Dissertations / Theses on the topic 'Creative experience'
To see the other types of publications on this topic, follow the link: Creative experience.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Creative experience.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Davison, Christopher. "The visualization of the creative experience." Honors in the Major Thesis, University of Central Florida, 2001. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/268.
Full textAbstract:
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
2
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.
Full textAbstract:
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.
3
Adams, Tessa. "Creative experience and the 'authenticity' of psychoanalytic discourse." Thesis, University of Kent, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.317398.
Full text
4
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.
Full text
5
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.
Full text
6
Morrissey, Sheryl Christian. "A Phenomenological Exploration of Mindfulness Meditation and the Creative Experience." ScholarWorks, 2019. https://scholarworks.waldenu.edu/dissertations/6459.
Full textAbstract:
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.
7
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.
Full textAbstract:
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.
8
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/.
Full textAbstract:
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.
9
Camfield, David Alan. "The biological basis of openness to experience." Swinburne Research Bank, 2008. http://hdl.handle.net/1959.3/49815.
Full textAbstract:
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.
10
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.
Full textAbstract:
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.
11
Fishenden, Jerry. "Interactive digital technologies and the user experience of time and place." Thesis, De Montfort University, 2013. http://hdl.handle.net/2086/9023.
Full textAbstract:
This research examines the relationship between the development of a portfolio of interactive digital techniques and compositions, and its impact on user experiences of time and place. It is designed to answer two research questions: (i) What are some effective methods and techniques for evoking an enhanced awareness of past time and place using interactive digital technologies (IDTs)? (ii) How can users play a role in improving the development and impact of interfaces made with IDTs? The principal creative and thematic element of the portfolio is the concept of the palimpsest, and its artistic potential to reveal visual and aural layers that lie behind the landscapes and soundscapes around us. This research thus contributes to an evolving cadre of creative interest in palimpsests, developing techniques and compositions in the context of testing, collating user experience feedback, and improving the ways in which IDTs enable an artistic exploration and realisation of hidden layers, both aural and visual, of the past of place. An iterative theory-composition-testing methodology is developed and applied to optimise techniques for enabling users to navigate multiple layers of content, as well as in finding methods that evoke an increased emotional connection with the past of place. This iterative realisation cycle comprises four stages - of content origination, pre-processing, mapping and user interaction. The user interaction stage of this cycle forms an integral element of the research methodology, involving the techniques being subjected to formalised user experience testing, both to assist with their further refinement and to assess their value in evoking an increased awareness of time and place. Online usability testing gathered 5,451 responses over three years of iterative cycles of composition development and refinement, with more detailed usability labs conducted involving eighteen participants. Usability lab response categories span efficiency, accuracy, recall and emotional response. The portfolio includes a variety of interactive techniques developed and improved during its testing and refinement. User experience feedback data plays an essential role in influencing the development and direction of the portfolio, helping refine techniques to evoke an enhanced awareness of the past of place by identifying those that worked most, and least, effectively for users. This includes an analysis of the role of synthetic and authentic content on user perception of various digital techniques and compositions. The contributions of this research include: • the composition portfolio and the associated IDT techniques originated, developed, tested and refined in its research and creation • the research methodology developed and applied, utilising iterative development of aspects of the portfolio informed by user feedback obtained both online and in usability labs • the findings from user experience testing, in particular the extent to which various visual and aural techniques help evoke a heightened sense of the past of place • an exploration of the extent to which the usability testing substantiates that user responses to the compositions have the potential to establish an evocative connection that communicates a sense close to that of Barthes' punctum (something that pierces the viewer) rather than solely that of the studium • the role of synthetic and authentic content on user perception and appreciation of the techniques and compositions • the emergence of an analytical framework with the potential for wider application to the development, analysis and design of IDT compositions
12
Karlsson, Stefan. "A Norm Creative Perspective : Understanding users through norm creative theories." Thesis, Umeå universitet, Institutionen för informatik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-154776.
Full textAbstract:
There is a saying that we should not attempt to fix what is not broken, but we cannot afford to stick tothat mindset if we want to be able to design products and services that matter to the user. We shouldbroaden our views, explore new things and see what we can learn from them and use that knowledge toexpand on our existing methods. In recent years there have been a lot of work regarding how normsinfluence us to act and feel in certain ways, what if the knowledge behind norms could be utilized withindesign? To answer this question a study was conducted where two so called norm creative methodswere tested in a series of focus groups to see what potential the methods held in regard to improvingexisting methods or serve as basis for the creation new methods within user research.
13
Weakland, Marie A. "Creativity, openness to experience, and environmental support in problem solving." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1124872.
Full textAbstract:
The relationship between the personality trait of openness to experience and problem solving ability in environments offering various levels of informational support in the form of analogous problems was investigated using 173 participants. I suspected the strongest positive relationship in an environment offering moderate support and that individuals who were high on openness to experience would be likely to see that previous presented information was analogous in nature. There was no relationship between penness to experience and problem solving ability as a function of the environment or in general. However, students given a high level of support solved significantly more problems than those participants receiving no support. Also, more students solved the problems when they saw an analogous connection between the experimental and the demonstration problems. An implication may be that problem solving ability can be taught using analogies, if the information is complete and students are able to determine the relevance to future problems.Department of Psychological Science
14
ZHOU, Mingying. "Lived experience and creative praxis : a critical appraisal of Raymond William's fiction." Digital Commons @ Lingnan University, 2018. https://commons.ln.edu.hk/otd/21.
Full textAbstract:
Raymond Williams is known to the academic world as the pioneer and co-founder of the discipline of cultural studies, and his works on culture, society, democracy, hegemony, etc., have been widely read and cited. Yet, somewhat disappointingly, the fiction to which Williams devoted much of his life’s endeavor has been largely neglected and dismissed. Whenever Williams is mentioned, the salient labels attached to him are invariably “cultural critic”, “cultural materialist”, “critical theorist” and so on. This dissertation is not only designed to redress the balance with regard to Williams’s novels, read in parallel to his critical work, but also to interpret them from a new perspective. My aim is to shed fresh light on Williams’s fiction as a nuanced reflection on his socio-cultural concerns.
Williams has published seven novels, through which we may discern a rather different and, I argue, more complex Williams from the typical profile of the combative cultural theorist. This thesis intends to analyze the fiction from three dimensions: firstly, the innate and strong Welshness of Williams that is reflected in his depictions of the landscape and the Welsh people; Secondly, the sexuality and gendering in Williams’s fiction, which evidently tilts towards the female soft power, locating the power balance more specifically in the traditionally “weaker” gender; thirdly, tragedy haunts Williams’s protagonists and minor characters, yet, as his theory of modern tragedy reveals, the tragedy of the ordinary person is as tragic and heroic as that of kings and queens. In William’s novels a tragic mood and epic sweep often go hand-in-hand, and it is evident that his theory of modern tragedy informs his own novels as much as it does twentieth century drama.
Focusing as it does on Williams’s fiction, the present thesis offers a new perspective on Williams studies. In the process it engages critically with Williams’s idea on Welshness, sexuality, gendering, and tragedy, in particular, topics that have not been studied interdependently in commentaries on Williams’s work to date. In this respect the study represents an original and productive contribution to the field of Raymond Williams study.
15
Maltby, Michael Peter. "The poetics of experience : a first-person creative and critical investigation of self-experience and the writing of poetry." Thesis, University of Sussex, 2009. http://create.canterbury.ac.uk/10286/.
Full textAbstract:
There is increasing interest in the personal benefits of writing poetry and a growing field of practical application within healthcare. However, there is little direct research and a need for practice-based theoretical integration to improve understanding of the specific changes, creative processes and challenges involved. This study investigates the way that writing poetry can affect self-experience. It also contributes to the development of combined modes of creative and critical inquiry. A first-person account of the experiential and creative outcomes of writing poetry over an extended period is presented. The results of this are subjected to reflexive analysis and a critical theoretical explication. Four factors relating self-experience to the experience of writing poetry are identified: a failure of conscious intention; an inhibiting objectification of experience; an implicit assumption of a separate self, and a changed experience of self that felt more embodied and fluid. These findings are the basis of a theoretical examination that utilizes the work of Ignacio Matte Blanco and Michael Polanyi, in conjunction with insights derived from contemporary psychoanalysis, embodied cognition, neuroscience and attention training. An original theoretical integration is developed. It is proposed that poetry has a characteristic bi-logical form that condenses and integrates difference and identity in a simultaneous and concentrated manner. The process of composition requires a reciprocal interplay of conscious and unconscious processes, which can be enhanced by an increase in embodied awareness, a decrease in the exercise of deliberate volition, and the facilitative use of images. This involves a flexible oscillation of awareness that, modulated by the breadth of attention and the degree of identification or separation from experience, directly alters the boundaries and quality of self-experience. This framework avoids the limitations of reductive or eliminative views of the self and allows for the creative operation of what is dubbed the 'nondual imagination'.
16
Green, Amy Rose. "Exploring the lived experience of visual creative expression for young adult cancer survivors." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44297.
Full textAbstract:
The purpose of this research was to contribute experiential understanding of the lived experience of creative expression (both individually and/or within a therapeutic setting) in the particular context of young adult cancer survivors. It utilized van Manen’s (1990) hermeneutic phenomenological approach to answer the following question: “What is the lived experience and lived meaning of visual creative expression for young adult cancer survivors?” Seven young adults (diagnosed with cancer between ages 18 to 35) were engaged in two conversations (one main interview and one check-in interview) about their creative expression experiences. Participants were also invited to reflect on their insights, ideas, and experiences of creative expression through emails to the researcher. A thematic reflection and guided existential reflection (based on the four lifeworlds of lived body, lived time, lived space, and lived relation) were utilized to further understand, organize, and reveal the ways the participants experienced the phenomenon of creative expression. In line with van Manen (1990), data analysis was conducted through the writing and re-writing of findings in a reflective and vocative manner. Seven themes were uncovered that could be organized into the four lifeworlds: lived time involved being in the flow; lived body involved allowing the body to express itself and renegotiating control; lived space involved being impacted by a permanent change to the environment; and, finally, lived relation involved being seen, respect for the art as other, and giving back. The seven themes within these four life worlds intertwined to embody two additional themes: increased self-understanding and healing the mind and body.
As the first study to explore the lived experience of visual creative expression specifically for young adult cancer survivors, this research begins to fill a large gap in the literature. Findings suggest that visual creative expression can be a meaningful and impactful experience for young adult cancer survivors, and that this experience espouses both similarities and differences from experiences of creative expression for older adults that have been previously described in the literature. Specific recommendations are made for future research, in addition to implications for practitioners working with the young adult cancer survivor population.
17
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.
Full textAbstract:
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.
18
Dennett-Thorpe, Ivy Garlitz. "The old country : an experiment in modes of writing on the Jewish-American experience in poetry, fiction and popular culture." Thesis, University of East Anglia, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297480.
Full text
19
Guseva, Olena. "Women like us : a critical and creative examination of a ‘mail-order bride’ experience." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/29965.
Full textAbstract:
This thesis examines issues related to “mail-order brides” as these pertain to my mother who emigrated from Ukraine as a “mail-order bride” in August of 1998. This thesis incorporates both critical and creative analyze of the topic of “mail-order brides” and international dating industries.
The problematic term “mail-order bride” implies a specific ‘type’ of woman who is often represented as domestic, subservient and affectionate. The consumers of the “mail-order” industry are fed images that are essentializations of the Eastern European woman and her habits. By ‘selling’ traditional values to Western male consumers, mail-order sites reinforce stereotypes associated with Eastern European women and create an unrealistic image of a hyper-feminine woman that is problematic to both “mail-order brides” and to the men that seek them. In this critical and creative essay, I examine my mother’s letters as testaments to the unrealistic expectations placed on her through the
stereotypes created by the “mail-order” industries.
This thesis also examines the so-called “mail-order brides” in light of Western feminism and problematizes the perceived lack of agency associated with “mail-order brides.” Furthermore, I will analyze the commoditization of the female body as is seen through the international dating agencies. This thesis argues that it is through the
capitalist mentality projected by the “mail-order” agencies that the female body becomes trafficable and accessible to the Western male consumer.
20
Abidin, Zainal Azhar Zainal. "The Creative Crowd : A Study of Undergraduate Students' Experience in a Design Education Setting." Thesis, University of East Anglia, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.514299.
Full text
21
Maris, Jennifer H. E. "The experience and significance of sharing creative writing associated with times of personal difficulty." Thesis, Canterbury Christ Church University, 2013. http://create.canterbury.ac.uk/12494/.
Full textAbstract:
There is limited research concerning the sharing of writing associated with times of personal difficulty. This study aimed to explore the experience and significance of this process with a focus on the interpersonal factors involved and how the potential benefits could be conceptualised. Eight participants were recruited through purposive sampling and interviewed regarding their experiences. Interpretative Phenomenological Analysis was used to analyse the transcripts. Four superordinate themes of ‘Putting the self into the world’; ‘Taking ownership of the process’; ‘Making connections with others’; and ‘Moving beyond surviving to thriving’ were interpreted from the data. Interpersonal factors were of great significance and were discussed in connection with a range of theorists including those from fields of psychoanalysis, phenomenology and humanism. The overall findings were conceptualised through identified links with Ryff’s (1989) multidimensional model of well-being. The findings suggest that the sharing of creative writing associated with times of personal difficulty may be a valuable activity in promoting well-being in both clinical and non-clinical populations. It may be particularly helpful for people who have experienced, or are at risk of social isolation given the experiences that first led the participants to creative writing, and the centrality of ‘connection within others’ within their accounts.
22
Chanter, Thomas E. "Investigation of the advantages and disadvantages of using creative narrative in the preaching experience." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.
Full text
23
Powers, Rachel Chenven. "To Disappear." PDXScholar, 2016. http://pdxscholar.library.pdx.edu/open_access_etds/3326.
Full text
24
McLaren, Sasha. "Material Synthesis: Negotiating experience with digital media." The University of Waikato, 2008. http://hdl.handle.net/10289/2761.
Full textAbstract:
Given the accessibility of media devices available to us today and utilising van Leeuwen's concept of inscription and synthesis as a guide, this thesis explores the practice of re-presenting a domestic material object, the Croxley Recipe Book, into digital media. Driven by a creative practice research method, but also utilising materiality, digital storytelling practices and modality as important conceptual frames, this project was fundamentally experimental in nature. A materiality-framed content analysis, interpreted through cultural analysis, initially unraveled some of the cookbook's significance and contextualised it within a particular time of New Zealand's cultural history. Through the expressive and anecdotal practice of digital storytelling the cookbook's significance was further negotiated, especially as the material book was engaged with through the affective and experiential digital medium of moving-image. A total of six digital film works were created on an accompanying DVD, each of which represents some of the cookbook's significance but approached through different representational strategies. The Croxley Recipe Book Archive Film and Pav. Bakin' with Mark are archival documentaries, while Pav is more expressive and aligned with the digital storytelling form. Spinning Yarns and Tall Tales, a film essay, engages and reflects with the multiple processes and trajectories of the project, while Extras and The Creative Process Journal demonstrate the emergent nature of the research. The written thesis discusses the emergent nature of the research process and justifies the conceptual underpinning of the research.
25
Alazemi, T. R. "Users' information seeking behaviours, their interactions and experience with the academic library web interface." Thesis, University of Salford, 2015. http://usir.salford.ac.uk/36705/.
Full textAbstract:
The websites provided by academic libraries are challenged by the rapid developments in information and communication technology (ICT). These developments have created diverse options and channels for information sources that can be accessed easily by users through the Internet. Because of these alternate sources, many users no longer physically visit the library. Instead, they depend on the library’s website to obtain information online, or they use Internet searches to obtain the information they require. This research addresses the following question: How do the users of academic libraries search for information and interact with the libraries’ web interfaces? The research draws on models from the disciplines of information-seeking behaviour (ISB) and human-computer interaction (HCI). A unified model based on the models in ISB and HCI is created and investigated. In addition, a qualitative study has been conducted to investigate users’ information needs, information-seeking behaviours, and difficulties and experiences with the websites of academic libraries. Interpretive case studies were conducted at two universities, one in the UK and one in Kuwait. Qualitative data were collected in interviews, focus groups, and observations of diverse groups of library users. Furthermore, a content analysis approach was applied to analyse the data. The findings revealed seven steps taken in searching for information and interacting with academic libraries’ web interfaces, but exposed variance in the order in which users executed these steps. The findings also revealed several issues regarding the use of library websites to search for information. In particular, these concerned the complexity of finding information, the content organisation of the library websites and the use of incomprehensible terms on the library websites. As a result, the library users relied heavily on Google to find information. The thesis concludes with suggested guidelines for how academic library interfaces can best support the way users search for information, as well as their interactions, experiences and needs. Keywords: information-seeking behaviour, human-computer interaction, users’ needs, user experience, academic library website, usability, content analysis, postgraduate students, academics, library staff, Kuwait, UK.
26
Arpak, Asli. "Seeing as aesthetic experience and creative action : visual practices with shape grammars in design education." Thesis, Massachusetts Institute of Technology, 2016. http://hdl.handle.net/1721.1/107309.
Full textAbstract:
Thesis: Ph. D. in Architecture: Design and Computation, Massachusetts Institute of Technology, Department of Architecture, September 2016.Cataloged from PDF version of thesis. "September 2016."
Includes bibliographical references (pages 123-132).
In the discussion of what makes a "creative" or "imaginative" design, rational concerns have come to override what we might call the "aesthetic experience" - that is, an experience in which all the senses are highly engaged, not only the mind. It has become unpopular and perhaps even politically incorrect to talk about what we feel, like, or respond to viscerally - discussions of emotion, pleasure, or delight are often seen as too subjective, qualitative or illogical, influenced by personal preference and cultural bias. This stems mainly from the age-old arguments positing a mind-body split that gives value to what is seen as "intellectual" over what is seen as personal, idiosyncratic, unquantifiable; and 'normalized" over what is seen as ambiguous, peculiar, outlying. This situation presents an enormous problem for design students. They may be told that their design needs improvement, but they do not really know the why or what's next, nor do they know how to remedy the problem. Students need tools to help them reflect on their design, advance it, interact with it, change it, then interact with the change. While modern technology has provided us with the means to cut down on laborious, energy-draining tasks of drawing and re-drawing, it has perhaps inadvertently over-simplified the design process. We have lost the steps where discovery can take place - the computer does them for us. In this dissertation, I propose one way to address the current state of the problem - especially in the hands-on practice-based design studio and project-based design courses - by employing the principles of shape grammar theory. The use of shape grammars in design education can help students grow as designers and put them back in touch with their unique and instantaneous responses to emerging designs; in other words, shape grammars can help students "feel their way" toward better designs by providing them with a set of actions that can be applied. Shape grammar rules and schemas provide students with steps, a creative framework to follow and execute, which can guide them to generate and improve their designs, while developing their aesthetic and sensory-perceptual creative understanding and insight.
by Asli Arpak.
Ph. D. in Architecture: Design and Computation
27
Wojtczuk, Alicja. "Creative product assessment in design : Influence of judges’ backgrounds and levels of experience in design." Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3033/document.
Full textAbstract:
L'objectif général de cette thèse est d'étudier l'évaluation de la créativité dans le domaine du design. Plus précisément, ce travail se centre sur l'évaluation de productions créatives en design graphique et il repose sur des méthodes complémentaires d'analyse des critères utilisés par des juges. L'approche adoptée vise à explorer les variations de jugements, dans différents contextes d'évaluation, afin d'identifier les facteurs influant sur les critères (ou les « référents évaluatifs ») qui sont pris en considération par les juges. Deux facteurs ont plus particulièrement été pris en compte : les points de vue adoptés par les juges en fonction de leur parcours professionnel (designers, directeurs artistiques, enseignants en design et public visé) et le niveau d'expertise en design (experts affirmés, experts intermédiaires et non-experts).Cette recherche a été réalisée dans différents contextes d'évaluation et elle tente d'identifier les éléments caractéristiques des jugements, selon le profil des juges émettant ces jugements. La première étude vise à comprendre les représentations mentales des juges, en explorant les critères qu'ils déclarent importants pour la créativité. La seconde étude analyse les corrélations entre les scores attribués aux productions en design sur un ensemble des critères, ainsi que les niveaux d'accords inter-juges pour chacun de ces critères. La troisième étude permet une analyse qualitative des verbalisations spontanées exprimées par des juges durant leurs évaluations de productions en designThe present thesis aims to study creativity assessments in design. More precisely, this research focuses on the evaluation of creative productions in graphic design area and it is based on complementary methods of analysis of used criteria and "evaluative referents". It aims to identify, in various assessment contexts, factors that exert an influence on the judgments of creative productions. It develops a multiple feedback approach by exploring assessments made by judges with different professional backgrounds (designers, art directors, design teachers and targeted audience) and levels of experience in design (asserted experts, intermediary experts and laypeople).The research frame includes different contexts of assessment situations and tries to capture the characteristics of judges' approaches to creativity in design, on the basis of three complementary studies. The first study focusses on judges' mental representations by exploring criteria they declare important to creativity in design. The second study allows an analysis of correlations between scores attributed to design productions with regard to different criteria as well as an analysis of inter-judge agreement on them. The third study aims to perform qualitative analyses of spontaneous verbalizations expressed by judges during their analyses of design outcomes
28
Chung, Jong-Eun. "From developmental to neo-developmental cultural industries policy : the Korean experience of the 'creative turn'." Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3676/.
Full textAbstract:
This thesis undertakes an explanatory case study of the Korean cultural industries policy shift recently instituted under the Kim Dae-Jung and Roh Moo-Hyun governments (1998-2008). This shift can be well positioned within the broader context of the creative turn in national cultural policy around the world, which was initiated by the British New Labour governments (1997-2010). Indeed, the trend ‘has had a remarkable take-up across many parts of the world’, elevating the British discourse on creativity into a policy ‘doctrine’ or ‘credo’ not only in the UK, but also across the globe. Despite the similarities in the driving discourses and policy methods, this thesis argues that the Korean policy shift was significantly different from its British counterpart as a result of the differing pace and trajectories of industrialization in the two countries. Starting from the concept of the East Asian developmental state as an entry point, this thesis explores three major questions: How and why did Korea go through a cultural industries policy shift in the period following the 1997-98 Asian financial crisis? Has the shift produced a policy framework which is different from that of the previous developmental state, and if so, what is its form? What results have the policy shift and framework brought about in the Korean cultural industries sector, and how were they achieved? By addressing the process, product and performance of the policy shift in this way, this thesis presents a distinctive description and analysis of the way the cultural and creative industries (CI) have been nurtured in the era of ‘post-organized capitalism’. As a former representative developmental state and as a neo-developmental state currently known for having made a clear break with the past, the Korean case can provide a unique opportunity to re-think the recently fashionable creative turn among various nations. Given its position in the global economic hierarchy as either a high-end developing country or a low-end developed country, the story of Korea’s fundamental CI policy shift can furnish something of interest and academic value to both these groups.
29
Fatemi, Jaleh. "An exploratory study of peak experience and other positive human experiences and writing." Texas A&M University, 2004. http://hdl.handle.net/1969.1/1368.
Full textAbstract:
This study analyzes and reports on the characteristics of writing-triggered
peak experience and other positive human experiences and explores some
possible factors that can bring about such moments. Three basic questions were
explored: Can writing trigger peak experience and other positive human
experiences? How are writing-triggered peak experience and other positive
human experiences best described? What factors influence the occurrence of
writing-triggered peak experience and other positive human experiences?
Participants were asked to write about their happiest moment in writing. The
sample consisted of 270 students enrolled in undergraduate writing classes at a
major southwestern university. Of 270 participants, 119(44%) reported having
had at least one peak experience or similar positive human experience as a result
of writing. Protocols reporting peak experience and other positive human
experiences in writing were analyzed for content, yielding a total of 14 descriptive
attributes. The participants described their writing experiences as flow of the
words, the process of writing is its own reward, peak performance, clarity,
disappearance of negative states of mind, and enhanced sense of power and
personal worth. Content analysis also yielded 13 possible triggers of peak
experience and other positive human experiences including self-expression,
realization, free writing, use of writing for introspection, and creative and
inspirational writing. In addition, personal orientation was explored as a possible
trigger of peak experience and other positive human experiences using a 16-item
questionnaire.
Factor analysis results yielded four factors: (1) aesthetic creative expressive
writing, (2) writing as a thinking and problem solving tool (3) self-discovery, and
(4) not interested in writing. Factor one accounted for the highest variance (37%).
The common elements in this factor were expressive writing, self-related writing
and creative poetic writing with poetic and creative writing having the highest
loading.
30
Jahan, Aiysha. "I cast no shadow : a creative and critical exploration of Dubai's South Asian denizen TCK experience." Thesis, University of Southampton, 2016. https://eprints.soton.ac.uk/411277/.
Full textAbstract:
Dubai Calling and other Stories (Part 1) is a collection of twelve fictional short stories inspired by the experience of growing up as non-Emirati in Dubai, United Arab Emirates (UAE). It features both male and female protagonists, all of whom hail from the countries of South Asia. The stories portray the everyday lives of these individuals, emphasising the impact of living long term in a place they cannot legally call a permanent home. The accompanying Critical Review (Part 2) provides an understanding of the Dubai non-Emirati experience. The children of families that reside temporarily outside their passport countries have been defined as Third Culture Kids (TCKs). Research detailing the benefits and challenges of growing up in a dynamic third culture has grown over the years. With its 202 nationalities, Dubai is a unique environment. While the term TCK is increasingly being used to describe the children who grow up in Dubai, it does not fully describe the non-Emiratis who live there long term, but do not have the legal right to naturalise. Although these individuals experience many of the benefits and challenges of a TCK lifestyle, they are more akin to migrants, and live in Dubai in a state of enforced unbelonging. In this thesis, it is argued that these individuals are better described by the term ‘denizen TCK’, as the word ‘denizen’ reflects the nature of living in a place long term, while also connoting the secondary status of such individuals. The research conducted for this project studied the impact of growing up as a denizen TCK, utilising a sequential mixed methods approach. A survey was conducted which was answered by eighty-three respondents who hail from nineteen countries, a majority of whom hold South Asian passports. Analysis of the results highlighted a number of themes: Dubai as home, identity confusion, the advantages of Dubai’s multicultural environment, and the disadvantages of the lack of a route to naturalisation and racism. Further research was conducted, in the form of semi-structured interviews. Four female TCKs who grew up in Dubai were interviewed. The themes that recurred were that of the impact of Dubai on identity and belonging, and the effect of repatriation to one’s passport country. This critical exploration of the Dubai TCK experience informed the redrafting of the creative project, its recurring themes guiding the process and sharpening the stories.
31
Lambie, Eileen. "A phenomenological explication of the artistic creative experience of a painter, a writer and a playwright." Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1004605.
Full textAbstract:
The aim of the thesis was to explore two focus questions using the phenomenological approach. Firstly, what it meant to be an artist for three particular artists; a painter, a writer and a playwright. Secondly, what a general explicitation (after Van Kaam, 1958) of the three subjects' artistic creative experience and working processes revealed in essence. The taped data of the three artists were reduced and explored through a number of phenomenological strategies. This led to the formulation of four essential descriptions for each artist, which were based structurally on Van den Berg's experiential categories in A Different Existence. Thus, the essential descriptions reflect each artist's relationship with his/her world, body, fellow people and time. The final step was the achievement of a general extended description. The major conclusion arising from the phenomenological explication is that art affords a way through which artists are able to live an authentic existence. That is, the body and world of the artist are in harmony and the artist's art roots him in the past, is manifest in the present and indicates the future direction of his work. Another conclusion is that the artist is Janus-faced and this enables him/her to balance subjectivity and objectivity in the Lebenswelt and to communicate what he/she sees to others in a healthy way through art. The artist's relationship with world, body, fellow people and with time, is postulated as being qualitatively richer than that of the nonartist. The two focus questions were successfully answered through the research explication and were validated by two independent judges. The viability of the phenomenological approach in the field of artistic creativity was therefore demonstrated. Suggestions for future research were made, one of which was that more phenomenological research aimed at eliciting specific information on the creation of art works might render more information on the artistic creative process.
32
Cadena, Pardo Sandra Paola. "El "acontecimiento creador" y el "Ser de la escritura" a traves del texto autobiografico en Julio Cortazar y Alejandra Pizarnik." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1458893459.
Full text
33
Mavrokordatos, Amanda. "Cultivating creativity: the relationship between inclusive leadership, psychological safety, vitality, openness to experience and creative work involvement." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/97996.
Full textAbstract:
Thesis (MCom)--Stellenbosch University, 2015ENGLISH ABSTRACT : Organisations are rapidly discovering the invaluable influence of creativity and innovation at work. An individual’s capacity to engage creatively with his or her work is becoming increasingly recognised as integral for organisational success and competitive advantage. The quest for an increase in creative output is driven by the following question: what causes variance in creative work involvement? The purpose of this study was to address the question of variance in creative work involvement across a variety of industries. In order to do so empirically, a structural model was developed after an interrogation of the literature to present the hypothesised relationships suggested through previous research. In essence, this study explored the significance of four relationships: (1) the effect of psychological safety on creative work involvement, (2) the effect of inclusive leadership on psychological safety, (3) the effect of openness to experience on creative work involvement, and (4) the moderating effect of vitality on the relationship between psychological safety and creative work involvement. The research approach was a quantitative study in which an ex post facto correlation research design was used. A total of 39 organisations participated in the study; they are located in the Western Cape, Eastern Cape and Gauteng provinces in South Africa. An electronic self-administered survey that consisted of six sections and 39 items was distributed to employees in varying roles and across different industries. Participation was voluntary; 519 employees engaged in the survey. Multiple regression analysis was used in order to evaluate the data collected. Creative work involvement, psychological safety and vitality were measured by utilising the measurement items presented by Kark and Carmeli (2009). Inclusive leadership was measured using nine items from Carmeli, Reiter-Palmon and Ziv (2010). Lastly, openness to experience was measured using the HEXACO-60 survey (Lee & Ashton, 2004), of which only the 10 items pertaining to this construct were included in the survey presented to the participants. The findings reveal that psychological safety had a significant effect on creative work involvement, and inclusive leadership was shown to have a significant effect on psychological safety. In addition, there was a significant positive relationship between openness to experience and creative work involvement. Moreover, vitality was shown not to have a significant moderating effect on the relationship between psychological safety and creative work involvement. It also was found that the relationship between vitality and creative work involvement was significant. The discussions and implications of this research suggest a number of implementations with which managers can engage in order to stimulate creative behaviour and further encourage creative work involvement through strategic decision making at a variety of organisational levels. Greater levels of creative work engagement can be achieved for the overall success of the organisation, which could have an impact on the global community at large.
AFRIKAANSE OPSOMMING : Organisasies besef toenemend die onskatbare waarde van kreatiwiteit en innovasie in die werkplek. ’n Individu se vermoë om kreatief met sy of haar werk om te gaan, word toenemend erken as noodsaaklik vir ’n organisasie se sukses en mededingende voordeel (Florida & Goodnight, 2005, soos Bissola & Imperatori, 2011). Die soeke na ’n toename in kreatiewe uitset/produksie/opbrengs/vermoë word gedryf deur die volgende vraag: wat veroorsaak variansie in kreatiewe werksbetrokkenheid? Die doel van hierdie studie was om die vraag oor variansie in kreatiewe werksbetrokkenheid in ’n verskeidenheid industrieë aan te spreek. Om dit empiries te doen, is ’n strukturele model, na bestudering van die literatuur, ontwikkel wat die hipotetiese verhoudinge uitbeeld wat deur vorige navorsing gesuggereer is. In wese verken hierdie studie die beduidendheid van vier verhoudinge: (1) die effek van sielkundige veiligheid op kreatiewe werksbetrokkenheid, (2) die effek van inklusiewe leierskap op sielkundige veiligheid, (3) die effek van ontvanklikheid vir ervaring op kreatiewe werksbetrokkenheid, en (4) die modererende effek van lewenskragtigheid op die verhouding tussen sielkundige veiligheid en kreatiewe werksbetrokkenheid. Die navorsingswerkswyse is ‘n kwantitatiewe studie waarin ʼn ex post facto-korrelasionele navorsingsontwerp gebruik is. ’n Totaal van 39 organisasies, geleë in die Wes-Kaap, Oos-Kaap en Gauteng, het aan die studie deelgeneem. ’n Elektroniese selfgeadministreerde vraelys, bestaande uit ses afdelings en 39 items, is onder werknemers in verskeie rolle en in verskeie industrieë versprei. Deelname was vrywillig en 519 werknemers het die vraelys voltooi. Meervoudige regressie-analise is gebruik om die ingesamelde data te evalueer. Kreatiewe werksbetrokkenheid, sielkundige veiligheid en lewenskragtigheid is gemeet met behulp van die metings-items wat deur Kark and Carmeli (2009) voorgestel is. Inklusiewe leierskap is gemeet met nege items van Carmeli, Reiter-Palmon en Ziv (2010). Laastens is die ontvanklikheid vir ervaring gemeet met gebruik van die HEXACO-60 opname (Lee & Ashton, 2004), waarvan slegs die 10 items wat betrekking het op hierdie konstruk ingesluit is in die vraelys wat aan die deelnemers voorgelê is. Die bevindinge het getoon dat sielkundige veiligheid ’n beduidende effek op kreatiewe werksbetrokkenheid het en dat inklusiewe leierskap ‘n beduidende effek op sielkundige veiligheid het. Bykomend hiertoe is ’n beduidende positiewe verwantskap tussen ontvanklikheid vir ervaring en kreatiewe werksbetrokkenheid gevind. Verder is aangedui dat lewenskragtigheid nie ’n beduidende modererende effek op die verwantskap tussen sielkundige veiligheid en kreatiewe werksbetrokkenheid het nie. Daar is ook bevind dat die verwantskap tussen lewenskragtigheid en kreatiewe werksbetrokkenheid beduidend is. In die bespreking en implikasies van hierdie navorsing word ’n aantal voorstelle gemaak wat bestuurders kan implementeer om kreatiewe gedrag te stimuleer en kreatiewe werksbetrokkenheid verder aan te moedig deur strategiese besluitneming op ’n verskeidenheid van organisatoriese vlakke. Groter vlakke van kreatiewe werksbetrokkenheid kan bereik word wat die oorkoepelende sukses van ’n organisasie bevorder, wat dan weer ’n impak op die globale gemeenskap kan hê.
34
Feest, Kathy. "Learning from the pre registration house officer experience : lessons from conventional interpretation and the creative narrative approach." Thesis, University of Bristol, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.398782.
Full text
35
O'Donnell, Lisa. "The death of bees and closed doors : exploring the impact of experience and trauma in creative writing." Thesis, University of Huddersfield, 2018. http://eprints.hud.ac.uk/id/eprint/34735/.
Full textAbstract:
A Ph.D. by publication comprising two of my books The Death Of Bees and Closed Doors exploring the impact of experience on creative writing practices and techniques used when writing from personal experience. The exegesis is accompanied by a reflective and critical examination aiming to analyze how authors creatively translate experience into their work. Reflecting on my own creative process, I propose a critical inspection of the autobiographical and the personal influences that impacted the creation of various narrative personas behind The Death Of Bees and Closed Doors. Specifically, this thesis reveals the negotiation between real and fictive in order to preserve the truth. The exegesis will also look at how an experiential autoethnographic approach can raise awareness of key social and political issues through the invention of narrative derived from recognizable experiences. In conclusion, I propose narrative persona is inextricably linked to personal experience in all my published work and this contention can be proved within the exegesis, meaningfully contributing to literary discussion regards creative techniques used by authors to translate the autobiographic in their creative work. This unique research and revelation reinvigorates the debate around the impact of creatively sharing trauma in fiction and the effect this has on the reader seeking authentic narratives reflecting a shared and universal experience.
36
McCartney, Michelle. "'When normal words just aren't enough' : the experience and significance of creative writing at times of personal difficulty." Thesis, Canterbury Christ Church University, 2011. http://create.canterbury.ac.uk/10339/.
Full textAbstract:
Section A consists of a review of the literature relating the therapeutic use of creative writing. It highlights gaps in the literature and suggesting potential avenues of further research. Section B presents the findings of a phenomenological study which aimed to explore the experience and significance of creative writing at times of personal difficulty through the analysis of written accounts. Method. Twenty one people who had personal experience of creative writing in the context of difficult life experiences submitted written accounts. These were analysed using Interpretative Phenomenological Analysis (IPA) (Smith, Larkin & Flowers, 2009). Results. Four main themes were identified: 1) Struggle with a difficult experience, 2) Turning to creative writing, 3) Dealing with it ‘as a matter of words’ and 4) Rejoining the world. A conceptual model illustrating how these master themes are related is presented. Conclusion. Creative writing was deemed to have played an important and meaningful role in helping participants to integrate and move beyond difficult life experiences. Limitations and clinical implications of the study are discussed and suggestions are made for future research. Section C involves a critical appraisal of the study presented in Section B. Reflections on the process of the study, as well as further implications and clinical applications are discussed.
37
Lee, Ya-Chi. "Promoting creative English teaching using Chinese culture for elementary schooling in Taiwan." CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/2952.
Full textAbstract:
To make English an interesting subject for elementary school students, teachers need to know what material attracts students, how to motivate students, and how to release students' creativity. Therefore, This project incorporates the concepts of multiple intelligences, motivation, culture and language, and development of creativity to provide a model for promoting creative English teaching in the elementary schools of Taiwan. In addition, the content of the unit, based on Chinese culture and the comparison of Chinese and American cultures, is an innovative curriculum designed to motivate students to learn English.
38
Liao, Huakai. "A Unified Framework of the Shared Aesthetic Experience." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1307.
Full textAbstract:
Aesthetic expressions have been seen as the manifest of human culture. The psychology of aesthetics have proposed various models, describing the various phenomena related to aesthetic experience, such as sensory pleasure derived from aesthetic stimuli, emotional response toward aesthetic depiction, cognitive mastering over aesthetic emotion, etc. However, further examination reveals current models have theoretical limits for the explanation of society-wide aesthetic preference due to limited scope of focus. Thus, the current project proposes a new theoretical framework to describe the process through which the society comes to converge on aesthetic preference. Examination of related theories and experimental evidence shows that the convergence process of our aesthetic preference is a function of several inter-related yet independent psychological mechanisms at the perceptual, affective, and cognitive stages of aesthetic processing. The proposed framework can inform future research in general psychology as well as other applications, such as the making of creative machines.Aesthetic expressions have been seen as the manifest of human culture. The psychology of aesthetics have proposed various models, describing the various phenomena related to aesthetic experience, such as sensory pleasure derived from aesthetic stimuli, emotional response toward aesthetic depiction, cognitive mastering over aesthetic emotion, etc. However, further examination reveals current models have theoretical limits for the explanation of society-wide aesthetic preference due to limited scope of focus. Thus, the current project proposes a new theoretical framework to describe the process through which the society comes to converge on aesthetic preference. Examination of related theories and experimental evidence shows that the convergence process of our aesthetic preference is a function of several inter-related yet independent psychological mechanisms at the perceptual, affective, and cognitive stages of aesthetic processing. The proposed framework can inform future research in general psychology as well as other applications, such as the making of creative machines.
39
Simpson, L. "What's in a moment? : using creative practices to capture emotion and experience in career turning points : an autoethnographic exploration." Thesis, Canterbury Christ Church University, 2018. http://create.canterbury.ac.uk/17917/.
Full textAbstract:
This thesis considers career turning points in the lives of four women who work in educational guidance. I am one of these women. As a practising Career Guidance Counsellor, I have seen people struggle to make career-related decisions, yet in their pasts they seemingly made autonomous decisions with little thought other than it seemed right at the time. My own understanding of decision making, influenced by my cultural heritage, appeared to be informed by intuitive responses and chance occurrences. I wanted to explore if others had similar experiences, to satisfy a personal curiosity and a professional desire to see if creative practices could capture the emotion and experience of past career turning points. Perhaps they can draw upon the knowledge gained in times of uncertainty to aid future decision-making. The study is also the story of my doctoral voyage and utilising an autoethnographic approach, enabled me to position myself in the work. Autoethnography, is both method and methodology, exploring the writer's experience of life. The tensions between the distinct roles of researcher, participant and observer of both, were explored. I wrote my story and initial, loosely-structured interviews captured the life-career stories of the other participants. Following the first interview, they were given time and space to create artefacts of their own choosing. Second interviews used questions, but allowed for the natural voicing of thoughts to maintain the informality of casual conversation. All interviews were personally transcribed and shared with co-participants to ensure transparency and accuracy. Transcriptions were utilised to create case studies and my narrative of each interview was also recorded in a personal journal. As such, there was a layering to each experience, different 'truths' of the same event. Creativity flowed through this work in the form of poetic text, imaginative prose, journal excerpts and a fictionalised chapter. The aim was to provide genuineness and trustworthiness as verification. Adopting a holistic approach to analysis enabled thoughts to emerge prior to, during and after interactions. A proforma (Merrill and West, 2009) provided the vehicle to capture the process and emerging themes. Additionally, writing on the transcripts in coloured ink, added a playful quality to investigations. Writing as inquiry (Richardson, 2000, 2008), encouraged an openness to analysis as I displayed both the writing process and product. In addition to Richardson, my theoretical framework was supported by the work of Jarvis (2006), and his notion of 'disjuncture', when something happens which makes us stop and reconsider our positioning in the world, was illuminating. Rogers' (1961, 1980) inclusive consideration of the whole person, rather than a separation of the various characteristics of a life, has informed my practice to accept that occupation is but one life role. A person can have many roles which can influence a life-career. Throughout the work I have attempted to use rich textual descriptions to show rather than tell the narrative. This is pertinent to evocative autoethnography as extolled by Ellis (2004) and in doing so, I hoped to draw others into the text. Kahneman's (2011) discussions on rational and intuitive thinking and Krumboltz and Levin's (2004) understanding of happenstance or chance, have also been a main consideration in this work. Such experiences can be reflected on as we construct our working stories (Savickas, 2011). These theoretical 'friends' and others, made me review my positioning in the study and as a result, I gained new knowledge about myself and my place in the world. I have discovered that creative practices appeared to help participants to learn something about themselves; they gained personal insight by engaging with deep reflective and reflexive processes. Knowledge which could be used to inform their future career decision-making when they are feeling uncertain. As such, creative practices could help individuals think again, with a new perspective.
40
Varela, Daniela Renee. "The Netflix Experience : Reshaping the Creative Process: Cultural Co-Production of Content: A user-focus approach to recommendation algorithms." Thesis, Södertörns högskola, Medie- och kommunikationsvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-33088.
Full textAbstract:
This project proposes a user-focused approach to study the algorithm logic of on-demand apps, using Netflix as a case study. The main research interest is the perception that the user has about the suggestion and recommendation logic of Netflix. In order to gather the information, a walkthrough method on Netflix was applied as well as personal, in-depth think aloud interviews were carried out. The sample consisted on a selection of heavy users, millennials ex-pats living in Singapore and working in the creative industry to get specific insights on their relationship with the algorithm. To analyze the gathered material, qualitative content analysis was carried out. This kind of study is important within today’s contemporary media environment to have integral approach to users perceptions instead of just analytical figures and numbers. The theoretical context used to enlight some of the conclusions discussed on this research were based on the study of media in everyday life, global cultural industry studies, as well as algorithm culture and the science and technology studies. How algorithms are perceived have major repercussions not only on on-demand apps, technology business models or entertainment industry but also an intense influence on the way people consume content. Re-thinking the user as a co-producer of information and knowledge, considering some of the implications this phenomenon might have on the creative industry and how that affects on our daily life are some of the issues this research elaborated on. It can be said that the selected sample appreciates the suggestion logics and it has multiple functionalities: recommendation, curation, entertainment, companionship and leisure. Netflix Originals are very well validated; being one of the main attractions of the app. Interface, functionality and features are also items that the sample positively highlights. The accuracy perception of the algorithm is good, although low when compared to other countries where the sample used the app. The same applies to the amount of content and titles available, being these last two, issues that Netflix could improve. This research was conducted for 8 months, from October 2016 to May 2017, for Sodertorn University – Stockholm, Sweden, with the guidance and support of Associate Professor Anne Kaun.
41
Siow-KianTan and 陳垗鄄. "Creative Experience in Creative Tourism: A Tourist’s Perspective." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/jdj9hg.
Full textAbstract:
博士國立成功大學
創意產業設計研究所
102
This dissertation aims to construct a model of creative experience in creative tourism, and to characterize creative tourists and their perceptions of creative experiences at tourism sites. Creative tourism is receiving an increasing amount of attention, although the concept remains rather vague, and more research is needed. This study first explores the essence of ‘creativity’ in ‘creative tourism’ from a tourist perspective. Data was collected using observations and in-depth interviews with tourists at four ‘Creative Life Industry’ sites in Taiwan. Grounded theory approach was employed, and the findings show that ‘outer interactions’ and ‘inner reflections’ construct the model of tourists’ creative experience. The former refer to tourists’ interactions with environment, people, and product/service/experience, while the latter refer to consciousness/awareness, needs and creativity, and these dimensions ‘interact’ in tourists’ inner-self throughout the experience. Moreover, ‘consciousness/awareness’ is a prerequisite for creative experience, differentiating it from other types of experiences. However, how a particular mix of factors interact and define an individual’s perceptions of a creative experience may vary among different types of creative tourists. Hence, this study continually investigates how tourists perceive creativity and construct their creative experiences at creative tourism sites. Q methodology was used to reveal the tourists’ inherent subjectivity of creative experiences with regard to the constructions of personal meaning. Five distinct groups of creative tourists were identified: novelty-seekers, knowledge and skills learners, those who are aware of their travel partners’ growth, those who are aware of green issues, and the relax and leisure type. Each consists of a different composition of factors which can provide new insights into how different tourists construct their personal creative experiences.
42
Lin, Ching-Yi, and 林靜宜. "Investigation the Influence of Creative Motivation and Flow Experience on Personal Creative Performance, Creation Satisfaction and Re-Creative Intention." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/58985513205025935028.
Full textAbstract:
碩士國立高雄大學
經濟管理研究所
96
The 21st century is called the era of creative economy, the concept of creativity and innovation are the key factors responding to the rapidly changing enterprises and countries. Since 1997, the Great Britain and many other countries began pursuing the movement of creative cultural, consequently, the creative culture industry nowadays have become one of the most important industries in the world. Recently in Taiwan 2002, the theme of "Creative Taiwan" is treated as the new vision in planning the future government. While the creativity is the important resource to individuals, enterprises, and countries, according to the theory of individual creative action that is proposed by Ford (1996), motivation will determinate whether the individuals behave creatively or habitually; therein, the capability beliefs and emotion are the important components of motivation. Therefore, this study explores individuals’ creative motivation (including different levels of self-efficacy, positive and negative mood) and flow experience, and their impact on ones’ creative performance, creation satisfaction, and re-creative intention. A survey was conduct to a total of 486 subjects, which is comprised of two different populations: one is the voluntary creators (creators of from fashion market) and the semi-voluntary creators (systems developers), resulting in 396 valid samples, for an overall response rate of 81.5%. The results show that in the group of volunteer subjects (valid subjects N=241), five kinds of self-efficacy established a hieratical relationship; the creative self-efficacy, positive mood, and flow experience have positive impact on individuals’ creative performance. Positive mood and creative performance have positive influence on creation satisfaction and re-creative intentions. Flow experience influence on ones’ positive and negative mood. As for the semi-voluntary group (N=155), the hierarchal relationships of self-efficacy are significant except the relationship between resilience self-efficacy and task self-efficacy. Creative self-efficacy and positive mood have positive impact on creative performance. Creative performance, creative self-efficacy and positive mood have positive influence on ones’ creation satisfaction. Creative self-efficacy and positive mood have positive impact on re-creative intention. As for the flow experience has impact on positive and negative mood. Altogether, the higher level of creative self-efficacy, positive mood and flow experience in creation can lead to a higher level of creative performance, creation satisfaction, and re-creation intentions. The implications to academics and business are discussed.
43
Chen, Mei-Li, and 陳美莉. "Young Children’s Experience in Creative Movement Activities." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/24037243622260409788.
Full textAbstract:
碩士國立臺東大學
幼兒教育學系碩士班
93
This study was based on Csikszentmihalyi's (1975. 1988, 1990. 1997a)) theory of flow experience. The purpose of this study was to investigate young children’s flow experience in creative movement activities. Participants were ten 5- and 6-year-old children at a private kindergarten in Taitung. To achieve the purpose, eight 1-hour classes were videotaped and analyzed via event sampling. The learning process of the young children was observed in a natural classroom environment. Analysis was performed by looking at the four processes and four types of creative movement activities in the eight classes. The Flow Indicators in Musical Activities (FIMA) developed by Custodero (1998) was utilized for data analysis. One-way ANOVA was employed for analysis. Results of this study include： Young children’s flow experience in the four processes and types of the creative movement activities was significantly different. 1.In the Affect Indicators: In the Warm Up Activity and Body Shape Movement, young children’s affect was significantly. 2.In the Behavioral Indicators: In the Main Activity; Rhythmic Movement and Equipments Movement, young children’s Behavior ; Challenge ;Imitation dimensions significant different to other Activity. As a conclusion, constructive suggestions were made for early childhood teachers, and the directions for future research.
44
(David)Tsai, I.-Tsang, and 蔡亦昌. "Developing a Value Co-creation Model for Experience Communication in Creative Design Industry." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/8hqzsm.
Full textAbstract:
碩士國立成功大學
創意產業設計研究所
103
This action research explores the customer experience management strategies in the background of changing consumer values from a shift of Agrarian Economy to Transformation Economy. According to the literature and discussions shared with Yeong-Jin Furniture Factory, the standpoint is looked upon from the perspective of experience communication values as the determinant of sustainable creative design industry. This is conducted through a practice-based research that attempts to identify novel approaches to render these experiences, through utilizing shared value and experience co-creation by designing encounters between firm and consumer. This research scope includes the background of theoretical reviews along with case study challenges provided by firms from the creative design industry, in achieving new experience values by the lens of the Transformation Economy. The contribution to this study will be in the disciplines of marketing and brand strategic managements of changing economic value. An action research plan was prepared and proposed to Yeong Jin Wooden Craft Furnishing business for collaboration sharing a practiced-based research motivation in co-creating peak-experience encounters. The research utilizes qualitative interactive research methods of in-depth interview, focus groups and moderate participatory approach to clarify new consumer sensibilities and opportunities for experience value designs through encounters in retail branches. The process is three fold; first, is a pre-understanding of current business imperatives and relevant literature findings, second, collecting consumer sensibilities by investigating field data and finally, implementing acquired data into model development for co-creating firm/consumer experience encounters. Pre-understanding is an introduction of the research background literature and understanding of current firm operations along with company managers to hypothesize essential themes. Following through, by collecting and analyzing primary field data accordingly to those initial firm assumptions via in-depth interviewing consumers encounters in retail branches, then classifying consumer characteristics for a comprehensive implementation in enhancing experience event offerings. Lastly, the research will take a moderate participatory approach in these experience events to study outcomes of the created firm/consumer encounters, reflecting their perceived experiences as guidelines for future implementation. All in all, the principles will construct a customer experience strategy model framework in supporting encounter preferences that will shed new light for business imperatives and gain firms new perspectives in consumer sensibilities pro market sustainability. Preliminary studies in literature findings have suggested the future of market competition waging upon the keen understanding of changing business and consumer relationships. In the era of consumers empowered with the knowledge in making choices, market values are not anymore firm centric but co-created, shared by consumers and societal norms. Businesses today are obliged to provide commodities on behalf of rendering authentic experience encounters that may in turn attract consumption much effectively than staking exclusively on the creativity of product designing. The research on Yeong Jin furniture factory explores a good representation for Taiwan’s mid-small enterprises that face the challenges in the transformation of manufacture base to an original brand firm. This investigation reveals current situational problems as well as possible solutions practical for sustainability of the greater industry of creative design business.
45
Cook, Gabriel I. "How the evaluation of recent experience constrains creative activities." 2002. http://purl.galileo.usg.edu/uga%5Fetd/cook%5Fgabriel%5Fi%5F200212%5Fms.
Full text
46
LAO, YI-LUN, and 勞翌倫. "IT and Experience Assimilate into Creative Teaching：A Performance Analysis." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/sfh4a2.
Full textAbstract:
碩士逢甲大學
合作經濟暨社會事業經營學系
106
In the past, most of the teaching experience was based on traditional teaching methods, which made it difficult for students to concentrate on listening to the lesson during the course of class. It is therefore necessary to change the existing traditional teaching methods to make students more competitive in the global market. This study focuses on the integration of informational technology (ie, MOOCs) and experience (ie, CDIO) into the innovative teaching methods of teaching, and the impact on teaching effectiveness. The course of the freshman social work of the Department of Cooperative Economics and Social Business Management of Fengjia University is the subject of research and measurement. The analysis was performed by the main effect test of the dependent sample T test and the two-factor variance analysis. The results show that information technology and experience are integrated into the innovative teaching to satisfy the overall teaching results. The male students are obviously higher than the female students; the higher the recognition of the students, the higher the satisfaction of the overall teaching; the lower the degree of internet addiction of students, the lesson The higher the satisfaction of teaching; the more students who like to participate in the experience, the higher the satisfaction of the course teaching; the more students who think that the outdoor activities can be suppressed, the satisfaction of the course teaching is slightly reduced; the frequency of students participating in outdoor activities is more High, the higher the satisfaction of the course teaching; the students who participate in outdoor activities for a long time are more satisfied with the course teaching.
47
"The effect of a creative drama experience on the adolescent child." Thesis, 2014. http://hdl.handle.net/10210/12838.
Full text
48
Lin, Ping-Hua, and 林秉樺. "The Experience Business Model of Creative Life Industries in Taiwan." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/s7s67t.
Full textAbstract:
碩士銘傳大學
觀光研究所碩士在職專班
95
Creative Life will be the vision of people chasing for a more quality and beautiful life. This thesis aims to construct a practical business model suitable for the Creative Life Industry that based on the experience and business model theories which via to describe four Cases how they develop their experience creative. Here we have the conclusions regarding the experience business models of Creative Life Industry in Taiwan: 1. To set up a unique topic and creative components via the story. 2. To mature the story and favor for the experience branding, deep core knowledge, a unique topic and multifunctional creative components are necessary. 3. A serious experience design procedure will improve the experience contents and quality, and creative will form the competitive advantage. 4. To making profit, the business should transfer the experience activities into reality products. And, multi-purpose functional operating is necessary also. 5. To Deep the core knowledge and to cooperative outside sources will favor the brand development. Forecasting the future business development, a more beautiful life and deeply experience of dinning, dressing, living, traffic, educating, and amusement will be more organized by the core knowledge and creative business model. And, finally, we hope this business model will real favor the other general enterprises to form their experience activities and products also.
49
Syu, Jia Jia, and 許嘉家. "The Relationship Among Personal Epistemology Belief, Creative Personality and Creative Life Experience of High School Students in Taiwan." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/50703894465437048130.
Full textAbstract:
碩士國立政治大學
教育研究所
95
This study is to explore the relationship among personal epistemology belief, creative personality and creative life experience. Three scales were used to measure those constructs, “Personal Epistemology Scale for High School Student”, “Creative Personality Scale”, and “Creative Life Experience Scale”. There are 803 high school students from north, middle and south areas of Taiwan participated in this survey. The descriptive statistic, Cronbach’s α coefficient analysis, explorative factor analysis, confirmative factor analysis, Pearson’s correlation analysis, independent student test, multiple regression analysis and classical correlation analysis were used to analysis data. The main findings of this study were: 1. The personal epistemology belief of second grade high school students were naiver than first grades students, and with less creative personality. 2. The one who tends to hold naïve personal epistemology belief, may obey tradition less, and with less witty and braveness. 3. The one who tends to have naïve personal epistemology belief, would have less creative experience. 4. The one with more creative personality, the more creative life experiences he or she has. 5.The less differentiation of personal epistemology belief, the less creative personality and creative life experience one has. Based on the findings, the following were suggested for teaching and future research: For teaching: 1. Learning by “knowing, reflection, action and practice” 2. Using cross-areas and discussion instruction. 3. Strengthen students’ positive thinking for learning. For future research: 1. To investigate the domain specific of personal epistemology belief thinking. 2. Conduct the relation between personal epistemology belief and creativity by experimental method. 3. To explore the relations of high school students’ entity intelligence belief and learning motivation.
50
Chang, Shuhua, and 張淑華. "The Conceptual Model of Total Customer Experience for Creative Life Industries." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/64131176188626098069.
Full textAbstract:
博士國立臺灣藝術大學
藝術管理與文化政策研究所
100
In 2002, the Taiwanese government proposed the “Challenge 2008 – National Development Plan,” and admitted the creative life industry into the “Cultural and Creative Industry Development Plan” as one of the categories for the cultural and creative industries. The creative life industry integrates aesthetic and cultural elements to develop experienced products and services based on existing industries, and inspires the establishment of innovative operational and service models through different experiences. The creative life industry extends aesthetic and cultural elements, which are the core of the cultural and creative industries, to agriculture, manufacturing, and the services sectors to add creative values to these industries. The creative life industry provides customer experiences based on operational requirements. The contents of the experiences would affect the design of the operational model and the value of customer experiences. A theoretical model for the content of the experiences provided by the creative life industry is yet to be constructed. Therefore, the objectives of this study are to: (1) explore the contents and the measurement model for the total customer experiences; (2) discuss the different types of creative life industries and the differences in customer experience evaluations to assist the design of customer experiences; and (3) explore the strategies of the experience design for creative life industries and provide references for experience design management. In this study, the author explored (1) the dimension scope and model construction of the total customer experience, (2) the visitors’ perceptions of the customer experiences provided by the creative life industry, (3) the differences in visitors’ perceptions of the total customer experiences when the visitors’ backgrounds are varied, and (4) the strategies adopted in the experience design of the creative life industry. The results of this study showed that (1) aesthetic, cultural, and economic perspectives would supplement the development of the experience management in the creative life industry; (2) the total customer experience measurement model was constructed through the relationships among experience patterns, clues of the experience process, results of the experience evaluations, subjective norms, perceived behavioral control, and behavioral intentions; (3) background factors such as residential areas, companions in the visits, and income indicated different demands from diverse lifestyles and should be integrated into the customer experience management; (4) improving the relationship management in customer experience can increase the effectiveness of word-of-mouth marketing; and (5) the reflection on the strategies of experience design are as follows: (a) using emotions or tastes to set the tone for lifestyles; (b) using the expressive value to highlight the features of the creative life industry and emphasize the relationship with the consumers’ return on investment value; (c) different types of creative life industries should learn from each other’s value characteristics from the experience provided; (d) experience patterns should comprise a combination of primary and secondary strategies; (e) improving the design of the starting and peak points based on the clues of the experience process; and (f) creating high customer perceived usefulness to overcome the restrictions of convenient transportation and enhance the effects of information collection decisions. The academic contributions of this study are as follows: (1) incorporate the aesthetic theories and cultural-economic perspectives into the experience economy and value measurement of consumer experiences to highlight the characteristics of the management and knowledge application by the creative life industry; (2) combine the experience economy, experience process management, experiential value, and related behavioral theories to offer a theory integration. The industrial contributions of this study are as follows: (1) established a scale for the total customer experience to create a performance measurement tool for the experiences provided by the creative life industry; and (2) developed principles for the customer experience design strategy to facilitate the execution on experience design. In the aspect of practical policy, we employ the complete customer experience measurement model to provide reference for content selection and counseling practices.