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Journal articles on the topic 'Creative experience'

To see the other types of publications on this topic, follow the link: Creative experience.

Author: Grafiati

Published: 4 June 2021

Last updated: 27 April 2022

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1

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

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Creative activities assume a measure of importance within what is known as the creative economy. Little is known, however, about the challenges and prospects that present themselves to those who work in those activities that are considered to be creative. The objective of this paper is to analyze workers' experiences, especially in individual projects. Statements were taken from workers who have already worked in companies. The experiences of these workers were analyzed on the basis of what they express in relation to the items: their relationship with the activity, the product, or the result of the work; their relationship with the time and value of the work; their understanding of creation; their possibility for creating; their mastery of the work process; and their understanding of the work process. It was found that the women in the cases chosen are highly trained for developing their particular activity and have a relationship with it that is highly positive. They recognize that their activity is of value to society. The value of the work, however, is related to the time spent on the activity, which has not been remunerated for a long time. There are challenges for those who depend on the time taken to sell the product, a process that is carried out with little support. Everyone masters and understands the work process undertaken in the activity, and they identify the product, or the result of their work. They realize that there are many possibilities for creation. Even when an idea has been developed before, there is the possibility of innovating.

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2

Kušnírová, Eva. "Creative Workshop – Creative Activity of Undergraduate Students in The Process of Theatre Creation." Review of Artistic Education 17, no. 1 (March 1, 2019): 159–70. http://dx.doi.org/10.2478/rae-2019-0017.

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Abstract Within the frame of the study field of Aesthetics at Faculty of Arts Prešov University in Prešov, the students have an opportunity to acquire abilities and skills also in creative artistic activities. One of the possibilities is to participate in the creative workshops as the part of Academic Prešov Festival that is very popular with the participants. The actors of a creative workshop can experience, in a short period of time (mostly weekly), an intense creative process in which a young undergraduate student headed by a professional, in the amateur communication with a professional, can experience an unrepeatable experience of creativity, creation of theatrical work as well as the distinctive level of theatrical communication on the axis of participant-lecture-process-making-theatrical work-viewer. In this way, he discovers potential artistic, authentic, and generationally specific dispositions.

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Rodigina, N., M. Logina, V. Musikhin, and V. Shabunin. "Creative economy: foreign experience." Mezhdunarodnaja jekonomika (The World Economics), no. 7 (July 1, 2020): 10–21. http://dx.doi.org/10.33920/vne-04-2007-02.

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The article deals with the topic of the creative economy and its role in modern world trade. The study analyzes quantitative indicators, provides a comparative analysis of creative industries in the regional breakdown, highlights and describes the characteristics of current trends. Special attention is paid to the experience of Germany and China as leaders in the development of creative industries of the national economy.

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4

Hamilton, Alex J. "A creative intercalated experience." BMJ 332, Suppl S4 (April 1, 2006): 0604175b. http://dx.doi.org/10.1136/sbmj.0604175b.

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5

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

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

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

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Developing teenage students’ self-confidence could be difficult. Their age, likes, beliefs, attitudes, and perceptions are constant obstacles to learning a new language, even more, if they do not feel comfortable in their classroom. This article reflects on the implementation of creative writing and how other aspects as critical thinking, development of language skills, motivation, among others, can be improved while focusing on writing in a “funny way” based on the information gathered through different researches and personal teaching experience.

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8

Lozina, O. I., V. N. Rogozhnikova, and L. A. Tutov. "Model of a Creative Man in Modern Economy: Experience of Creation." Scientific Research of Faculty of Economics. Electronic Journal 12, no. 4 (December 31, 2020): 7–20. http://dx.doi.org/10.38050/2078-3809-2020-12-4-7-20.

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This article is an experience of creating a model of a creative man in the economy. Economics is a creative activity, because the essence of Economics is the constant creation of new things: new technologies, products, services, institutions, and the economic reality itself. Creativity is also one of the most important characteristics of the age of uncertainty – creative work is opposed to mechanical work that robots can perform, and needs special protection in the world of algorithms and opportunistic behavior; creativity is impossible without freedom, which depends on a variety of individual and institutional factors; creativity is expressed in the creation of new technologies that radically change the world and people. Thus, creativity is a factor of unpredictability, novelty in human behavior, so for a modern economy focused on the analysis of this behavior, the problem of creativity is particularly acute.The purpose of the work is to create a model of a creative person in the economy. The paper uses comparative analysis, systematic and interdisciplinary approaches, and a historical approach.

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Falavarjani, Mehrdad Fazeli, and Forozan Irandust. "Does Exposure to Multicultural Experience Enhance All Individuals’ Creative Problem-Solving Ability?" International Journal of Social Science Research 5, no. 2 (August 14, 2017): 14. http://dx.doi.org/10.5296/ijssr.v5i2.11173.

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Today’s diverse community often includes culturally rich environments that contain cues pertaining to more than one culture. These cultural cues can shape cognitive processes, such as creativity. This study aims to investigate the interactive effects of Openness to Experience, Extroversion and Multicultural Experience (including the real and desired experiences) on creative problem-solving ability using the quantitative method on a diverse sample of international students (N= 102). The findings indicate that the interactive effect of extensive multicultural experience and Openness to Experience predict the creative solution. It means the multicultural experience is beneficial for individuals to foster creative ability when they are highly open to experience, whereas, among those who are not open, more extensive multicultural experience do not lead to enhancement of creating the correct solution. Furthermore, this interaction term was not pronounced among the extroverted individuals. Implications of these findings for promoting creativity in learning environments are discussed.

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10

Ihamäki, Pirita. "Geocachers: the creative tourism experience." Journal of Hospitality and Tourism Technology 3, no. 3 (September 28, 2012): 152–75. http://dx.doi.org/10.1108/17579881211264468.

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Leus, E. V. "EXPERIENCE IN CREATIVE DEVELOPMENT TRAINING." Science and Practice in Education: Electronic Scientific Journal, no. 5 (2021): 31–37. http://dx.doi.org/10.54158/27132838_2021_5_31.

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12

Tähtinen, Sari, Inka Kojo, and Suvi Nenonen. "User experience of creative class district: Punavuori neighborhood." Facilities 34, no. 9/10 (July 4, 2016): 580–94. http://dx.doi.org/10.1108/f-12-2014-0096.

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Purpose This paper aims to present empirical testing of an experience-based usability framework to study an urban area. The framework is applied to the Punavuori neighbourhood in Helsinki, Finland, to understand the issues that make this neighbourhood attractive to its users. Design/methodology/approach The experience-based usability framework for an urban area study is the 6T-model of experience of place, which was developed by combining service and experience design tools and methods as well as former research to assess the user’s experience. The framework is tested by analysing data gathered from documents, a walkthrough of the neighbourhood and interviews. Findings This paper interprets users’ experiences of the Punavuori area using the 6T-model to capture new perspectives on user-centric urban design and the management of places. The identified connections can be a starting point for investigations into users’ experiences as a part of the usability of an urban area. Research limitations/implications The results represent a beginning study into the usability and the usability experience of individuals in the built environment. The preliminary testing of the experience framework is used as a framework for the analysis of the secondary data. The user data have not been gathered in the broadest sense. Practical implications The results can be used in other experience-based research for (re-)design an existing or new area that attracts new inhabitants and business. The results can be applied by urban planners as well as place managers. Originality/value The identified points of connection provide a valuable approach to capture and discuss about user experiences in complex urban context.

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Agranovich, Victoria Borisovna, Natalia Andreevna Kolodiy, and Viacheslav Vladimirovich Kolodiy. "THE EXPERIENCE OF CREATING URBAN CREATIVE CLUSTERS: SPECIFICITY OF REGIONS." Sovremennye issledovaniya sotsialnykh problem, no. 3 (March 10, 2016): 247. http://dx.doi.org/10.12731/2218-7405-2016-3-20.

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Chang, Lan-Lan, Kenneth F. Backman, and Yu Chih Huang. "Creative tourism: a preliminary examination of creative tourists’ motivation, experience, perceived value and revisit intention." International Journal of Culture, Tourism and Hospitality Research 8, no. 4 (September 30, 2014): 401–19. http://dx.doi.org/10.1108/ijcthr-04-2014-0032.

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Purpose – The purpose of this study is to investigate the relationships between tourists’ motivation, experience, perceived value and revisit intentions to creative tourism destinations. The ever-growing concept of creativity has been introduced into the tourism field. Creative tourism has been viewed as a strategy to regenerate destinations physically, culturally and socially. To develop tourism products and provide services that integrate the concept of creativity to satisfy tourists’ needs by developing a more active and long-lasting form of experience, this study aims to examine tourist consumption psychology in the context of creative tourism destinations. Past studies have identified motivation, perceived value and experience as three major antecedents affecting tourists’ revisit intentions. Design/methodology/approach – The empirical study was carried out in three popular creative tourism spots, Meinong, Shuili and Yingge, located, respectively, in the north, middle and south Taiwan. These creative tourism sites provide pottery, crafts, arts, workshops and other creative activities that integrate authentic local culture to engage tourists with fulfilling and meaningful experiences. The on-site survey was conducted on both weekdays and weekends during March 2012. Self-administrated questionnaires were distributed to participants who were systematically selected at the main gate of the study areas. In total, 417 questionnaires were collected. Findings – The results indicated that on-site tourism experience was the most influential antecedent of revisit intention to creative tourism sites in terms of the magnitude of the standardized coefficient. The unique variances of motivation factors and perceived value were too small to be statistically significant to explain revisit intentions. The present study contributes to the ever-increasing tendency for creative industries in Taiwan to develop creative tourism products and services that encompass authentic local culture and art in enhancing tourist experience. Originality/value – For business operators, this study suggests that if owners of creative destinations would like to attract repeat tourists, the tourists’ experiences are surely critical in developing service blueprints to meet the needs and wants of customers; they should pay more attention to understanding what tourists experience when they visit creative tourism attractions.

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15

Pałęga, Anna K. "Creative Engagement in Everyday Life – Learning from Aesthetic Experience." Creativity. Theories – Research - Applications 2, no. 2 (November 1, 2015): 212–26. http://dx.doi.org/10.1515/ctra-2015-0021.

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Abstract In recent years the concept of aesthetics has become broader and more focused on the aesthetic experience resulting from the interaction between the person and the environment. A lot has been written about the way people experience settings that are explicitly designed as sites for aesthetic engagement, such as museums and art galleries, but very little attention has been given to ordinary people and how they make sense of such experiences in their everyday lives. This research study explores the everyday aesthetic experiences that lay people find meaningful in their daily encounters through a phenomenological approach. The findings indicate that everyday aesthetic experiences result from being open to creatively engage, are a blend of serendipitous events and planned encounters and a significant dimension of lived experience.

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Molnar, Tim, and Heather Baergen. "Addressing "Who Are You as a Scholarly Professional?" Through Artful and Creative Engagement." LEARNing Landscapes 9, no. 2 (April 1, 2016): 417–31. http://dx.doi.org/10.36510/learnland.v9i2.784.

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This work o ers examples and discussion of the work of participants in a graduate- level education course where creative engagement and meaningful learning through artful inquiry were pursued in addressing the question, "Who are you as a scholarly professional?" We provide a brief description of the nature of coursework, followed by descriptions of participants’ work, and the authors’ experiences as graduate student and instructor in creating a Visual Journal and conducting the experience, respectively. There is a discussion of the motivations, challenges, and outcomes experienced by the authors as they seek to create meaningful and transformative learning experiences for themselves and others.

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17

Veenendall, Thomas L. "Creative Communication Through the Nonverbal Experience." Inquiry: Critical Thinking Across the Disciplines 7, no. 3 (1991): 30–31. http://dx.doi.org/10.5840/inquiryctnews199173129.

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18

Hägglund, Tor-Björn. "On the creative experience in psychoanalysis." Scandinavian Psychoanalytic Review 20, no. 1 (January 1997): 58–74. http://dx.doi.org/10.1080/01062301.1997.10592554.

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19

Pelly, Chuck. "Creative Consciousness: DESIGNING THE DRIVING EXPERIENCE." Design Management Journal (Former Series) 7, no. 4 (June 10, 2010): 51–54. http://dx.doi.org/10.1111/j.1948-7169.1996.tb00629.x.

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20

Silvennoinen, Johanna, Rebekah Rousi, and Laura Mononen. "Creative Interpretation in Web Design Experience." Design Journal 20, sup1 (July 28, 2017): S134—S145. http://dx.doi.org/10.1080/14606925.2017.1352693.

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21

BAER, BEVERLY. "The Rehabilitative Influences of Creative Experience." Journal of Creative Behavior 19, no. 3 (September 1985): 202–14. http://dx.doi.org/10.1002/j.2162-6057.1985.tb00660.x.

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22

Sadykova, E., and A. Ondash. "Creative Economy: World Experience and Kazakhstan." ECONOMIC Series of the Bulletin of the L.N. Gumilyov ENU, no. 4 (2021): 92–102. http://dx.doi.org/10.32523/2789-4320-2021-4-92-102.

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23

Seevinck, Jen. "Emergence in Interactive Artistic Visualization." International Journal of Software Engineering and Knowledge Engineering 25, no. 02 (March 2015): 201–30. http://dx.doi.org/10.1142/s0218194015400070.

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This research draws on theories of emergence to inform the creation of an artistic and direct visualization. This is an interactive artwork and drawing tool for creative participant experiences. Emergence is characteristically creative and many different models of emergence exist. It is therefore possible to effect creativity through the application of emergence mechanisms from these different disciplines. A review of theories of emergence and examples of visualization in the arts, is provided. An art project led by the author is then discussed in this context. This project, Iterative Intersections, is a collaboration with community artists from Cerebral Palsy League. It has resulted in a number of creative outcomes including the interactive art application, Of me with me. Analytical discussion of this work shows how its construction draws on aspects of experience design, fractal and emergent theory to effect perceptual emergence and creative experience as well as to facilitate self-efficacy.

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Khadka, Bishnu Kumar. "Critico-creative Thinking Pedagogy in ELT." Journal of NELTA Surkhet 4 (July 4, 2015): 70–75. http://dx.doi.org/10.3126/jns.v4i0.12863.

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Teaching and learning English is an energizing, purposeful, and vital experience for developing learners’ competence, confidence, and creativity. It is only possible when we let our learners think critically and creatively in our ELT classroom. This article deals with the theoretical concept of critico-creative thinking as a pedagogy reflecting the practical experiences in general and in ELT in particular. It aims to suggest both teachers and learners to adopt the critico-creative pedagogical strategies while teaching and learning English. Journal of NELTA Surkhet Vol.4 2014: 70-75

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Nigmatov, Askar Nigmatullaevich. "Waste: The Experience Of Creative Approach, Innovative Suggestion And Practical Classification." American Journal of Applied Sciences 03, no. 03 (March 31, 2021): 56–63. http://dx.doi.org/10.37547/tajas/volume03issue03-09.

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The article gives an innovative scientific definition of waste terms through a creative approach to the literature and assets. For the first time, a new classification was developed to take into consideration the waste created in emergencies, and its practical significance was revealed.

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Valantinaitė, Ilona, Živilė Sederevičiūtė-Pačiauskienė, and Viktorija Žilinskaitė-Vytė. "CULTURALLY CONDITIONED VISUAL COMMUNICATION IN CREATIVE EXPRESSION." Creativity Studies 13, no. 1 (April 29, 2020): 216–45. http://dx.doi.org/10.3846/cs.2020.12004.

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The human body and its consciousness interacts with a number of external and internal factors, including, among others, the surrounding environment, experienced emotions, those things seen, things that are possessed and touched, and affection that is experienced, all of which accumulates over time as personal experience. In the aforementioned process memory plays the most significant role and predetermines the extent to which an individual remembers (and perceives) their own experience, and how they identify and are conscious of their own self-esteem, etc. The aim of this research is to record an idea and its transformations by reference to its associations, implementation and interpretations. Thus, transformations require personal experience, memory, knowledge, verbal and nonverbal abilities, as well as psychical phenomena that occur during research through the interaction of the participants. In our research task we presented 5 squares in which fragments of abstract pictures were placed. The participants were asked to freely interpret the fragments and complete the pictures. The results allowed us to conclude that associations and the process(es) of interpretation are inconstant and independent of each other. Associations usually visualise views of our physical environment, whereas intellectual creations are most frequently found in interpretations.

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Treadaway, Cathy. "Materiality, Memory and Imagination: Using Empathy to Research Creativity." Leonardo 42, no. 3 (June 2009): 231–37. http://dx.doi.org/10.1162/leon.2009.42.3.231.

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Our perception of the physical world is informed by our bodily sensory experiences. This rich source of information stimulates the brain and is remembered and remade in the creative processes that feed our imagination. How does experience of materiality shape our creative use of digital imaging tools, and how does the technology influence creative practice? This article contends that creative processes are heavily reliant on our memories of physical experience and that tools to support creative digital practice could be enhanced to utilize the rich multi-sensory stimulation it provides. This paper presents collaborative art-making that has been used to investigate issues arising from case study research, enabling the author to empathically experience the artist's creative processes and to provide insight into how digital tools can support creative practice.

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Kalēja-Gasparoviča, Daiga. "Correlation Between Experiences of Artistic Creative Self-Expression and Life Experiences in Crisis Conditions." Journal of Pedagogy and Psychology "Signum Temporis" 4, no. 1 (December 1, 2011): 26–35. http://dx.doi.org/10.2478/v10195-011-0042-5.

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ABSTRACT Contemporary conditions determine a relationship between the quality of individual’s life andindividually developed creative abilities: the ability to adapt to extraordinary situations andcircumstances of life, flexibility in thought and action. The studies of visual arts provide anopportunity of enriching one’s experience in creative activities, at the same time facilitating thedevelopment of creative abilities. Experiences acquired earlier in life (impressions, low selfesteemand negative experiences) affect artistic creative self-expression and enhanced creativeexperiences, accordingly, affect the quality of life. The aim of the article is to reveal and justify the correlations between the personal experiences of artistic creative self-expression and personal life experiences. Methods used in this study: review of scientific literature and empirical methods: observation and interviews. Individual’s creative personal experiences, acquired through artistic creative work in visual arts have a direct link with the quality of life and its improvement. While studying individual’s opportunities for creative development acquiring the study content of visual arts education through studies and the opportunities for improving the quality of life, strong correlative links between experience, quality of life, creative resources and self-expression have been established.

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Suhartanto, Dwi, Anthony Brien, Norzuwana Sumarjan, and Nono Wibisono. "Examining attraction loyalty formation in creative tourism." International Journal of Quality and Service Sciences 10, no. 2 (June 18, 2018): 163–75. http://dx.doi.org/10.1108/ijqss-08-2017-0068.

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PurposeThis study aims to examine a creative attraction loyalty model which includes experience quality, satisfaction and motivation and to assess the model’s applicability in terms of customer attraction, namely, tourists and residents.Design/methodology/approachThe data collection was conducted at four culture-based attractions in Bandung, Indonesia. Self-administrated questionnaires were distributed to visitors after they experienced the attraction. In total, 415 useful questionnaires were collected. The hypotheses developed were examined using partial least square structural equation modelling.FindingsThis study reveals a significant effect of experience quality on both satisfaction and attraction loyalty. Moreover, the effect of motivations on satisfaction and loyalty is partially supported, as only the pull motivation factor has a significant effect on satisfaction. Finally, this study reveals that the proposed attraction loyalty model is insignificant in terms of difference between tourists and residents.Originality/valuePast studies have examined many of the drivers of loyalty both independently and separately. This study examines simultaneously three important loyalty drivers: experience quality, satisfaction and motivation in the context of a creative tourism attraction. To create visitor loyalty, this study suggests that attraction managers need to deliver high experience quality and develop customer pulling strategies through promotion efforts.

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Doyle, Denise. "Phenomenologies of Practice." International Journal of Art, Culture and Design Technologies 4, no. 1 (January 2014): 1–12. http://dx.doi.org/10.4018/ijacdt.2014010101.

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In the field of art and technology engagement with virtual worlds as spaces for creative practice challenges and enhances our understanding of the phenomena of imagining. The experience of creating in technology-mediated spaces through an avatar form brings the phenomenological experience of the body into the act of creating itself. Ways of explaining this creative process and its relationship to imaginative experience highlights a phenomenology of practice of artists working in this realm. This article considers the implications of this methodological approach and presents the case for investigating artistic and imaginative experience through adapting phenomenological research methods.

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Poustinchi, Ebrahim. "Mixed Robotic Interface Г : Searching for a hybrid cyber-physical design/experience interface using virtual/actual robots." SHS Web of Conferences 64 (2019): 01008. http://dx.doi.org/10.1051/shsconf/20196401008.

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Mixed Robotic Interface is a project-based design-research investigation, studying new ways of creating hybridized cyber-physical design and experience interfaces, at the intersection of robotics—as its core component, and augmented reality, game design, projection mapping, and digital fabrication. Mixed Robotic Interface Г—as part of Mixed Robotic Interface series of research projects, focuses on using “actual” and “virtual” robot arms as a possible creative medium and extensions of design/gaming environment creating immersive atmospheres for “experiencing” design. This research questions the possibilities of creating an architectural/spatial atmosphere through digitally enhanced experiences. Different from some of the current experiments with augmented reality (AR), virtual reality (VR) and projection-mapping in architecture, Mixed Robotic Interface Г is not looking into “immersive” experience as a way to “blur” the boundaries of digital and physical—similar to virtual reality experience with headsets. Instead, Mixed Robotic Interface Г creates a recognizable gap between real and virtual to open up a creative space for the user/audience to be involved between these two mediums. Mixed Robotic Interface Г uses para-fictional storytelling as a way to engage the audience with the experience and to create continues atmospheric qualities.

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Salerno, Annabel. "Consumer Creative Experience: The Role of Motivational Orientation in Creative Leisure Activity." Recherche et Applications en Marketing (English Edition) 24, no. 1 (March 2009): 69–91. http://dx.doi.org/10.1177/205157070902400105.

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de Bruin, Anne, and Daniela Angelina Jelinčić. "Toward extending creative tourism: participatory experience tourism." Tourism Review 71, no. 1 (April 18, 2016): 57–66. http://dx.doi.org/10.1108/tr-05-2015-0018.

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Purpose While the “creative turn” in everyday life has led to rapid development of creative tourism, not all forms of creative tourism use the same intensity of creative involvement. It is possible to distinguish between more passive and active involvement. In parallel, a “social turn” has led to popularity of forms of tourism, such as volunteer tourism, involving active participation. The purpose of this paper is to put forward ideas and present eclectic observations on active tourist participation around both the creative and social turns. Hence, it should be treated as a springboard and testing ground for these ideas and observations. Design/methodology/approach This study is based on theoretical conceptualisation with empirically derived supporting examples. Findings A new descriptor, “participatory experience tourism”, is advanced and argued to be preferable to reframing “creative tourism” to capture varied forms of experience involving active tourist participation. “Participatory experience tourism” is put forward as an extension of creative tourism and as an umbrella construct is further expanded upon to include notions of value addition. Research limitations/implications Structured empirical substantiation of the conceptual ideas in this paper is a future research need. Originality/value The paper provides an original theoretical construct to better account for forms of active tourist participation that have emerged from the creative and social turns that characterise contemporary society, and also heightens awareness of a key link in the experience value addition chain.

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Vardanyan, V. A., S. V. Shishkina, and N. V. Matveeva. "The problem of artistic image creating in the process of a teacher artist training." SHS Web of Conferences 113 (2021): 00028. http://dx.doi.org/10.1051/shsconf/202111300028.

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The article deals with the problem of artistic image creating in the students’ creative works as a productive source of an artistic-pedagogical development of the future teacher artist. An artistic image is the basis of any art form and occupies the leading part in the artwork as it has a vast and significant esthetic value, demonstrating the result of an artist life experience display. The analysis of the theoretical sources, university training internship and the process of creative works fulfillment in different art forms brought to light the undervaluation of the necessity of scientifically grounded pedagogical grounds creation which will allow to the utmost prepare the students to the artistic image creating. This determines the relevance of the ways developing of students’ readiness to create an artistic image and its implementation in creative activities.

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Howard, Patrick. "Collaboration as a New Creative Imaginary: Teachers’ Lived Experience of Co-Creation." Indo-Pacific Journal of Phenomenology 19, no. 2 (November 4, 2019): 91–102. http://dx.doi.org/10.1080/20797222.2019.1684494.

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Humenna, Oleksandra, and Nina Chala. "Creation of a University Creative Hub: World Experience and Factors of Success." Scientific Papers NaUKMA. Economics 4, no. 1 (November 27, 2019): 27–33. http://dx.doi.org/10.18523/2519-4739.20194.1.27-33.

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Zhou, Chunfang. "Smart Creative Tourism." International Journal of Urban Planning and Smart Cities 1, no. 1 (January 2020): 58–69. http://dx.doi.org/10.4018/ijupsc.2020010105.

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This article will focus on how smart museums provide conditions for creative and playful learning experience that facilitates creative tourism development, overcomes cultural barriers of public participation, and therefore benefits to smart city planning. Theoretically, a social-cultural perspective to the concept of creativity will be outlined that further brings a framework that intertwines with concepts of creativity, learning, playfulness, fun, and participation. This framework addresses why and how visitors in smart museums may learn creative and playful experience through participation with new technologies. Furthermore, by taking emerging smart museums in China as a case, this article also brings implications for other cultures on how to develop diverse methods and varies strategies for encouraging public participation in smart city planning in the future.

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Кальней and Vladimir Kalney. "From the experience of organizing activities for high school students." Socio-Humanitarian Research and Technology 1, no. 1 (October 30, 2012): 0. http://dx.doi.org/10.12737/92.

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The article is considering the building principles of the project activities of pupils on the example of creation, work and promotion of the project «Analysis of the social orphanhood problems in the Old Kryukovo Moscow». Attention is given to motivation of the choice of topics of the project, the formation of the creative team, the plan of project, competitive promote of the project and continuity in the creative team as the innovative components of the project activity.

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Egorov, V. G., S. V. Egorova, and A. A. Inshakov. "WORLD EXPERIENCE OF CONSUMER COOPERATION: CREATIVE POTENTIAL." Herald of the Belgorod University of Cooperation, Economics and Law 5, no. 84 (2020): 220–30. http://dx.doi.org/10.21295/2223-5639-2020-5-220-230.

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Drake, Kenneth. "The Beethoven Sonatas and the Creative Experience." Journal of Aesthetics and Art Criticism 53, no. 1 (1995): 102. http://dx.doi.org/10.2307/431751.

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Race, William, and Kenneth Drake. "The Beethoven Sonatas and the Creative Experience." Notes 52, no. 1 (September 1995): 95. http://dx.doi.org/10.2307/898812.

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Wenz, Kathie, and J. Jeffries McWhirter. "Enhancing the group experience: Creative writing exercises." Journal for Specialists in Group Work 15, no. 1 (March 1990): 37–42. http://dx.doi.org/10.1080/01933929008411910.

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Liu, Chen-Chung, Chia-Ching Lin, Kuei-Yuan Deng, Ying-Tien Wu, and Chin-Chung Tsai. "Online knowledge sharing experience with Creative Commons." Online Information Review 38, no. 5 (July 7, 2014): 680–96. http://dx.doi.org/10.1108/oir-12-2013-0280.

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Purpose – Many studies have integrated the mechanism of Creative Commons (CC) or similar mechanisms into web 2.0 platforms for supporting learning. The CC mechanism may create new types of knowledge sharing environments. The purpose of this paper is to explore students’ trust, knowledge sharing self-efficacy, and outcome expectations in the context of a knowledge sharing platform using the CC mechanism. Design/methodology/approach – The participants were 86 sixth-grade Taiwanese students. Within the context of online drawing and storytelling activities, a quantitatively self-reported instrument was adopted to assess the sharing experience with the CC mechanism. Findings – The results found complex interrelationships among trust, sharing self-efficacy, and outcome expectations identified in the literature. The results further reveal that students who showed high community-related outcome expectations would adopt the non-CC approach (read-only, i.e. the shared works can not be used and modified) as they possessed lower identification-based trust. In contrast, those who adopted CC approach (i.e. the shared works are able to be used and modified) placed higher level of economy-based trust and showed a lower level of community-related outcome expectations. The results reflect that students who have low performance expectancy and sharing self-efficacy are more willing to share their work using the CC approach. Originality/value – The results of this paper show that in such a mechanism there exists close interplay between trust, sharing self-efficacy, and outcome expectations. It is therefore, suggested that researchers and educators should note the influence of the sharing mechanism on the sharing activity when knowledge sharing is involved in pedagogical design. The implications derived from the findings for educational practice were also discussed.

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Reid, David B. "Generative trance: The experience of creative flow." American Journal of Clinical Hypnosis 64, no. 4 (March 8, 2022): 381–82. http://dx.doi.org/10.1080/00029157.2022.2039665.

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Chen, Bin-Bin. "The Creative Self-Concept as a Mediator Between Openness to Experience and Creative Behaviour." Creativity. Theories – Research - Applications 3, no. 2 (December 1, 2016): 408–17. http://dx.doi.org/10.1515/ctra-2016-0024.

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AbstractThis study examined the mediation effect of creative self-concept on the relationship between Openness to Experience and creative behaviours among university students. Participants in the study completed self-report measures of Openness to Experience, creative behaviours and creative self-concept. Structural equation modelling revealed that, as predicted, Openness to Experience was indirectly related to creative behaviours through creative self-concept. Implications for future research and limitations of the present findings are discussed.

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Gardner, Howard. "Commentary: Getting at the Heart of the Creative Experience." LEARNing Landscapes 6, no. 1 (June 1, 2012): 45–54. http://dx.doi.org/10.36510/learnland.v6i1.574.

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In this interview, developmental psychologist, professor, and author Howard Gardner describes his early interest in creativity and explains why he wanted to study creativity from a different perspective than what had been done in the past. He shares why studying creativity through the biographies of creative people provides more insight than using creativity tests that may be as limited as IQ tests. The creative leaders he studied in his book Creating Minds proved to have an unusual blend of intelligences—not just those intelligences obviously related to their field. He explains that creativity is about one’s personality, the willingness to take risks, and being a certain kind of person rather than having a particular set of cognitive skills. Finally, he comments on creativity in today’s society.

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Grin, E. S. "Inheriting Social Media Accounts: Russian and Foreign Experience." Actual Problems of Russian Law 17, no. 2 (November 1, 2021): 128–34. http://dx.doi.org/10.17803/1994-1471.2022.135.2.128-134.

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Due to the development of computer technologies and the use of social networks not only for personal, but also for commercial purposes, the need for legal regulation of relations as to the use of creative work results posted in social networks, as well as issues of inheritance of these results following the death of the account author, has increased. Judicial practice has already seen cases of legal disputes regarding social networks; abroad, separate legal approaches are being developed to determine the legal nature of social media accounts and to consider the results of creative work that are posted on such accounts. In the paper, the author analyzes Russian and foreign experience and makes a conclusion about the way the inheritance of accounts is regulated in domestic and foreign judicial practice. The author analyzes the legal regulation of relations regarding social media accounts and issues of their inheritance, taking into account the creation of a new virtual reality, and reveals possible ways of legal protection of the results of creative work created using virtual and augmented reality technologies.

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LOGVINOVA, Ya. "TECHNOLOGY OF COLLECTIVE CREATIVE WORK IN THE FORMATION OF THE ECOLOGICAL COMPETENCE OF THE FUTURE TEACHER." ТHE SOURCES OF PEDAGOGICAL SKILLS, no. 21 (March 9, 2018): 117–21. http://dx.doi.org/10.33989/2075-146x.2018.21.206106.

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The article is devoted to the formation of the ecological competence of the future teacher in the process of collective creative activity. The concepts of "ecological competency", "collective creative work", "creativity" of professional development of university teachers have been analyzed.Ecological competence is the quality of the individual, which includes the ability to solve problems and problems of various levels of complexity, arising in the home and professional activities. The basis for the formation of ecological competence is the value attitude to nature, the availability of knowledge, educational and life experience, individual abilities, needs and motives. To form the ecological competence of the future teacher it is necessary to have strong environmental knowledge, to understand nature as a value, to have the experience of creatively using environmental knowledge to solve environmental problems at the local level.The article deals with the concept of "creativity", "creative activity". The main features of creative activity are the novelty and social significance of its products. The importance of using the technology of collective creative works for forming the ecological competence of the future teacher is emphasized. The main idea of the method of collective creative education is the formation of a person through a single educational group. Collective creative affairs is a manifestation of public concern about environmental improvement, a combination of certain actions to the general good.Collective creative ecological business consists of stages: preparation of a teacher, creation of a council of affairs, collective preparation of a case, carrying out of ecological activity, the results of the case.

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Leung, Angela K. Y., and Chi-yue Chiu. "Interactive Effects of Multicultural Experiences and Openness to Experience on Creative Potential." Creativity Research Journal 20, no. 4 (November 3, 2008): 376–82. http://dx.doi.org/10.1080/10400410802391371.

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Semenov, Oleksandr, Nataliia Semenova, Hanna Bielienka, Nadiia Alendar, Oleksandra Yemchyk, and Iryna Onyschuk. "Empirical Research of a Creatively Oriented Personality’s Formation of a Child of Senior Preschool Age." Revista Romaneasca pentru Educatie Multidimensionala 13, no. 4 (December 14, 2021): 413–34. http://dx.doi.org/10.18662/rrem/13.4/490.

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The purpose is a theoretical substantiation and empirical research of creatively oriented personality’s formation of a child of senior preschool age. Five components of the structure of a creatively oriented personality are outlined: emotional-volitional, intellectual-creative, motivational, social-communicative and operational. It is noted that the respondents have the highest research and exploration activity. High and medium levels of cognitive interest were recorded in n = 71 (59.1%). It is established that a significant part of children do not properly form the experience of creative activity. The profile of creatively directed personality’s formation of senior preschool age’s child on key psychological semantic parameters of the researched components which relevantly reflected a subject of research is built. It is established that the most significant correlations are observed for such indicators as creative potential, creative thinking, emotional potential (P ≤ .05; P ≤ .01) and (C ≤ .05; C ≤ .01). A significant part of children do not have a properly formed experience of creative activity. These children have difficulties in solving new, atypical, non-standard situations, which are characteristic of creative activity, which negatively affects the formation of creative personality. It is generalized that the received results of research it is expedient to operationalize in educational and professional preparation of applicants of pedagogical specialties.

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