onvolledig is gegewe die opkoms van tegnologiese innovasie in stedelike Afrika, waar stede dikwels ly aan onderbrekings van basiese infrastruktuur. Tot baie onlangs is Afrika-stede nie genoem in literatuur oor die Kreatiewe Klas nie; die oorwegend landelike fokus van die verspreiding van IKT dra ook by tot die gebrek aan inligting aangaande die Kreatiewe Klas in Afrikastede. Die gevallestudie het onthul dat Nairobi se plekkwaliteit in wese anders is as die normatiewe voorskrifte wat aan stadsbeplanners voorgehou word en dat dit selfs, in sommige gevalle, uiters frustrerend en onaantreklik is. In teenstelling met Florida se teorie was diegene met wie onderhoude gevoer is, nie van plan om Nairobi te verlaat op soek na stede met hoër plekkwaliteitkenmerke of beter infrastruktuur nie – dié individue was gevestig in die stad weens hul werk en die professionele netwerke waarmee hul geskakel het.
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Račienė, Lina. "Kūribinių metodų taikymas ergoterapijoje ugdant sergančiųjų psichikos ligomis bendravimo įgūdžius." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130614_131904-47246.
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Tyrimo tikslas – ištirti kūrybinių metodų taikymo ergoterapijoje efektyvumą, ugdant sergančiųjų psichikos ligomis bendravimo įgūdžius.
Uždaviniai: (1) įvertinti sergančiųjų psichikos ligomis bendrą elgesį pradžioje ir pabaigoje ergoterapijos taikant kūrybinius ir nekūrybinius metodus, (2) įvertinti sergančiųjų psichikos ligomis tarpasmeninį elgesį pradžioje ir pabaigoje ergoterapijos taikant kūrybinius ir nekūrybinius metodus, (3) įvertinti sergančiųjų psichikos ligomis užduočių atlikimo kokybę pradžioje ir pabaigoje ergoterapijos taikant kūrybinius ir nekūrybinius metodus.
Metodika: Tyrimas buvo vykdomas 2012 m. kovo-birželio mėn. Kauno rajono Vilkijos neįgaliųjų sąjungoje, Vilkijos PSPC ir UAB „Neuronas“ įstaigoje. Tyrime dalyvavo 32 sergantys psichikos ligomis tiriamieji(amžius nuo 22 iki 71 metų): moterys 71,9 proc. (n=23) ir 28,1 proc. (n=9) vyrai. Visiems tiriamiesiems buvo taikoma ergoterapija grupėse: tiriamųjų grupėje taikyti kūrybiniai, o kontrolinėje grupėje – nekūrybiniai metodai. Vyko 10 ergoterapijos užsiėmimų, pora kartų savaitėje. Veiklos trukmė – 1 val. Visi tiriamieji buvo vertinami tyrėjo sukurta anketa ir „Visapusiško užimtumo terapijos vertinimo skale“ (angl COTE).
Rezultatai. Tyrimo metu taikant kūrybinius ir nekūrybinius metodus ergoterapijoje ugdant respondentų bendrą elgesį (BE), tarpasmeninį elgesį (TE) ir užduoties atlikimo elgesį (UAE) užduoties atlikimo metu nustatėme, kad: BE – efektyvūs nekūrybiniai metodai ugdant respondentų... [toliau žr. visą tekstą]Objectives: (1) to evaluate the general behaviour of people with mental disorderat the beginning and at the end of occupational therapy by applying creative and non-creative methods; (2) to evaluate interpersonal behaviour of people with mental disorder at the beginning and at the end of occupational therapy by applying creative and non-creative methods; (3) to evaluatethe quality of task performance at the beginning and at the end of occupational therapy by applying creative and non-creative methods. Methods: The research was carried out in Vilkija during March–June, 2012, at the Alliance for People with Disabilities in Kaunas District, Vilkija Primary Health Care Centre, and UAB Neuronas (Ltd.). 32 participants with mental disorder (age between 22 and 71) were involved in the research: 71.9 per cent (n=23) of women and 28.1 per cent (n=9) of men. Occupational therapy in groups was applied for all individuals in the study: in the research group, the creative methods were employed, whereas in the control group, the non-creative methods were applied. There were 10 sessions of occupational therapy, twice a week. The duration of the activity was 1 hour. All individuals in the study were assessed by the researcher’s questionnaire and the Comprehensive Occupational Therapy Evaluation Scale (COTE scale). Results. During the research, applying creative and non-creative methods in occupational therapy for the development of respondents’ General Behaviour (GB), Interpersonal... [to full text]
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Menassel, Meï. "Services numériques interactifs "créatifs" et expérience urbaine : construction d'une méthode mixte ad hoc pour comprendre et évaluer les services créatifs de la ville." Thesis, Valenciennes, 2018. http://www.theses.fr/2018VALE0031.
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Les nouvelles technologies de l’information et de la communication sont à l’origine de multiples transformations spatiales et de mutations sociétales (Bouquillon, 2010). De plus en plus ancrées dans nos modes de vie, elles représentent désormais une composante du fonctionnement de l’infrastructure urbaine, les strates numériques deviennent un support supplémentaire qui élargit le champ d’interaction et d'échanges dans la ville (Proulx, 2002). Ces divers changements commencent à imprégner, à la marge, des services numériques qui permettent d'inventer de nouvelles expériences urbaines. Notre travail de thèse propose de comprendre et d’évaluer ces nouvelles manières d’explorer et de vivre la ville. Nous avons décidé de nous intéresser à une catégorie particulière de ces services que nous nommons services numériques interactifs créatifs (SNIC), nous les définissons comme des outils de médiatisation produits par les technologies de l’information et de la communication, intégrants un contenu ludique, culturel et/ou artistique. L’objectif de la recherche est double : (i) théorique d’une part, par la définition et la compréhension des formes de l’expérience-usager dans la ville ; (ii) et opérationnel d’autre part, par le développement d’un outil d’aide à la décision pour évaluer les nouveaux services créatifs de la ville. Cet outil est destiné aux concepteurs/décideurs. De par la complexité de notre objet de recherche et pour atteindre notre objectif, nous élaborons une approche mixte au sens de Johnson et Onwuegbuzie (2004) la méthode mixte ad hoc (MMah). En effet, celle-ci nous permettra de mettre en place des analyses afin de mieux saisir la spécificité de l’expérience-usager des espaces urbains médiatisés afin de la rendre intelligible et exploitable. La formalisation des éléments dégagés à partir de la méthode MMah participera à la conception de services créatifs mieux adaptés aux nouveaux besoins des usagers contemporainsThe new information and communication technologies are sourcing multiple spatial transformations and societal mutations (Bouquillon, 2010). More and more rooted in our nowadays of life, they turn out to be actually an embedded functioning component of the urban infrastructure. These digital “strata” become an additional support that expands people fields of interaction and exchange in the city (Serge Proulx, 2002). Marginally, these multiples changes start to pervade services, offered by digital applications, allowing to create a new urban experiences. Thus, this thesis work proposes to understand and assess these new ways of exploring and living in the city with the support of these creative and innovative digital services. We have decided to focus on a particular category of services so-called interactive digital creative services (SNIC), defined like the mediation tools produced by NTIC, integrating the digital playful, cultural or/ and artistic content. The objectives of the research are double: (i) the first one is theoretical and based on the definition and the understanding of the experience-user forms in the city; (ii) the second is operational and based on the development of a supportive decision-making tool to evaluate new creative services dedicated to the city. This tool is for the designers/decision makers. To achieve the objectives of our thesis and due to the complexity of our research domain, we have elaborated a specific mixed method (Johnson and Onwuegbuzie (2004) : Ad hoc Mixed Method (AhMM). Indeed, this approach will allow us to better evaluate and assess the specificity of the urban space user experience, in order to decode it and make it more exploitable. The formalisation of the emerged elements from the MMah method will then participate to the future design of new creative services that will be more adapted and appropriate to the contemporary urban space user needs
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Paiva, Cristina. "Oficinas de criação como redes em construção: aspectos comunicativos nas propostas de Edith Derdyk e Mario Bellatin." Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/4418.
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This research is mainly focused on the analysis of communicative aspects present in contemporary creation workshops which general aim is to guide its members in the search for singular ways of poetic expression, arising from the confrontation between the individual and the collective, based on a wide range of possibilities experienced. These workshops are focused mainly on the creation process and not so much on the outcomes. These proposals come over others oriented to the search for final products that match pre-established aesthetic models. As a consequence, rather than adopt a single methodological approach to drive all participants towards similar results, both workshops analyzed are guided by the understanding of creation processes as a result of the dialogic interaction between the artist and his cultural environment, in which cognitive resources, perception, memory and imagination play a fundamental role. Thus, our hypothesis is that such workshops are configured as networks under construction as conceptualized by Cecilia Almeida Salles in Crítica de Processos Criativos (Criticism of Creative Processes). For this analysis, we selected two workshops proposals, one artistic and other literary the first designed by the artist Edith Derdyk and the second by the writer Mario Bellatin. The methodological strategy adopted was the analysis of the theoretical assumptions on which are based such workshops, as well as the way both are structured and organized, ie. the ways its creators implement their proposals. Then, these proposals are discussed in the light of Salles Theory, in order to extract, from the examination of its singularities, aspects that can be generalized as characteristics of workshops of contemporary creation. In addition, we rely on other researchers and theorists who could help in the analysis of the proposals addressed, such as Merleau-Ponty, Flávio Motta, Luigi Pareyson, Jorge Fornet and Donald Shaw
A problemática central desta pesquisa concerne à análise de aspectos comunicativos presentes em oficinas de criação contemporâneas que têm como objetivo geral conduzir seus integrantes na busca por caminhos singulares de expressão poética, que surjam do embate entre o indivíduo e a coletividade, a partir de uma ampla gama de possibilidades. O foco dessas atividades é dirigido mais à construção e vivência do processo de criação do que ao resultado final da oficina. Essas propostas surgem em detrimento de outras, que têm como objetivo a busca por produtos finais que correspondam a modelos estéticos preestabelecidos. Como consequência, em vez de adotarem um caminho metodológico fixo para que todos os participantes alcancem resultados semelhantes, as oficinas analisadas são guiadas pelo entendimento dos processos de criação enquanto resultado da interação dialógica entre o artista e seu ambiente cultural, no qual os recursos cognitivos, da percepção, da memória e da imaginação desempenham papel fundamental. A hipótese é que essas oficinas organizam-se como redes em construção, como conceituado por Cecilia Almeida Salles. Para a realização dessa análise, elegemos duas propostas de oficinas, uma artística e outra literária a primeira, criada pela artista plástica Edith Derdyk e a segunda, pelo escritor Mario Bellatin. A estratégia metodológica adotada foi a análise dos pressupostos teóricos sobre os quais se baseiam as oficinas em questão, assim como das formas de estruturação e organização das mesmas, ou seja, os modos como seus criadores realizam suas propostas. Em seguida, essas propostas são discutidas à luz da Crítica de Processos Criativos de Salles, a fim de extrair, da leitura de suas singularidades, aspectos que possam ser generalizados como característicos de oficinas de criação contemporâneas. Além disso, recorremos a outros pesquisadores e teóricos na análise das propostas abordadas, como Merleau-Ponty, Flávio Motta, Luigi Pareyson, Jorge Fornet e Donald Shaw