Relevant bibliographies by topics / Creative experience

Academic literature on the topic 'Creative experience'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 April 2022

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Journal articles on the topic "Creative experience"

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Itani, Alice, and Fernando Rei. "Workers, producers and the creative experience." Brazilian Journal of Operations & Production Management 15, no. 3 (September 3, 2018): 386–95. http://dx.doi.org/10.14488/bjopm.2018.v15.n1.a5.

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Creative activities assume a measure of importance within what is known as the creative economy. Little is known, however, about the challenges and prospects that present themselves to those who work in those activities that are considered to be creative. The objective of this paper is to analyze workers' experiences, especially in individual projects. Statements were taken from workers who have already worked in companies. The experiences of these workers were analyzed on the basis of what they express in relation to the items: their relationship with the activity, the product, or the result of the work; their relationship with the time and value of the work; their understanding of creation; their possibility for creating; their mastery of the work process; and their understanding of the work process. It was found that the women in the cases chosen are highly trained for developing their particular activity and have a relationship with it that is highly positive. They recognize that their activity is of value to society. The value of the work, however, is related to the time spent on the activity, which has not been remunerated for a long time. There are challenges for those who depend on the time taken to sell the product, a process that is carried out with little support. Everyone masters and understands the work process undertaken in the activity, and they identify the product, or the result of their work. They realize that there are many possibilities for creation. Even when an idea has been developed before, there is the possibility of innovating.
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Kušnírová, Eva. "Creative Workshop – Creative Activity of Undergraduate Students in The Process of Theatre Creation." Review of Artistic Education 17, no. 1 (March 1, 2019): 159–70. http://dx.doi.org/10.2478/rae-2019-0017.

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Abstract Within the frame of the study field of Aesthetics at Faculty of Arts Prešov University in Prešov, the students have an opportunity to acquire abilities and skills also in creative artistic activities. One of the possibilities is to participate in the creative workshops as the part of Academic Prešov Festival that is very popular with the participants. The actors of a creative workshop can experience, in a short period of time (mostly weekly), an intense creative process in which a young undergraduate student headed by a professional, in the amateur communication with a professional, can experience an unrepeatable experience of creativity, creation of theatrical work as well as the distinctive level of theatrical communication on the axis of participant-lecture-process-making-theatrical work-viewer. In this way, he discovers potential artistic, authentic, and generationally specific dispositions.
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Rodigina, N., M. Logina, V. Musikhin, and V. Shabunin. "Creative economy: foreign experience." Mezhdunarodnaja jekonomika (The World Economics), no. 7 (July 1, 2020): 10–21. http://dx.doi.org/10.33920/vne-04-2007-02.

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The article deals with the topic of the creative economy and its role in modern world trade. The study analyzes quantitative indicators, provides a comparative analysis of creative industries in the regional breakdown, highlights and describes the characteristics of current trends. Special attention is paid to the experience of Germany and China as leaders in the development of creative industries of the national economy.
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Hamilton, Alex J. "A creative intercalated experience." BMJ 332, Suppl S4 (April 1, 2006): 0604175b. http://dx.doi.org/10.1136/sbmj.0604175b.

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Füller, Johann, Katja Hutter, and Rita Faullant. "Why co-creation experience matters? Creative experience and its impact on the quantity and quality of creative contributions." R&D Management 41, no. 3 (May 23, 2011): 259–73. http://dx.doi.org/10.1111/j.1467-9310.2011.00640.x.

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Tan, Siow-Kian, Shiann-Far Kung, and Ding-Bang Luh. "A MODEL OF ‘CREATIVE EXPERIENCE’ IN CREATIVE TOURISM." Annals of Tourism Research 41 (April 2013): 153–74. http://dx.doi.org/10.1016/j.annals.2012.12.002.

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Guzmán Urrego, Luna, and Astrid Ramírez Valencia Ramírez Valencia. "Creative writing: Creating self-confidence." Revista Boletín Redipe 10, no. 13 (April 7, 2022): 112–19. http://dx.doi.org/10.36260/rbr.v10i13.1732.

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Developing teenage students’ self-confidence could be difficult. Their age, likes, beliefs, attitudes, and perceptions are constant obstacles to learning a new language, even more, if they do not feel comfortable in their classroom. This article reflects on the implementation of creative writing and how other aspects as critical thinking, development of language skills, motivation, among others, can be improved while focusing on writing in a “funny way” based on the information gathered through different researches and personal teaching experience.
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Lozina, O. I., V. N. Rogozhnikova, and L. A. Tutov. "Model of a Creative Man in Modern Economy: Experience of Creation." Scientific Research of Faculty of Economics. Electronic Journal 12, no. 4 (December 31, 2020): 7–20. http://dx.doi.org/10.38050/2078-3809-2020-12-4-7-20.

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This article is an experience of creating a model of a creative man in the economy. Economics is a creative activity, because the essence of Economics is the constant creation of new things: new technologies, products, services, institutions, and the economic reality itself. Creativity is also one of the most important characteristics of the age of uncertainty – creative work is opposed to mechanical work that robots can perform, and needs special protection in the world of algorithms and opportunistic behavior; creativity is impossible without freedom, which depends on a variety of individual and institutional factors; creativity is expressed in the creation of new technologies that radically change the world and people. Thus, creativity is a factor of unpredictability, novelty in human behavior, so for a modern economy focused on the analysis of this behavior, the problem of creativity is particularly acute.The purpose of the work is to create a model of a creative person in the economy. The paper uses comparative analysis, systematic and interdisciplinary approaches, and a historical approach.
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Falavarjani, Mehrdad Fazeli, and Forozan Irandust. "Does Exposure to Multicultural Experience Enhance All Individuals’ Creative Problem-Solving Ability?" International Journal of Social Science Research 5, no. 2 (August 14, 2017): 14. http://dx.doi.org/10.5296/ijssr.v5i2.11173.

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Today’s diverse community often includes culturally rich environments that contain cues pertaining to more than one culture. These cultural cues can shape cognitive processes, such as creativity. This study aims to investigate the interactive effects of Openness to Experience, Extroversion and Multicultural Experience (including the real and desired experiences) on creative problem-solving ability using the quantitative method on a diverse sample of international students (N= 102). The findings indicate that the interactive effect of extensive multicultural experience and Openness to Experience predict the creative solution. It means the multicultural experience is beneficial for individuals to foster creative ability when they are highly open to experience, whereas, among those who are not open, more extensive multicultural experience do not lead to enhancement of creating the correct solution. Furthermore, this interaction term was not pronounced among the extroverted individuals. Implications of these findings for promoting creativity in learning environments are discussed.
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Ihamäki, Pirita. "Geocachers: the creative tourism experience." Journal of Hospitality and Tourism Technology 3, no. 3 (September 28, 2012): 152–75. http://dx.doi.org/10.1108/17579881211264468.

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Dissertations / Theses on the topic "Creative experience"

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Davison, Christopher. "The visualization of the creative experience." Honors in the Major Thesis, University of Central Florida, 2001. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/268.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Sciences
Art
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Bellingham, Robin. "A phenomenological and thematic interpretation of the experience of creativity." Click here to access this resource online, 2008. http://hdl.handle.net/10292/432.

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Creativity is a nebulous concept, lacking both clear articulations and common understandings of meaning. Due to a lack of clear alternatives the concept of creativity is increasingly becoming infused with economically driven vocabulary, associations, interests and ideologies. There is an immediate need to provide alternatives to the „creative economy‟ view of creativity, because of its insidious effect on educational institutions and practices and because it promotes a generally impoverished view of the meaning of creativity and of human potential. Reductionist thought; the tendency to understand concepts as separate and distinct from one another prevents us from easily conceptualising an experience such as creativity which involves the simultaneous experience of seemingly paradoxical elements such as individuality and unity, intellect and intuition and freedom and discipline. Democracy is a metaphor which can help to articulate and understand the paradoxical experience of creativity. Democracy stands for the potential to make meaning from the integrated exploration of individuality and of unity, which I argue is a fundamental dynamic of the creative experience. I further suggest that the essence of the creative experience is a democratic attunement to existence, in which subject and object, self and environment, intellect and intuition and freedom and discipline are experienced as in a democratic relationship with one another. This way of understanding creativity provides an alternative to the creative economy view. It implies some significant changes to traditional educational emphases, including a movement away from primarily individualistically oriented curricula and toward curricula and educational values which situate the individual within an integrated eco-system.
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Adams, Tessa. "Creative experience and the 'authenticity' of psychoanalytic discourse." Thesis, University of Kent, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.317398.

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Bell, Alison Forsyth. "Exploring the embodied experience of ageing, through creative practice." Thesis, University of the West of Scotland, 2018. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.751386.

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Pace, Victoria L. "Creative Performance on the Job: Does Openness to Experience Matter?" [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001171.

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Morrissey, Sheryl Christian. "A Phenomenological Exploration of Mindfulness Meditation and the Creative Experience." ScholarWorks, 2019. https://scholarworks.waldenu.edu/dissertations/6459.

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Creating is the highest level of intellectual functioning in the cognitive domain. As standardized testing has increased, U.S. K-12 education has shown a decline in creativity for students. Mindfulness meditation (MM) increases creativity and could serve as a solution to this dilemma. This study's purpose was to enrich findings regarding MM's role in enhanced creativity by conducting an exploration regarding lived experiences of creating for individuals who practice MM. A gap in the literature exploring the topics of MM and creativity together using qualitative methods was identified; therefore, research understanding lived experiences of creating within the experiential context of MM was necessary. The main research question, followed by 3 closely related questions, examined the subjective meaning of the experience of creating for MM practitioners. To provide lived experiences regarding creating, 3 participants colored in a mandala and were interviewed. Descriptive transcendental phenomenology was used to explore the act of creating from the perspectives of these 3 individuals. Participants' described experiences supported Sternberg's theory that creativity developed as a habit and suggested that MM actuated Csikszentmihályi's creative flow. Positive societal implications of bringing MM into U.S. K-12 schools as a conduit for creativity cannot be overrated. MM offers an integrated modality to increased creativity, communication, collaboration, and critical thinking, or the 4 Cs. Future studies regarding MM and creativity's relationship are recommended to further enrich current literature and address the existing gap.
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Jackson, Andrew. "Understanding the experience of the amateur maker." Thesis, University of Brighton, 2011. https://research.brighton.ac.uk/en/studentTheses/199e24e3-a04a-4aec-ba99-094dc0708411.

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This study asks: what are the internal rewards associated with amateur making, and how do they offer satisfaction and fulfilment to those who participate in the activity? People considered in this research make furniture, jewellery, model engineering projects, canoes and cars. They all maintain and make use of an amateur workshop of some kind, and use a variety of tools, machines and materials in their constructions, carrying out work-like activity as a form of leisure. The research aims to understand amateur making not purely as a form of symbolic production – as the fabrication of signs and symbols that have a life after the making process is complete – but to focus instead on the experience of making, and the material interaction that occurs as part of practice.
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Bartholomee, Lucy. "How Does It Feel to be Creative? A Phenomenological Investigation of the Creative Experience in Kinetic Places." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062833/.

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How does it feel to be creative? Such a question, when approached from a phenomenological perspective, reveals new understandings about the embodied experience of creativity, and how it feels as it is being lived. This investigation begins with a provocative contrast of two environments where creativity is thought to manifest itself: school art classrooms, where creativity is often legislated from an authority figure, and New Orleans Second Line parades, where creativity is organically and kinetically expressed. A thorough review of the literature on creativity focuses on education, arts education, creative economies, psychology, and critical theorists, collectively revealing a cognitive bias and striking lack of consideration for community, freedom, and the lived experience of being creative. Further discussions in the literature also neglect sites of creativity, and the impact that place (such as a school classroom) can have upon creativity. The phenomenological perspectives of Merleau-Ponty, Heidegger, Bachelard, and Trigg support a methodological lens to grasp embodied knowledge, perceptions of placedness on creativity, and the interdependent frictions between freedom, authenticity, movement and belonging. The research method includes investigations in New Orleans in archives, examination of visual and material culture, participation in cultural practice, and formal and informal interviews. Further, the phenomena of walking and wandering became a methodology for embodied data collection that clarified the emerging rich experiences and descriptions of how it feels to be creative, especially how it feels to be creative in a creative place. What is also revealed are intense frictions, such as the tension between perceptions of personal freedom and a high demand for authenticity in terms of New Orleans traditions, that opens the space and fuels the inspiration for the abundance of creativity found in New Orleans culture.
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Camfield, David Alan. "The biological basis of openness to experience." Swinburne Research Bank, 2008. http://hdl.handle.net/1959.3/49815.

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Thesis (PhD) - Swinburne University of Technology, Brain Sciences Institute, 2008.
[A thesis submitted for the degree of] Doctor of Philosophy, Brain Sciences Institute, Swinburne University of Technology - 2008. Typescript. Includes bibliographical references (p. 250-272) and index.
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Lussier-Ley, Chantale. "Towards an Enhanced Understanding of Dance Education and the Creative Experience." Thesis, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/30354.

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The purpose of this study was to understand the significance of emotions and the body in the lived creative experience in dance. Using a phenomenological approach, I was interested in gaining a deepened understanding of the creative experiences of members of Canada’s contemporary dance community. Currently, dance is taught in multiple contexts of education including K-12 arts education and physical education, recreational studios, university settings such as in faculties of education, kinesiology, and fine arts, and in conservatory-style pre-professional training programs. As a result, there appears to be little evidence of a holistic pedagogical approach. Coming from a predominantly ballet-oriented dance training background, I wanted to learn what it’s like to create dance; specifically how contemporary dancers use their bodies and emotions as part of their creative process. I had the pleasure of being an invited guest, writer, speaker, and researcher at the 2008 Canada Dance Festival (CDF), a biennial dance festival that takes place in Ottawa, Ontario, Canada. Results shed light on rarely discussed facets of the creative experience in dance. This study explores the way dancers optimally want to feel, how they prepare to feel the way they want to feel, what obstacles they encounter, and what strategies allow them to revisit their optimal feel within their creative experience in dance. Doing so, the role of the body and the emotions in dance are better understood. A description of the 2008 Canada Dance Festival as a transactional space also surfaced. There, the CDF is understood as a place where the art of dance’s perceived meaning and values are discussed, and ultimately negotiated. Finally, results also contributed to an enriched understanding of artistic identity in dance as an ongoing process of becoming. With an enhanced pedagogical understanding of dance education, a final discussion unearths implications of this work and shines a spotlight on future research in dance scholarship.
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Books on the topic "Creative experience"

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Parker, Follett Mary. Creative experience. Bristol, U.K: Thoemmes, 2001.

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Dance: A creative art experience. 3rd ed. Madison, Wis: University of Wisconsin Press, 1998.

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Devine, Kay. The creative classroom: The elementary experience. Dubuque, IA: Kendall Hunt Publishing Company, 2013.

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Indurkhya, Bipin, and Jaison A. Manjaly. Cognition, experience, and creativity. New Delhi: Orient BlackSwan, 2015.

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Allen, Margaret. Creative motion: Inner experience, energy, outer expression. Edited by Niles Anne and Fritz Mary Ann. 2nd ed. Fort Worth, Tex: Creative Motion Alliance, 2010.

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Allen, Margaret. Creative motion: Inner experience, energy, outer expression. 2nd ed. Fort Worth, Tex: Creative Motion Alliance, 2010.

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Allen, Margaret. Creative motion: Inner experience, energy, outer expression. 2nd ed. Fort Worth, Tex: Creative Motion Alliance, 2010.

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Drake, Kenneth. The Beethoven sonatas and the creative experience. Bloomington: Indiana University Press, 1994.

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The Beethoven sonatas and the creative experience. Bloomington: Indiana University Press, 2000.

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VanderWolk, William. Flaubert remembers: Memory and the creative experience. New York: P. Lang, 1990.

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Book chapters on the topic "Creative experience"

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Harper, Graeme. "3. Writing by Creation, with Response, in Experience." In Creative Composition, edited by Danita Berg and Lori A. May, 16–23. Bristol, Blue Ridge Summit: Multilingual Matters, 2015. http://dx.doi.org/10.21832/9781783093649-006.

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Wong, Robert Kin Ming, Crystal Man Chong Ho, and Gwyneth Wing Lam Chan. "A participatory design experience with older people." In Creative Ageing Cities, 145–58. Abingdon, Oxon; New York, NY: Routledge, 2018. | Series: Routledge advances in regional economics, science and policy; 26: Routledge, 2018. http://dx.doi.org/10.4324/9781315558684-7.

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Tymieniecka, Anna-Teresa. "Creative Reality." In Logos and Life: Creative Experience and the Critique of Reason, 60–94. Dordrecht: Springer Netherlands, 1988. http://dx.doi.org/10.1007/978-94-009-3915-8_6.

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Frank, Ruella. "Embodying Creativity, Developing Experience: The Therapy Process and Its Developmental Foundation." In Creative License, 181–200. Vienna: Springer Vienna, 2003. http://dx.doi.org/10.1007/978-3-7091-6023-7_15.

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Bakas, Fiona Eva, Tiago Vinagre de Castro, and Ana Osredkar. "User-centred design for creative tourism prototyping: the Maribor experience." In Creative tourism: activating cultural resources and engaging creative travellers, 93–104. Wallingford: CABI, 2021. http://dx.doi.org/10.1079/9781789243536.0013.

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Abstract This chapter discusses how the principles of usercentred design and emotional mapping can be used to help tourism and culture practitioners design prototypes of creative tourism experiences. Creative tourism is a novel interpretation of cultural tourism that incorporates within the tourism experience the dimensions of active participation, creative self-expression, learning, and community engagement (Duxbury and Richards, 2019), underlined by an immersive connection to place. On one hand, to create successful creative tourism experiences, it is important that the tourism experience designers empathize with the end users/participants and identify with their needs and motivations. By adopting a user-centred design approach, this empathy can be achieved in practical ways and then included in the design of the final tourism experience. On the other hand, emotional mapping deepens engagement with places, fostered by a multisensorial immersive exploring exercise that challenges participants to link places to their own emotions and feelings.
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Earnshaw, Steven. "Teaching Creative Writing at Postgraduate Levels: the Sheffield Hallam Experience." In Teaching Creative Writing, 95–98. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137284464_12.

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Cranston, Jerome, and Kristin Kusanovich. "Chapter 4 Embodied Experience." In Ethnotheatre and Creative Methods for Teacher Leadership, 41–57. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-39844-0_5.

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Attisano, Roby. "SustainDesign – A Project with Young Creative People." In Design, User Experience, and Usability. User Experience in Novel Technological Environments, 20–29. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-39238-2_3.

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DeRobertis, Eugene Mario. "The Emergence of Paradigmatic Creative Experience." In The Phenomenology of Learning and Becoming, 103–22. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-349-95204-5_6.

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Gonzalez, Andres, Robert Fowler, Harrison Froeschke, Sabra Leong, and Bruce Gooch. "Fairy Houses: A Creative Engineering Experience." In Learning and Collaboration Technologies. Technology in Education, 41–49. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58515-4_4.

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Conference papers on the topic "Creative experience"

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Chang, Hsien-Kuan, Wen-Der Yu, Ming-Teh Wang, and Tao-Ming Cheng. "Allocating BIM Service Cost—A Taiwan Experience." In Creative Construction Conference 2019. Budapest University of Technology and Economics, 2019. http://dx.doi.org/10.3311/ccc2019-106.

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Ustinova, Yana, Chander Mohan Gupta, and Alexandr Shaposhnikov. "Creative Accounting Detection Methods: Foreign Experience." In International Scientific and Practical Conference "Sustainable development of environment after Covid-19" (SDEC 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220106.059.

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Yang, Chen-Fu, Yu-Chun Wang, and Tung-Jung Sung. "Service Experience Image for Value Co-creation: The Creative Communities in Taipei City." In 2013 Fifth International Conference on Service Science and Innovation (ICSSI). IEEE, 2013. http://dx.doi.org/10.1109/icssi.2013.16.

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Shih, Hsiu-Ching, Yu-Hsi Yuan, and Jin-Chuan Lee. "Facilitating the creative performance of mechanical engineering students: The moderating effect of creative experience." In 2014 International Conference of Teaching, Assessment and Learning (TALE). IEEE, 2014. http://dx.doi.org/10.1109/tale.2014.7062637.

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Sterling, Nicolas. "The "Pont Du Lion", Saint-Genis Pouilly, France: a Creative Transformation to Redefine the City Entrance." In Footbridge 2022 (Madrid): Creating Experience. Madrid, Spain: Asociación Española de Ingeniería Estructural, 2021. http://dx.doi.org/10.24904/footbridge2022.230.

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<p>This paper presents the creative transformation of an existing stone bridge to enable a safe car traffic together with pedestrians and disabled circulation, and redefine the entrance of the city of Saint - Genis Pouilly along the “rue de Genêve” near the CERN in France.</p>
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Kaburuan, Emil R., Ang Swat Lin Lindawati, and Nikolaus Permana Tri Rahmanto. "User Experience Evaluation on University's Learning Management System (LMS)." In 1st International Conference on Intermedia Arts and Creative. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0009318601760184.

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D, Sathya, P. Betty, and D. Jagadeesan. "GATE Capsule- An application towards the creative learning experience." In 2019 International Conference on Smart Systems and Inventive Technology (ICSSIT). IEEE, 2019. http://dx.doi.org/10.1109/icssit46314.2019.8987913.

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Zahidi, Zaihasriah, Yan Peng Lim, and Peter Charles Woods. "User Experience for Digitization and Preservation of Cultural Heritage." In 2013 International Conference on Informatics and Creative Multimedia (ICICM). IEEE, 2013. http://dx.doi.org/10.1109/icicm.2013.11.

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Vebiana, Vera. "Digital Banking, Customer Experience, and Islamic Bank Financial Performance in Indonesia." In International Conference on Creative Economics, Tourism & Information Management. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0009868002490255.

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Mao, Huafang. "Problem Solving: Creative Management Mode of University Teaching." In 2nd International Conference on Education Studies: Experience and Innovation (ICESEI 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.211217.027.

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Reports on the topic "Creative experience"

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Hwang, Ja-young, Eulanda A. Sanders, and Mary Lynn Damhorst. South Korean Fashion designers’ decision-making process: The influence of cultural values and personal experience in the creative process. Ames: Iowa State University, Digital Repository, 2014. http://dx.doi.org/10.31274/itaa_proceedings-180814-897.

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Кучерган, Єлизавета Валеріївна, and Надія Олександрівна Вєнцева. Historical educational experience of the beginning the twentieth century in the practice of the modern higher school of Ukraine. [б.в.], 2018. http://dx.doi.org/10.31812/0564/2139.

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The author of the study analyzes and determines the features of the introduction of new forms of education in the highest historical pedagogical institutions of Ukraine in the early twentieth century. In particular: colloquiums, excursions, rehearsals, the organization of scientific sections of students and societies. Colloquiums were held to discuss the creative work of students. Proseminars prepared students for participation in seminars. Excursions prepared students for scientific work and taught them to collect information about historical monuments. Interviews and rehearsals took an important place in the revitalization of academic activity of students in universities. During the interviews, students learned to express their thoughts freely. Rehearsals were used as a means of monitoring the progress of students. An important component of the preparation of the future teacher of history was the organization of scientific student sections and societies. The main forms of their work were: the discussion of scientific reports, the publication of periodicals, the creation of libraries, museums, etc. The most talented students took part in scientific sections and societies. Thus, higher education institutions created prerequisites for the education of gifted young people. The publication also reveals the specifics of the practical training of students. The practical component included not only pedagogical, but also museum practice. In addition, pedagogical institutions of higher education conducted educational excursions, literary and musical evenings, organized social, sanitary and charitable activities. The author of the publication not only explores the features of various forms of education, but also the possibility of using them in the practice of the modern higher pedagogical institution in Ukraine.
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3

Starkov, Dmitriy. Theory and Algorithm for solving inventive tasks and their modern interpretation in the local innovation process of forming a smart home infrastructure on the scale of a start-up company. Intellectual Archive, January 2022. http://dx.doi.org/10.32370/iaj.2627.

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The theory of inventive problem solving and the Algorithm of inventive problem solving are the most important complex analytical professional engineering tools for the development of projects of any degree of complexity in the innovation process. For the successful and effective use of these tools, it is necessary, in addition to comprehensive and in-depth engineering knowledge and skills, to have skills and positive experience in the creative adaptation of the laws and postulates of theory and algorithm in the real innovation process
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4

McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Marrickville. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208593.

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Marrickville is located in the western heart of inner-city Sydney and is the beneficiary of the centrifugal process that has forced many creatives out of the inner city itself and further out into more affordable suburbs. This locality is built on the lands of the Eora nation. It is one of the most culturally diverse communities in the country but is slowly being gentrified creating tensions between its light industrial heart, its creative industry community and inner city developers. SME’s, co-working spaces and live music venues, are all in jeopardy as they occupy light-industrial warehouses which either have been re-zoned or are under threat of re-zoning. Its location underneath the flight path of major air traffic may indeed be a saving factor in its preservation as the creative industries operate across all major sectors here and the air traffic noise keeps land prices down. Despite these pressures the creative industries in Marrickville have experienced substantial growth since 2011, with the current CI intensity sitting at 9.2%. This is the only region in this study where the cultural production sector holds more than half the employment for specialists and support workers, when compared to creative services.
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5

Bland, Gary, Lucrecia Peinado, and Christin Stewart. Innovations for Improving Access to Quality Health Care: The Prospects for Municipal Health Insurance in Guatemala. RTI Press, December 2017. http://dx.doi.org/10.3768/rtipress.2017.pb.0016.1712.

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Municipal insurance–a collective compact in which municipal government is the lead actor in designing, delivering, and supervising a health care financing arrangement—is considered by some Guatemalans as a potential new avenue for improving financial protection against rising costs and improved access to quality health care. This brief presents a political economy analysis of the prospects for the adoption of municipal insurance in Guatemala. Municipal insurance has so far been tried only once, in 2015, by the large suburban municipality of Villa Nueva. Drawing from the Villa Nueva experience, based on interviews with nearly 30 key informants, this brief examines the potential obstacles to municipal insurance reform as well as leading factors favoring its introduction. Consistent health ministry support and equity concerns are potential limitations, for example, while decentralization and the recent emergence of creative insurance products are likely to be supportive. This brief then concludes with consideration of the policy implications of such a reform. We also offer a series of policy recommendations for policymakers and practitioners who may be looking to implement municipal insurance reform.
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6

Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.686088.

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Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In my practice, I have found a concept as part of the creating process in improvised music which has compelling potential: Timbre orchestration. My research takes the many and complex aspects of a performance environment into account and offers an extended understanding of timbre, which embraces spatial, material and bodily aspects of sound in improvised music performance. The investigative projects described in this exposition offer a methodology to explore timbral improvisational processes integrated into my practice, which is further extended through collaborations with sound engineers, an instrument builder and a choreographer: -experiments in amplification and recording, resulting in Memory piece, a series of works for amplified piano and multichannel playback - Piano mapping, a performance approach, with a custom-built device for live spatialization as means to expand and deepen spatio-timbral relationships; - Accretion, a project with choreographer Toby Kassell for three grand pianos and a pianist, where gestural approaches are used to activate and compose timbre in space. Together, the projects explore memory as a structural, reflective and performative tool and the creation of performing and listening modes as integrated parts of timbre orchestration. Orchestration and choreography of timbre turn into an open and hybrid compositional approach, which can be applied to various contexts, engaging with dynamic relationships and re-configuring them.
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7

Guijt, Joost, Roger Reuver, Hermine ten Hove, Jan Brouwer, Monika Sopov, and Irene Salverda. Creating effective case studies : a practical guide to making inclusive agribusiness experiences accessible and inspiring. Wageningen: Wageningen Centre for Development Studies, 2018. http://dx.doi.org/10.18174/475375.

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8

Gobble, Allison N., and V. Ann Paulins. Investigating the Way Store Environment and Merchandise Assortment Interface to Create Effective Shopping Experiences. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-649.

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9

Diprose, Rachael, Primatia Wulandari, Elena Williams, and Levriana Yustriani. Bureaucratic Reform in Indonesia: Policy Analyst Experiences. University of Melbourne with Knowledge Sector Initiative (KSI), 2020. http://dx.doi.org/10.46580/124364.

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In recent years, Indonesia has introduced reforms to its bureaucracy in response to critiques of the quality of government policy design and delivery. The Grand Design of Bureaucratic Reform strategy seeks to reduce the number of civil servants employed in administrative or managerial positions (structural appointments) in favour of skills-based recruitment into ‘functional’ positions. Specifically, the introduction of the ‘policy analyst’ position as a functional position in the civil service has sought to improve evidence-based policy making and the quality of policy outcomes, by incorporating merit-based recruitment, appointment and promotion. The role of functional policy analysts (Jabatan Fungsional Analis Kebijakan or JFAKs) is to assist policy makers in identifying policy issues, analyse evidence available on these issues, and ultimately make policy recommendations. This report overviews the recent experiences of different policy analyst cohorts since the role’s creation in 2015. It investigates these experiences to better understand the extent to which policy analysts are playing the role intended for them, and the factors enabling or inhibiting this.
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Baird, Natalie, Tanushree Bharat Shah, Ali Clacy, Dimitrios Gerontogiannis, Jay Mackenzie, David Nkansah, Jamie Quinn, Hector Spencer-Wood, Keren Thomson, and Andrew Wilson. maths inside Resource Suite with Interdisciplinary Learning Activities. University of Glasgow, February 2021. http://dx.doi.org/10.36399/gla.pubs.234071.

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Maths inside is a photo competition open to everyone living in Scotland, hosted by the University of Glasgow. The maths inside project seeks to nourish a love for mathematics by embarking on a journey of discovery through a creative lens. This suite of resources have been created to inspire entrants, and support families, teachers and those out-of-school to make deeper connections with their surroundings. The maths inside is waiting to be discovered! Also contained in the suite is an example to inspire and support you to design your own interdisciplinary learning (IDL) activity matched to Education Scotland experiences and outcomes (Es+Os), to lead pupils towards the creation of their own entry. These resources are not prescriptive, and are designed with a strong creativity ethos for them to be adapted and delivered in a manner that meets the specific needs of those participating. The competition and the activities can be tailored to meet all and each learners' needs. We recommend that those engaging with maths inside for the first time complete their own mapping exercise linking the designed activity to the Es+Os. To create a collaborative resource bank open to everyone, we invite you to treat these resources as a working document for entrants, parents, carers, teachers and schools to make their own. Please share your tips, ideas and activities at info@mathsinside.com and through our social media channels. Past winning entries of the competition are also available for inspiration and for using as a teaching resource. Already inspired? Enter the competition!
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You might also be interested in the extended bibliographies on the topic 'Creative experience' for particular source types:
Journal articles Dissertations / Theses Books
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