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Journal articles on the topic 'Creative process'

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Author: Grafiati

Published: 4 June 2021

Last updated: 8 June 2024

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1

Yulianti, Ninik Putri, and Soemaryatmi Soemaryatmi. "CREATIVE PROCESS OF HALANG DANCE." ARTISTIC : International Journal of Creation and Innovation 3, no. 1 (September 21, 2022): 46–64. http://dx.doi.org/10.33153/artistic.v3i1.4431.

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Halang dance is a choreographic work that departs from a folk tale, namely the love story of Raden Inu Kertapati with Galuh Candra Kirana who faces many obstacles. The formulation of the research problem, namely: How is the creative process of creating Halang dance? This study uses a practice-based research methodology. The creative process in creating this dance uses the 3R theory. The result shows that the artistic process gives freedom of interpretation and creativity to anyone to realize ideas in the form of works. Halang dance is a work of art that is done through a creative process by going through the steps of Re-Visiting, Re-Questioning, and Re-Interpreting. Then through the steps of the creation process, namely exploration, improvisation, composition, evaluation, rehearsal, and performing. Halang dance is performed by four scenes as a literal dramatic choreography. The elements in Halang dance are able to convey the atmosphere and message to the audience that in truth life will never be separated from all problems and love will continue to grow and develop in souls who have sincerity.

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Paris, Thomas, and Sihem Ben Mahmoud‐Jouini. "The process of creation in creative industries." Creativity and Innovation Management 28, no. 3 (July 24, 2019): 403–19. http://dx.doi.org/10.1111/caim.12332.

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3

Bronowski, Jacob. "The Creative Process." Leonardo 18, no. 4 (1985): 245. http://dx.doi.org/10.2307/1578075.

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Todd, R. Larry, and Jon W. Finson. "The Creative Process." Musical Times 131, no. 1771 (September 1990): 485. http://dx.doi.org/10.2307/1193666.

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5

Kirin Narayan. "Narrating Creative Process." Narrative Culture 1, no. 1 (2014): 109. http://dx.doi.org/10.13110/narrcult.1.1.0109.

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Setiawan, Hendra. "Study of Milton Glaser's Creative Process In Creating Design." VCD 3, no. 1 (April 15, 2019): 13–20. http://dx.doi.org/10.37715/vcd.v3i1.798.

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Those in the art and design field, such as graphic designers, should be creative and inspired, and they usually have their own ways to be creative. Yet, some designers are considered to be so outstanding that they receive such recognition in their creative process. One of them is Milton Glaser. He has been considered one of the first rank designers for decades. Therefore, it is really appropriate and wise for young designers to recognize Glaser’s creative process in order that they could learn and be inspired by his experience. This study focuses in the examination of Milton Glaser’s creative process gained from interviews conducted by the media. The short-term goal of this study is to learn the creative process of a design expert, which hopefully would inspire and open the mind of young designers in their work. After gaining inspiration from this creative process, hopefully the young designers would be much more creative and easily inspired in developing their idea, which is the long-term goal of this study.

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Collard-Stokes, Gemma. "Creative Critical Representation of the Choreographer’s Creation Process." Dance Chronicle 43, no. 3 (September 1, 2020): 343–49. http://dx.doi.org/10.1080/01472526.2020.1827871.

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8

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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Pitaloka, Devanka Diaz Ayu, and Soemaryatmi Soemaryatmi. "Devanka Diaz’s Creative Process of the Pas Ma Responsabilité Dance Work." Jurnal Seni Tari 12, no. 1 (July 26, 2023): 51–61. http://dx.doi.org/10.15294/jst.v12i1.66212.

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This research reveals the creative process of creating Pas Ma Responsabilité dance work, starting from the discovery of ideas and concepts to the forms of presentation with a creative background in contemporary works. The research method used is qualitative with descriptive analysis using the practice-led approach where the practice of writing goes concurrently with data collection techniques through field studies and literature studies. This research produces a description of the creative process of creating the Pas Ma Responsabilité dance work which is revealed based on the existing theory and the processes that occur directly in the field. The creative process consists of preparation, in the form of data collection and an exploratory process with creative and divergent thinking; incubation, the process of settling and understanding data until appearing inspiration; illumination, the exploration stage of movement, expression, potential, technique, and character; verification, the stage when the idea or new creation must be tested against reality. This research can be used as a critical reference for discussing novelty in today's contemporary dance. The main framework in this paper used as a reference is the creative processes and the results of the field practice process.

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Haryati, Ni Made, Ni Putu Hartini, and Tudhy Putri Apyutea Kandiraras. "Creative Process Of Janger Dance “Nusantara Mahardika”." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 6, no. 1 (December 16, 2022): 9–19. http://dx.doi.org/10.31091/lekesan.v6i1.2202.

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The creation of this Janger Dance refers to the concept of a dance based on the moral message contained in the philosophical meaning of Bhineka Tunggal Ika. One of the efforts to cultivate Bhineka Tunggal Ika is to incorporate this philosophy into a dance piece that will eventually serve as a tool for expressing the values and meaning of unifying the nation.Janger is performed by 16 dancers, 8 of whom are female and 8 of whom are male. As a social dance, Janger is expected to be able to encourage the younger generation to comprehend and implement the philosophy of Bhineka Tunggal Ika by utilizing the creative process in its creation effectively. The creation of the Janger dance "Nusantara Mahardika" implements the method of artistic creation described by Alma M. Hawkins in his book "Creating Through Dance.", which was translated by Y. Sumandiyo Hadi (2003) in Mencipta Lewat Tari. According to Alma M. Hawkins, the stages of art creation consist of exploration, improvisation, and forming."

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Sutirtha, I. Wayan, Hendra Santosa, and Tudhy Putri Apyutea Kandiraras. "Mahardika Dance Creation Process." Jurnal Seni Tari 12, no. 2 (November 30, 2023): 127–33. http://dx.doi.org/10.15294/jst.v12i2.72022.

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This paper aims to reveal a creative process of the Mahardika dance creation conducted in 2006. This disclosure is important to see how the concept of traditional dance development still maintains the Balinese identity. The Mahardika dance, a new creation form of Balinese dance, comes from the creative process between I Wayan Sutirtha as the dance choreographer and I Nyoman Windha as the musical composer of the dance accompaniment. Mahardika means freedom or release from worldly ties, which refers to the Sutasoma figure as the central character in the Mahardika dance. It is adapted from the main theme of the Bali Arts Festival, namely Swabawaning Idep, meaning the radiance of nobility. The process of creating dance refers to the theory of Alma M. Hawkins in the book Creating Through Dance, including exploration, improvisation, and formation. The Mahardika dance consists of four parts. The first part describes the atmosphere of meditation with a silent atmosphere, the second part depicts the meeting of the Sutasoma and Dewi Candrawati with a happy and romantic atmosphere, the third part portrays the war of the Sutasoma and Prabu Purusadha with a tense atmosphere, and the fourth part represents the consciousness of Prabu Purusada and Sutasoma sitting on a lotus flower with a serene atmosphere. In addition, the costumes are adjusted to the characters. Certainly, it does not interfere with the dancer's movements but helps and opens aesthetic spaces in the choreography of the Mahardika dance creation.

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Simi dos Santos, Silvia Spagnol, Maroni Da Silva, and Vanessa Cristina Grabowski Aoki. "Creative failure in advertising: Influencing the creative process." Revista de Psicología 40, no. 2 (July 4, 2022): 957–81. http://dx.doi.org/10.18800/psico.202202.012.

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This study investigates creativity and the creative process in Advertising Agencies in Brazil. The objective was to identify how the Copywriter and the Art Director operate strategies aimed at brainstorming in the ideation of advertising campaigns to reach insight. A qualitative study was carried out through semi-structured interviews designed based on the literature, applied to advertising who work in the areas. The study of Multiple Cases was used being the analysis of the collected data elaborated through the technique of content analysis based on Bardin (2010) and structured in the ATLAS.ti software. The findings reveal that in the Creativity dimension, copywriters and art directors perceive a strong influence from auditory and visual sources. In the Creative Process dimension, the findings indicate that the traditional steps instituted in the department are recurrent in the search for references and the influencing factors of the creative process mirror creativity. The Brainstorming dimension and tool prevails as the main technique in agencies, and Insight is dependent on the problem established in the briefing. The findings indicate that there are connections between dimensions and reflect the profile of contemporary creative immersed in technologies and at the same time dependent on traditional forms of advertising creation.

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Toustou, Beatrice, and Renata Kaminska. "Exploring Creative Process Dynamics." Academy of Management Proceedings 2015, no. 1 (January 2015): 18242. http://dx.doi.org/10.5465/ambpp.2015.18242abstract.

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Duarte, Andreia, and Miro Spinelli. "On the Creative Process." TDR: The Drama Review 65, no. 4 (December 2021): 77–83. http://dx.doi.org/10.1017/s1054204321000551.

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The scenic experiment Silence of the World brought together indigenous leader Ailton Krenak and performer Andreia Duarte. The show deeply explored the perception of time in mythology as a space for reinventing the world and evoked the recognition of humans as just another planetary species alongside so-called nonhumans: animals, rivers, mountains, plants, and everything that exists. Silence of the World drew attention to indigenous peoples who connect with the living organism that is the planet.

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FOSS, LUKAS. "ABOUT THE CREATIVE PROCESS." Yale Review 94, no. 3 (July 2006): 115–22. http://dx.doi.org/10.1111/j.1467-9736.2006.00214.x.

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Dibble, Jeremy. "Review: Parry's Creative Process." Music and Letters 85, no. 3 (August 1, 2004): 472–75. http://dx.doi.org/10.1093/ml/85.3.472.

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Bacon, Jane M., and Vida L. Midgelow. "Creative Articulations Process (CAP)." Choreographic Practices 5, no. 1 (April 1, 2014): 7–31. http://dx.doi.org/10.1386/chor.5.1.7_1.

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Dubey, Sujit Kumar. "Models for Creative Process." Management Dynamics 6, no. 1 (April 26, 2022): 115–31. http://dx.doi.org/10.57198/2583-4932.1218.

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19

Spychalska-Wojtkiewicz, Monika. "Non-technological innovation creation process in the creative sector." Marketing i Zarządzanie 46 (2016): 183–90. http://dx.doi.org/10.18276/miz.2016.46-19.

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Piyathasanan, Bhuminan, Christine Mathies, Paul G. Patterson, and Ko de Ruyter. "Continued value creation in crowdsourcing from creative process engagement." Journal of Services Marketing 32, no. 1 (February 12, 2018): 19–33. http://dx.doi.org/10.1108/jsm-02-2017-0044.

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Purpose Crowdsourcing delivers creative ideas for the issuing firm, but participants’ engagement in the creative process also creates additional benefits to firms and participating customers. The purpose of this study is to investigate if these spill-over values endure over time. With data from two time point, i.e. at submission and after announcement of the contest winners, we examine the relationship between the degree of a participant’s creative process engagement (CPE) and value creation from a crowdsourcing contest, and how these perceptions of value change over time. Design/methodology/approach Data were collected from 154 participants in a crowdsourcing contest at two time points with an online survey: at submission, and after receiving feedback (in term of rankings, rewards, and comments) from the community. Partial Least Square path modelling was used to estimate both main and moderating effects. Findings CPE increases the perceived value of customers (social and epistemic value) and firms alike (knowledge-sharing intention and customer loyalty), though all but epistemic values decrease over time. Disconfirmation of expectations and need for recognition moderate these effects. Originality/value This paper is the first longitudinal study that helps understanding the effect of CPE on value creation from crowdsourcing across time. It also uses the theoretical lens of the honeymoon hangover effect to explain how perceived value changes. The resulting insights into the role of customer engagement in crowdsourcing contests and subsequent value creation will be beneficial to the growing research stream on consumer value co-creation and user innovation.

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Zaeva, Nadezda A., and Alla G. Bezdenezhnykh. "STRUCTURING THE CREATIVE PROCESS IN JEWELLERY DESIGN." Technologies & Quality 59, no. 1 (June 14, 2023): 61–66. http://dx.doi.org/10.34216/2587-6147-2023-1-59-61-66.

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The article examines the process of creating emotionally coloured products that would carry a certain informational message to the viewer, arouse a desire to empathise, participate in the creative process, and popularise the topic touched upon by the author. It is proposed to use the technique of structuring the creative process when creating modern design objects, as one of the ways to activate creative consciousness. The ways of forming thematic information-rich objects are considered, when rethinking the images of the world, through the projected object, the author builds a relationship between the image itself and the idea of it. Several variants of design solutions for a specific creative task are considered.

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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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Säwe, Filippa, and Åsa Thelander. "The role of frames in a co-creation process." International Journal of Quality and Service Sciences 7, no. 4 (November 16, 2015): 442–57. http://dx.doi.org/10.1108/ijqss-04-2014-0026.

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Purpose – This paper aims to analyze the conditions for co-creation in a non-commercial context. The particular aim is to show how a co-creative activity is framed for the participants and the consequences of the frames for the values that are co-created in the process. Design/methodology/approach – Goffman’s frame analysis is applied to investigate how co-creation is used as a marketing strategy where an art event is used as an engagement platform to involve citizens in creating visions for an urban renewal area. It is a qualitative study based on observations. Findings – The taken-for-granted ideas of the active and creative consumer along with the focus in marketing research on the positive values achieved in a co-creative process are problematic in a public context. An unreflexive use of a co-creative strategy in a non-commercial setting and using art as an engagement platform, in combination with insufficient communication about the new framings, result in no-creation of value or even co-destruction of value. Practical implications – Unclear definition of the situation for co-creation results in confusion about how to interact and how to create value. Such an outcome is highly problematic for a public organization. It is of major importance that citizens can identify and understand the type of activity. The authors argue that communication in well-defined phases of an event can facilitate desired acts of co-creation. Originality/value – Value co-creation theory has been transferred between contexts, but there are few studies of what the transfer means in terms of consumer abilities to take part in the value creation process and its rules of engagement. This study demonstrates the difficulties of moving from theory to practice when the context changes from a commercial to a public participatory one. This opens for new research venues in value co-creation and marketing theory.

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Wallace, Belle. "Creativity: Some Definitions: the Creative Personality; The Creative Process; the Creative Classroom." Gifted Education International 4, no. 2 (September 1986): 68–73. http://dx.doi.org/10.1177/026142948600400202.

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This paper attempts to explore, briefly, the divergence of thinking about the nature of creativity and the reative process. It is suggested that creativity involves thinking, intuition, feeling and sensing and that in order to achieve fulfilment, the highly creative personality needs a framework of elf-understanding, positive encouragement and acceptance in order to balance the rational and irrational components of the creative personality. Creativity is regarded as the reconciliation of conflict between detachment and commitment, passion and decorum, immediacy and referral, masculinity and femininity. The assessment and promotion of creative functioning are vital considerations for the teacher. The writer suggests ways in which the teacher can promote a classroom environment in which all children can flourish creatively and in which the highly creative child can more easily reconcile his/her differences within the peer group.

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Malchiodi, Cathy A. "Creative Process/Therapeutic Process: Parallels and Interfaces." Art Therapy 5, no. 2 (July 1988): 52–58. http://dx.doi.org/10.1080/07421656.1988.10758841.

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Mokhnyuk, Ruslan. "Creative Unions in the Process of Cultural Creation of Civil Society." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 42–47. http://dx.doi.org/10.32461/2226-0285.1.2021.238540.

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The purpose of the article is to analyze the factual and practical experience of creative unions of Ukraine in the context of cultural creation of civil society. Methodology. General scientific methods of analysis, synthesis, generalization, induction, deduction allow to present the material in their cultural and historical integrity, to outline the features of the functioning of creative unions and to trace their impact on the development of civil society. The study of cultural mode is based on the use of the phenomenological method. Scientific novelty is to highlight the cultural aspect of the activities of creative unions for the development of civil society. The research can be used by creative unions in planning, implementation of cultural and artistic projects, development of thematic scientific and methodological materials, as well as in reading cultural disciplines in higher education. Conclusions. Factual and practical material on the activities of creative unions in Ukraine exists in a separate, non-systematic manner. Creative unions are basically charged with a cultural approach to the search for and implementation of modern projects, which are mostly clustered in nature. The cultural mode of creative projects, combining content and form with their aesthetic and artistic reproduction of reality, value-semantic dominants, innovative discoveries, identity, are decisive in the development of civil society.

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Sari, Dyan Indah Purnama, and Poppy Indriyanti. "IMPLEMENTASI MODEL CREATIVE DANCE PADA PEMBELAJARAN SENI TARI MAHASISWA PGSD UNIVERSITAS SARJANAWIYATA TAMANSISWA." Taman Cendekia: Jurnal Pendidikan Ke-SD-an 3, no. 2 (December 6, 2019): 357. http://dx.doi.org/10.30738/tc.v3i2.5582.

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This article studied the creative dance model implementation in dance teaching for PGSD students, this article is formulated so that (1) PGSD Universitas Sarjanawiyata Tamansiswa students know how to create children dance, (2) PGSD Universitas Sarjanawiyata Tamansiswa students can create children dance by using creative dance model, (3) in the creation process, PGSD Universitas Sarjanawiyata Tamansiswa students can develop their creative idea, (4) PGSD students become active, creative, and innovative students in the process of creating children dances. Additionally, this article also aims at analyzing the role of creative dance model in the creation of children dance in Dancing Art teaching. The creative dance model is often referred to as creation model. The approach used in this research is qualitative research which applied a descriptive analysis method aimed at describing, summarizing various conditions, various situations, or various social reality phenomena in the community. The data collection was conducted by means of observation, interview, and documentation. The product of this research would be a teaching model that can be used as a guide or manual in the process of construction and exploration of children dance to be used by PGSD students, especially PGSD Universitas Sarjanawiyata Tamansiswa students.

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Katmo, Els Tieneke Rieke, Agus Sumule, Ardha Puspitasari, Diana Irbayanti, Indra Irianti, and Maria I. Arim. "Situasi, Kendala Dan Strategi Pengembangan Ekonomi Kreatif Kuliner Di Kabupaten Fakfak Provinsi Papua Barat." JFRES: Journal of Fiscal and Regional Economy Studies 3, no. 1 (March 30, 2020): 34–49. http://dx.doi.org/10.36883/jfres.v3i1.36.

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Culinary is a potential creative economic sector in Fakfak in enhancing slow economic growth. In comparison to other creative economic sector, creative economic mapping in Fakfak indicated that culinary has highest scores. SWOT analysis that was applied to assess criterias of indicators from three dimentions which are sectors, process and actors indicated that human resources is the main strength but also weaknesses in culinary as well as raw material as resources that naturally provided. National Government policy regarding creative economic is strength in develops creatice economic in Fakfak. Yet, sustainability of culinary as potential creative economic sector depends on sustainability of natural resources and agriculture product. Threfore, increasing production process while improving the use of technology and infrastructure in creation is needed. This followed by market expansion.

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Sharshembieva, R. Dz, and Zh A. Akmatbekova. "CREATIVE PROCESS IN JOURNALISTIC ACTIVITY: CREATION OF AN INFORMATIONAL PUBLICATION." Vestnik of the Kyrgyz-Russian Slavic University 23, no. 10 (2023): 169–73. http://dx.doi.org/10.36979/1694-500x-2023-23-10-169-173.

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Herlambang, Agam, Suharto Suharto, and Bagus Susetyo. "Creative Process Of Extracurricular Nasheed Al-Mutazam Integrated Boarding High School In Kuningan Barat Jawa Barat." JURNAL SENI MUSIK 9, no. 1 (June 18, 2020): 58–69. http://dx.doi.org/10.15294/jsm.v9i1.34110.

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Nasyid extracurricular students at SMAIT Al-Multazam are students with a lack of musical experience but produce musical abilities to create nasyid works. The aim of this research is to find out and describe how the creative process of nasyid extracurricular students in creating nasyid works. This research use desciptive qualitative approach. Data collection techniques used were interviews, observation, and study of documents. The results of this study the creative process carried out by nasyid extracurricular students includes 4 stages, namely determining ideas, the process of creating nasyid lyrics, determining the chords in nasyid song lyrics, the method of composing chords on nasyid songs and the creation of a nasyid work. The conclusion is that the Nasyid extracurricular students are still in the learning stage but choose to pursue it to create a nasyid work so that it has a creative process to create nasyid works that can produce a work.

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Burch, Gerald F., Jana J. Burch, and John H. Batchelor. "Group Creative Problem Solving: The Role of Creative Personality, Process and Creative Ability." Quality Innovation Prosperity 23, no. 3 (November 30, 2019): 38. http://dx.doi.org/10.12776/qip.v23i3.1286.

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<p><strong>Purpose:</strong> Team creativity is an important factor in developing new ideas for organisations. In spite of years of creativity research, little is known about various team aspects and their affect on team creativity. This study looks at the incremental explanatory value that team creative personality and divergent thinking skill processes have on team creativity.</p><p><strong>Methodology/Approach:</strong> Individual personality, creative personality, and divergent thinking skills were collected from 349 students at a large public university in the southeast US. These students were then randomly assigned to 105 teams where they developed a novel product. Individual attributes were averaged to create team attributes that were used to determine correlations with the product creativity. Hierarchical regression was used to evaluate incremental explanatory values for each of the independent variables.</p><p><strong>Findings:</strong> Group creative personality adds approximately 36 percent more explanatory power than cognitive ability and traditional personality measures in predicting team creativity. Creative processes, like team divergent thinking ability, further increased the R<sup>2</sup> of our model from 0.54 to 0.65 demonstrating that team processes affect team creativity.</p><p><strong>Research Limitation/implication:</strong> The task used in this study was not as complex as problems being considered by organizations. However, the results are expected to be indicative of the process used for more complex problems. It is also difficult to assign causality since correlations were used to verify some of our hypothesis.</p><strong>Originality/Value of paper:</strong> This research expands the findings of team creativity by identifying factors that increase team creativity.

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Lockwood, Lewis, and Barry Cooper. "Beethoven and the Creative Process." Notes 48, no. 3 (March 1992): 847. http://dx.doi.org/10.2307/941696.

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Pursglove, Michael, and Brett Cooke. "Pushkin and the Creative Process." Modern Language Review 95, no. 1 (January 2000): 289. http://dx.doi.org/10.2307/3736472.

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Korhonen, Annamari, and Maija Hirvonen. "Joint creative process in translation." Developments in Cognitive Translation and Interpreting Studies 8, no. 2 (November 22, 2021): 251–76. http://dx.doi.org/10.1075/cogls.00078.kor.

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Abstract In this article, we explore socially distributed cognition (SDC) as a theoretical model of translation and investigate it empirically as an aspect of the collaborative and creative translation workflow. With the aim of developing a better understanding of SDC and collaborative workflows in translation, we analyzed two different settings where more than one person works on a translation: commercial specialized translation (CST) services, and the production of audio descriptions (AD) as teamwork between blind and sighted describers. The analysis focuses on how the process of co-creation unfolds in the communication that binds together the systems of SDC. While the process of co-creation was strikingly similar in the two different translation contexts, the differences were bound to channels of communication (with or without direct contact between participants), and the draft translation was identified as a central artifact that carries much of the communication when the participants do not work in the same space. With an emphasis on socially distributed cognition, our study provides a framework for both the cognitive and social aspects of translation and develops the understanding of collaborative translation processes. It also contributes to the development of translation practices by helping translation operators and trainers make choices between alternative workflows.

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Nikitina, N. P. "Watching the creative learning process." Science, Education, Society, no. 1 (2015): 143–48. http://dx.doi.org/10.17117/no.2015.01.143.

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Webster, Peter R. "Time, Technology, and Creative Process." Arts Education Policy Review 96, no. 1 (September 1994): 32–36. http://dx.doi.org/10.1080/10632913.1994.10544017.

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McMahon, Jenny. "Book Review: The Creative Process." Dramatherapy 12, no. 2 (June 1990): 17–18. http://dx.doi.org/10.1080/02630672.1990.9689343.

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GLICK, IRA D. "The Creative Process of Psychotherapy." American Journal of Psychiatry 146, no. 5 (May 1989): 675. http://dx.doi.org/10.1176/ajp.146.5.675.

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Rose, Gilbert. "The Creative Process of Psychotherapy." Journal of Nervous and Mental Disease 177, no. 11 (November 1989): 704–5. http://dx.doi.org/10.1097/00005053-198911000-00013.

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Weiner, Joseph S. "Hope is a creative process." Patient Education and Counseling 103, no. 12 (December 2020): 2602–3. http://dx.doi.org/10.1016/j.pec.2020.07.024.

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Heemskerk, Johan. "Metapsychology of the creative process." Philosophical Psychology 33, no. 4 (March 22, 2020): 653–56. http://dx.doi.org/10.1080/09515089.2020.1743259.

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Smith, Gilly. "Blogging and the creative process." Journal of Media Practice 11, no. 3 (January 1, 2010): 281–87. http://dx.doi.org/10.1386/jmpr.11.3.281_3.

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Rubins, Maria, and Brett Cooke. "Pushkin and the Creative Process." Slavic and East European Journal 43, no. 2 (1999): 375. http://dx.doi.org/10.2307/309555.

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Barksdale, E. C., and Brett Cooke. "Pushkin and the Creative Process." South Atlantic Review 65, no. 1 (2000): 157. http://dx.doi.org/10.2307/3201932.

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von Buren, Sarah. "The creative process within sketching." Communication Design 4, no. 1-2 (July 2, 2016): 69–81. http://dx.doi.org/10.1080/20557132.2016.1275492.

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Romanyshyn, Robert D. "Psychotherapy as a Creative Process." Psychotherapy Patient 4, no. 1 (April 25, 1988): 35–46. http://dx.doi.org/10.1300/j358v04n01_04.

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Heine, Bernd, and Thomas Stolz. "Grammaticalization as a creative process." Language Typology and Universals 61, no. 4 (November 2008): 326–57. http://dx.doi.org/10.1524/stuf.2008.0028.

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Emma, P. G. "Inventions and the creative process." IEEE Micro 25, no. 3 (May 2005): 96–95. http://dx.doi.org/10.1109/mm.2005.52.

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SMITH, MICHAEL K. "Inventions and the Creative Process." Journal of Creative Behavior 25, no. 3 (September 1991): 267–72. http://dx.doi.org/10.1002/j.2162-6057.1991.tb01380.x.

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Gold, Joel Gavierle. "The creative process of psychotherapy." Arts in Psychotherapy 17, no. 1 (March 1990): 81–82. http://dx.doi.org/10.1016/0197-4556(90)90044-q.

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