Dissertations / Theses on the topic 'Creative'
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Ely, Robert. "Creating a creative university." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/621.
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The research focuses on an auto-ethnographic case study of the creation of a new university specialising in creativity in Singapore between 2003 and 2005. The author is the President and CEO of that institution and the Vice Chancellor designate of the University of the Arts Singapore (UARTS@). Through the personal application of knowledge and documentary research, the context for the study is explored, together with the conceptual framework within which it will operate.
Some of the social, economic and political issues are described, as they relate to the Singapore Education System, drawing direct comparison with the two systems from which that system originated: the United Kingdom and to some degree, Australia.
The case study is centred on the evolution of a private institution, but one that is in receipt of public funding, operating directly under the supervision of the Ministry of Education in Singapore. During the period of the study, the institution transits from a polytechnic towards a full university status and the study observes the extent to which the development impacts on the Singapore Higher Education System and how it responds to two major Singapore government objectives:
• The Global Schoolhouse Initiative
• The Creative Industries Development
The case study illustrates a number of specific challenges facing many existing universities as they attempt to reposition themselves in response to mission convergence.
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Zabramski, Stanislaw. "Creating Digital Traces of Ideas : Evaluation of Computer Input Methods in Creative and Non-Creative Drawing." Doctoral thesis, Uppsala universitet, Människa-datorinteraktion, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-220882.
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Ideas are formed in a process of idea generation that includes creation, development, and communication of new ideas. Drawing has been used as a support for ideation for centuries. Today, computerized tools are commonly used for drawing. Such tools form a user interface between the human and the resulting drawing presented on the screen. The interface may come between the user and the drawing in a disruptive way also affecting the ideation process. Using controlled laboratory studies, this thesis investigates the consequences of drawing with different user interfaces in two types of tasks: creative drawing tasks (based on a standardized test of creativity) and non-creative drawing tasks (i.e. shape-tracing tasks where no new idea is created). The goal was to identify and evaluate the consequences of the several issues originating from the use of different input devices, the functionality of the graphical user interfaces, the formulation of the drawing task, and the user’s previous experience. The results showed that drawing tasks are oriented toward quality of outcomes and that higher input accuracy led to higher quality of outcomes of both creative and non-creative drawing tasks. This came with a trade-off between the quantity and quality. In ideation, less accurate input devices facilitated significantly more ideas but these were of lower quality. In non-creative tracing, higher speeds caused lower quality of outcomes. The users subjectively preferred higher accuracy, also when an inaccurate user interface offered an eraser function. However, using the eraser allowed avoiding reinterpretations of ideas and led to ideation strategies characterized by laborious drawing that negatively affected the quality and quantity of the ideas produced. For non-creative drawing, the more difficult the shapes were, the lower the tracing accuracy. In the thesis a new framework for interaction analysis is introduced that improves the theoretical and practical understanding of computerized drawing tasks and the phenomena resulting from different aspects of the user interface design of computerized drawing tools. This thesis demonstrates that the inaccuracy of computerized tools cannot only make our drawings less aesthetically pleasing but also negatively affect ideas that are created in the process.
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Scholtes, Mark A. "Creative Trigger, Creative Intent and Creative Choice: An Exploration of Where Songs Come From." Thesis, Griffith University, 2015. http://hdl.handle.net/10072/365726.
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This paper investigates the relationship between Creative Trigger, Creative Intent, and Creative Choice in the context of intuitive songwriting practice. By positioning creative practice in a theoretical framework that includes both traditional musical transcription and autoethnographic data, the paper discusses the interplay between these creative elements and their relationship to the finished works. It also seeks to compare conscious and intuitive songwriting process in an attempt to better understand how these two modes of operation intersect in the context of the author’s own creative practice. As a result, over the course of this project, this research highlights a transition away from what can be considered an overly romantic and anachronistic view of songwriting and creativity, towards a conclusion that refutes much of the mystery surrounding songwriting practice as propagated by many successful recording artists, songwriters, media, and the music industry at large.Thesis (Masters)
Master of Music (MMus)
Queensland Conservatorium of Music
Arts, Education and Law
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McGinn, Bonnie Gay. "Creative Matrix." VCU Scholars Compass, 2007. http://hdl.handle.net/10156/1366.
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Santos, Elder Rizzon. "Creative agency." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/28359.
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A presente tese de doutorado descreve uma pesquisa interdisciplinar nas áreas de criatividade computacional e agentes cognitivos. A motivação para a integração dessas áreas é o estudo da habilidade humana de utilizar suas experiências prévias e conhecimento geral para resolver problemas e lidar com situações a partir do momento em que as mesmas são apresentadas. Imbuídos dessa motivação, nosso propósito é ampliar a utilização do conhecimento de agentes, inspirado na forma como, nós, humanos entendemos e vivenciamos o mundo. Nossa abordagem para concretizar essa visão de pesquisa é adotar teorias e resultados das ciências cognitivas e neurociências como fundamentação para um modelo computacional de agentes capazes de atuar criativamente. Assim sendo, adotamos a teoria do concept blending (fusão conceitual – tradução do autor) (FAUCONNIER; TURNER, 1998), advinda da lingüística cognitiva e teoria da mente como a fundação de nosso modelo. O modelo de agentes criativos proposto integra uma implementação da fusão conceitual em uma estrutura BDI. Concretamente, utilizamos a implementação da linguagem AgentSpeak fornecida pelo framework Jason, para manipular o raciocínio teórico (crenças) e prático (desejos, planos e intenções) do agente. Logo, o objeto principal de estudo desta tese é a utilização da fusão conceitual em uma estrutura de agentes inteligentes visando contribuições em criatividade computacional e agentes. Considerando a área da criatividade computacional, especificamos um modelo da fusão conceitual que define explicitamente as regras necessárias para representar uma tipologia da fusão. Ademais, a integração de uma estrutura de agentes BDI ao modelo possibilita a construção automatizada das entradas e de informações de domínio para utilizar o processo de fusão. Focando na área de agentes, nossa contribuição é caracterizada pela aplicação do processo de raciocínio criativo para fornecer alternativas de uso do conhecimento prático e teórico. Dada a especificação da fusão aqui apresentada, é possível integrar diferentes estratégias de adaptação para lidar com a falha de intenções ou outras situações que requerem adaptação. Outra funcionalidade é a capacidade de utilizar diferentes representações de conhecimento, assumindo a disponibilidade de uma definição descritiva (na linguagem OWL) da representação. O modelo de fusão conceitual também é aplicado na modelagem do raciocínio de um sistema de recomendação educacional. Finalmente, nosso modelo de fusão representa um trabalho inicial em direção a um modelo cognitivo no qual fusão, agência e outras funções cognitivas (e.g. aprendizagem) interagem para simular diferentes funcionalidades do pensamento humano.This PhD thesis describes an interdisciplinary research on computational creativity and cognitive agents. Our motivation to integrate these two areas is to study the human skill that uses previous experiences and knowledge to solve unpredicted problems and situations. Imbued by that motivation, our purpose is to improve the applicability of the agent’s knowledge, inspired in the way that we humans understand and experience the world. Our approach towards that research view is to adopt theories and results from cognitive and neural sciences as the grounding to a computational model of agents capable of acting creatively. Thus, we adopt the concept blending theory (FAUCONNIER; TURNER, 1998) – that originated from cognitive linguistics and theory of the mind – as the grounding of our model. Therefore, our proposal of creative agents integrates an implementation of concept blending into a BDI structure. In concrete terms, we use Jason’s implementation of AgentSpeak to manipulate the agent’s theoretical (beliefs) and practical (desires and intentions) reasoning. Hence, the main topic of study of this research is the utilization of concept blending in a structure of intelligent agents. Consequently, we observe our contributions under two perspectives. Regarding computational creativity, we specify a model for concept blending that explicitly defines rules to represent a blending typology. Furthermore, integrating a BDI structure to the model allows the automated construction of inputs and domain information to feed the blending process. Focusing on agents, our contribution is on the process of creative reasoning applied to supply alternative ways to use practical and theoretical knowledge. Given the blending specification defined here, it is possible to integrate different adaptation strategies to handle intention failure or other adaptation scenarios. Another feature is the possibility to work with different knowledge representations given its descriptive logics (using the OWL language) definition. The blending specification is also applied to model the reasoning of an educational recommender system. Finally, the defined model represents an initial work towards a cognition model where blending, agency and other cognitive operations (e.g. learning) interact together to simulate different features of the human thinking.
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Blatter, John Henry. "Creative Insubordination." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1825.
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In today’s lexicon a ‘Daily Constitutional’ usually refers to a daily walk. But in actuality, a ‘Daily Constitutional’ is something that one does on a daily basis that is beneficial to one’s constitution or healthful(1); and one’s constitution being the aggregate of a person’s physical and psychological characteristics(2). With this definition, the daily constitutional refers to any daily activity that improves a person’s physical or mental health. At various stages in my life I may have understood my constitutional to be any number of things and it was not until I came into my own did I truly discover my Daily Constitutional, the creative process. In the following thesis I will be covering my thoughts and opinions on the creative process as well as my role of Artist in a larger art community. The thesis consists of six chapters, each being a letter I wrote for Daily Constitutional, A Publication for the Artist’s Voice as the Editor-in-Chief. I created the Daily Constitutional in 2005 in order to provide my contemporary colleagues with an opportunity to once again have a voice in the art world. The publication is entirely submission based with an international open call. Each semi-annual issue is created out of the submissions received and composed by a rotating panel of six artists and has been ongoing throughout my tenure at Virginia Commonwealth University. The mission of the publication is to provide an outlet and forum for the individual Artist’s voice, rather than the cacophony that is the art world at large (galleries, critics, curators, museums, patrons and finally the artists themselves). To provide a place to express, exchange and discuss, without interpretation, the artist’s opinions, ideas and discoveries within one’s practice. This publication can only be made possible, through a collaboration of individual Artists.(3) This document was created with Adobe InDesign CS2. 1. “constitutional.” Dictionary.com Unabridged (v 1.1). Random House, Inc. 03 May. 2009. . 2. “constitution.” Dictionary.com Unabridged (v 1.1). Random House, Inc. 03 May. 2009. . 3. “Mission Statement,” Daily Constitutional, A Publication for the Artist’s Voice, 2005-09, http://www.dailyconstitutional.org/mission_statement.html
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Jalili, Lemar. "Creative Processes." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-75298.
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Tsiavos, Prodromos. "Cultivating creative commons : from creative regulation to regulatory commons." Thesis, London School of Economics and Political Science (University of London), 2007. http://etheses.lse.ac.uk/264/.
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This thesis explores and explains the development of the Creative Commons (CC) as an alternative to mainstream copyright protection. it argues that the distinctive characteristics of CC as a license based, configurable form of meta-regulation can be explained by consideration of the disciplinary background of the movement's founder (Lawrence Lessig) and as a consequence of the particular mode of development it undertook (e-mail discussions as commonly used in the arena of software development rather than traditional legal discussion) as well as the influence of a variety of pre-exisiting regulatory forms. The second part of the research reviews the inputs from multiple existing regulatory structures such as the Free Software Foundation and the Open Content movement, and de-constructs the process by which the CC is developed in practice. The thesis analyzes the trajectory of CC from a licensing project to a political project, the structural elements of the CC licences and the decision making process of their creation and development. This analysis helps to explain the apparent inconsistencies that have been expressed about the CC project and shows how Lessig's perspectives on regulation and meaning construction contribute to the empowerment of the creator and the attempt to provide regulatory tools instead of regulatory solutions. The thesis argues that imbalances in the existing Copyright system are symptoms of deeper structural problems of distantiation of the regulated subject from the process of regulation construction. CC therefore becomes an effort to increase access to the regulatory process and as a result ignites the creation of the Commons. instead of the regulation to be enforcing its normative content on the creative practice over the Internet, the CC approach allows the reverse to happen. The intellectual or creative commons are thus achieved as a secondary result of the ability to access the regulatory commons.
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Ragsdell, Gillian. "Creative management of creative management : a critical systems approach." Thesis, University of Hull, 1997. http://hydra.hull.ac.uk/resources/hull:4702.
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This thesis draws on current research from the systems world - that of Critical Systems Thinking - in such a way as to bring the study of creativity into a new era. Recognising a novel link between these two major fields of activity has enabled a new form of creativity to be both developed and operationalised; that is, a form of creativity which can claim to have a sound theoretical base and to be practically useful. 'Critical creativity' is put forward as a form of creativity which is worthy of pursuit today. Based on similar philosophical foundations to those of CST, critical creativity is underpinned by four main principles - a systemic principle and principles founded on participation, reflection and human needs. While it is appreciated that some creative problem solving approaches, (Ackoff's 'idealized design' and Morgan's Imaginization', for instance) implicitly rely on critical creativity, this is not sufficient for the practising manager. Only the explicit incorporation of critical creativity will ensure that creative approaches are used appropriately in each context. Total Systems Intervention (TSI) is shown to provide an overarching framework which integrates all creativity centred approaches in a critical manner; a metamethodology which promotes the practice of critical creativity. TSI is therefore capable of guiding managers to 'successful' choices and implementations during creative problem solving. A comparison of two case studies - one in which creativity per se was practised, and another in which critical creativity was strived for - emphasises the benefits of explicitly pursuing the latter form. Associated difficulties from accepting the guidance offered by TSI are explored, and subsequent realisations are used to enrich the 'theory-practice' cyclic process of critical creativity. Such guidance is not intended to be sterile and staid: indeed, this guidance will, itself, incorporate creativity. It is concluded that TSI provides a framework for the 'creative management of creative management'.
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Hood, Emily Jean. "Creative Matter: Exploring the Co-Creative Nature of Things." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404623/.
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This dissertation is about new materialism as it relates to art education. It is a speculative inquiry that seeks to illuminate the interconnectivity of things by considering the ways in which things participate in generative practices of perceiving and making. To do so, the dissertation pioneers an arts-based methodology that allows for broad considerations about who and what can be considered an agent in the process of art making. In this inquiry, the researcher is an artist-participant with other more-than-human and human participants to construct an (im)material autohistoria-teoría, a revisionist interdisciplinary artwork inspired by the work of Anzaldúa. The term w/e is developed and discussed as new language for expanding upon Braidotti's posthumanist subjectivity. New theories called thing(k)ing (including found poetry) and (im)materiality are discussed as movements towards better understanding the contributions of the more-than-human in artmaking practices.
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Brown, Sacha Devine. "Creative Performance, Creative Partner Preference, and Creative Perception: A Test of Fisher's Runaway Sexual Selection Theory." Thesis, The University of Arizona, 2010. http://hdl.handle.net/10150/146888.
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Prior research suggests that creativity is a trait women find attractive in potential male romantic partners. This study applied Fisher's theory of runaway sexual selection to creativity. Fisher's theory predicts that when a trait with no apparent adaptive advantage is found sexually attractive, both prevalence of and preference for the trait should increase over evolutionary time. This study hypothesized that creative performance and creative partner preference would be correlated, as predicted by this theory. It was believed that perception of creativity would be necessary if individuals are to successfully identify it in partners, which would then allow for the runaway chain of events identified by Fisher to occur. Creative self-perception was hypothesized to correlate with the creative performance and creative partner preference as well. Study participants (198 heterosexual undergraduate females) were given measures of the three constructs of interest and general intelligence was also assessed. Results supported Fisher's runaway sexual selection theory and the hypothesized relationship between creative performance, creative partner preference, and creative self-perception. This study found that women high in creativity were also more likely to prefer that potential partners be higher in creativity and were also more likely to perceive themselves as creative. Previous findings that creative performance and intelligence are related were also supported. Implications of these findings and future research directions are discussed.
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BOWERS, ROBERT SIDNEY EARL. "MANAGING CREATIVITY FOR PRODUCTIVITY: RATIONALE, DESIGN AND PROGRAMS (INNOVATION, CREATIVE, INVENTION, INNOVATE, CREATION)." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/188177.
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This study presents an operational definition of creativity within the contexts of business, school and community. A design for the strategic management of creativity is developed. Suggestions are made for programs to increase effectiveness in the use of creative skills. Creativity has been viewed in the past as something that happens rather than deliberate activity directed to specific goals. Numerous studies have failed to find a significant relationship between measurements of creative skills and intelligence as delimited by IQ tests and other measures of performance. Creativity can be distinguished as a category, process and quality of intelligence, and both can be defined in qualitative and theoretical terms. Models are constructed in the study to classify creativity. The components of the creative act can be tracked. A model sets parameters and categories for investigations to permit variation of content in a relatively stable sequence of steps. The sequence can be extracted as a method to process ideas from any discourse.
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King, Willow. "Yantra: A creative writing thesis (Original writing, Poetry, Creative fiction)." Diss., Connect to online resource, 2005. http://wwwlib.umi.com/cr/colorado/fullcit?p1425764.
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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.
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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.
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Beattie, Robert. "The creative entrepreneur : a study of the entrepreneur's creative processes." Thesis, Abertay University, 1999. https://rke.abertay.ac.uk/en/studentTheses/9dfc2bf2-fb0e-4609-9c13-a35fce053cbc.
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The aim of the research was to increase the understanding of how the entrepreneur’s process of creativity began and evolved by determining how ideas and opportunities were discovered, recognised and harnessed prior to the advent of entrepreneurship. There appeared to be a shortage of appropriate research studies into the entrepreneur’s creative processes, describing how it began and evolved over time. There also appeared to be few studies that attempted to describe how entrepreneurs discovered their ideas, harnessed them, and converted them into opportunities. It would seem that the majority of the empirical research studies on the subject have focused upon managers and founders of companies compared to studies involving nascent entrepreneurs and entrepreneurs. The objective of the research study was to provide a new synthesis of the research literature in order to create a framework that described the key cognitive processes and personal attributes that were involved in the entrepreneurs’ search and evolution of their ideas. The content and elements of the framework were then compared with the context of the entrepreneurs’ personal histories in order that generic themes could be identified. After a period of one year, further interviews were held with the entrepreneurs in order to monitor any changes to the processes involved. The research began with a review of existing literature relating to the entrepreneur and entrepreneurship. A selective review of the historical research literature on the entrepreneur was followed by an appraisal of some of the entrepreneurs’ attitudes and behaviour patterns. This provided a thumbnail sketch of each entrepreneur, his or her origins, and what he or she did. This was followed by a description of what might be construed as a typical nascent entrepreneur. This description detailed the process from the ‘learning phase’ to the ‘triggering event’ that caused such a dramatic change in his or her career path, i.e. the critical incident that set off a mental chain reaction within the nascent entrepreneur that led to the establishment of his or her entrepreneurial intentions. A review of the research literature concerning the focal theory of the research objectives led to an in-depth appraisal of what is meant by ‘creativity’ and ‘cognitive processes’. The difficulties of researching such subjective actions are shared by previous research literature. The creative variables were then brought together in a number of phases contained in the discovery and evolution processes. The process was then followed through the discovery phase, stressing the importance of the prepared mind to the birth of the idea. The various thinking and analytical processes involved in the evolution of an idea into an opportunity were discussed in the context of an entrepreneur’s core attributes and beliefs. The focal theory review concluded with a framework of the elements appertaining to the research objectives that had been derived from the research literature. The structure and elements of the framework were then compared with the relevant data from the field research study. A number of research questions arose from the key issues raised in the research literature. These concerned, having a prepared mind, happenstance, intuition, self-belief, values, visualisation and goal setting. The sample of the population chosen for the research study comprised fifty Scottish entrepreneurs of both sexes and varying sizes of company, ages of business, turnover and number of employees. The companies with whom entrepreneurs were involved covered various industries and activities. Following the guidance obtained from the research literature, in-depth interviews were carried out. A number of the entrepreneurs interviewed were subjected to a follow-up meeting after one year, in order to monitor any further developments and changes to the themes identified from the first interviews, and to provide the research with a further means of validation. An opportunity was taken at the meeting to share with the entrepreneurs the preliminary findings arising from the previous interviews. The interviews were tape-recorded, transcribed, and data was computerised. The data was then subjected to content analysis, as was the secondary information obtained from publications, newspaper articles and other case studies. The research findings identified many generic themes among the entrepreneurs, particularly in the area described as the discovery and evolution phases of the creative process. A high percentage of entrepreneurs also had beliefs and attitudes that were similar to their business philosophy. The findings supported a number of theories that have been outlined previously in the research literature, as well as confirming many of the traits, characteristics and behaviours attributed to being entrepreneurial. The findings of the research confirmed that many of the entrepreneurial ideas occurred serendipitously, and the use of visualisation and rehearsal techniques was considered by many to be invaluable in the creative process. Goal setting also appeared to provide essential stepping stones to the monitoring and attainment of many successful outcomes, particularly in the evolution stage. The structure and elements of the framework of the process of creation appeared to be well supported by the majority of the entrepreneurs interviewed. Recommendations are made as to how the adoption of some of the research findings could assist in the encouragement and advancement of an enterprise learning culture, and the establishment of a ‘can-do’ attitude towards enterprise creation.
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Verseput, Lisa. "The creative conservatory : a community media & creative arts centre." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60215.
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Johannesburg was built on the discovery and exploitation of gold, but the gold mines are
depleted, and a new resource is driving the city: human capital. The ingenuity and aspirations
of the dense and diverse population sustain Johannesburg as the economic capital of the
country, but the City has lost its golden meaning and is striving for a new identity: to become
the Cultural Capital of South Africa, an embodiment of diversity, creativity, and cultural
expression. People and cultures of the City mix and spark ideas in public space, so Joubert
Park, the central, largest, and oldest park in Johannesburg and home to the Johannesburg Art
Gallery, should play a role in Johannesburg's transformation into the Cultural Capital.
The Joubert Park Conservatory is a century old ornamental greenhouse, once spectacular, it
now lies abandoned and in disrepair. The Conservatory and its precinct currently provides no
significant contribution to the public of Joubert Park, but its iconic design and position indicate
its potential to be rediscovered as an important public space. This dissertation investigates
how spatial interventions can be mobilised to re-establish the forgotten significance of
the site, and introduce a programme that will respect and enhance the heritage of the
Conservatory and its cultural landscape to contribute to Joubert Park as well as the greater
urban environment as the Cultural Capital.
The proposed programme is the Creative Conservatory (CC), a community media and arts
centre driving universal media accessibility and providing an enabling environment for the
cultivation of artistic and cultural expression and development. The CC serves the community,
mobilising the arts for social and economic development, thus supporting the creative
economy and cultural landscape of Johannesburg. The architectural intervention of the CC is
designed for the present, while inspired by and responding to heritage, so as to create places
that will remain relevant in the future.Johannesburg is gebou op die ontdekking en ontginning van goud, maar goud resereves loop nou leeg en 'n nuwe hulpbron kan die stad vorentoe dryf: menslike kapitaal. Die kreatiwiteit en aspirasies van 'n diverse bevolking onderhou Johannesburg as die ekonomiese spilpunt van die land, maar die stad het sy goue betekinis verloor en streef nou na 'n nuwe identiteit: om die Kulturele Hoofstad van Suid Afrika te word - 'n vergestalt diversiteit, kreatiwiteit en kulturele uitdrukking. Mense en kulture in die stad meng en nuwe idees word in publieke ruimtes gegenereer. Joubert Park is die stad se grootste en oudste park en huisves die Johannesburg Kunsgallery, hierdie ruimte kan 'n belangrike rol speek in die stad se transformasie na kulturele kapitaal. Die Joubert Park Konservatorium is 'n eeu-oue en eens indrukwekkended onrnamentele kweekhuis, nou verlate en onversorgd. Die Konservatorium en sy omliggende ruimtes dra nie tot die park by nie, maar sy ikoniese form en posisie hou potensiaal in wat herontdek kan word as 'n publieke ruimte van belang. Hierdie verhandeling ondersoek hoe ruimtelike veranderinge gebruik kan word om die vergete waarde van die terrein te herstel. 'n Nuwe program wat die erfenis van die terrein repspekteer kan dit terselfdetyd verbeter om as kulturele landskap by te dra tot Joubert Park en tot die stedelike omgewing daarom by te dra as kulturale kapitaal. Die program wat voorgestel word is die Kreatiewe Konservatorium, 'n gemeenskapsentrum vir media en kuns wat universele media toegang dryf en 'n omgewing skep vir die kultivasie van kuns en kulturele ontwikkeling en uitdrukking. Die Kreatiewe Konservatorium bedien die gemeenskap en mobiliseer die kunste ten einde sosiale en ekonomiese ontwikkeling te bewerkstellig en soedoende die kreatiewe ekonomie en kulturele landskap van Johannesburg te ondersteun. Die projek is ontwerp vir die hede, ge?nspireer deur en in reaksie tot erfenis, om plekke te skep wat relevant sal bly in die toekoms.
Mini Dissertation (MArch (Prof))--University of Pretoria, 2016.
Architecture
MArch (Prof)
Unrestricted
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Jungmann, Manuela. "Embodied creativity : a process continuum from artistic creation to creative participation." Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/7374/.
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This thesis breaks new ground by attending to two contemporary developments in art and science. In art, computer-mediated interactive artworks comprise creative engagement between collaborating practitioners and a creatively participating audience, erasing all notions of a dividing line between them. The procedural character of this type of communicative real-time interaction replaces the concept of a finished artwork with a ‘field of artistic communication'. In science, the field of creativity research investigates creative thought as mental operations that combine and reorganise extant knowledge structures. A recent paradigm shift in cognition research acknowledges that cognition is embodied. Neither embodiment in cognition nor the ‘field of artistic communication' in interactive art have been assimilated by creativity research. This thesis takes an interdisciplinary approach to examine the embodied cognitive processes in a ‘field of artistic communication' using a media artwork called Sim-Suite as a case study research strategy. This interactive installation, created and exhibited in an authentic real-world context, engages three people to play on wobble-boards. The thesis argues that creative processes related to Sim-Suite operate within a continuum, encompassing collaborative artistic creation and cooperative creative participation. This continuum is investigated via mixed methods, conducting studies with qualitative and quantitative analysis. These are interpreted through a theoretical lens of embodied cognition principles, the 4E approaches. The results obtained demonstrate that embodied cognitive processes in Sim-Suite's ‘field of artistic communication' function on a continuum. We give an account of the creative process continuum relating our findings to the ‘embedded-extended-enactive lens', empirical studies in embodied cognition and creativity research. Within this context a number of topics and sub-themes are identified. We discuss embodied communication, aspects of agency, forms of coordination, levels of evaluative processes and empathetic foundation. The thesis makes conceptual, empirical and methodological contributions to creativity research.
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Özkâr, Mine 1976. "Envisioning creative space." Thesis, Massachusetts Institute of Technology, 1999. http://hdl.handle.net/1721.1/69412.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 1999.Includes bibliographical references (p. 97-100).
This thesis proposes a framework to articulate certain criteria in creative spatial productions such as architecture. I discuss that a conformist and unquestioning adaptation to conventional space conceptions limits enhancement of spatial sensibility, and consequently creativity. I connect such adaptations to linear progress of continuous and one directional accumulation. Specifically, I call attention to a non-linear progress that surpasses the limitations of these mental constructs and brings in creativity. My discussions are formed around how this non-linear progress might be conceived and sustained in dynamic systems of fragments. The thesis connects this inquiry to the historical and contemporary critique of positivism in the classical sciences, mainly due to the relation of origins of space conceptions to sciences.
by Mine Oz̈kar.
S.M.
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Kaewpanukrangsi, Nuanphan. "Creative-Up-Cycling." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21543.
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The project elaborates design opportunities for a future practice that could promotealternative sustainable lifestyles on waste handling through up-cycling activities. It doesthis on a small scale through engagement in the local communities of the Hildaneighborhood and Segepark students’ accommodations in Sweden. To thesecommunities, creative-up-cycling is explored which it introduced here as an approachwhere neighbors can participate in making new things from leftover materials. Throughthis work creative-up-cycling is a proposed recommendation for a possible service systemon how to share the leftover materials in the local resident’s communities, as well as, howto remake the items no longer needed.The empirical studies explore maker culture lifestyles and include how to find leftovermaterials, tools, space, and skills in order to guide people in creative-up-cyclingalternatives. These creative activities also build social relationship via the integration ofmultidisciplinary citizens who are living in the same community and explorations weredone on how could we elicit the skill sets from those people? What is a useful skill set inthis area today? Values like mutual physical experience, reciprocity, and ownership couldalso be found along the empirical workshops in this project. Additionally, this reportshows some interesting findings pointing towards the design process and the suggestionsof design elements; ‘Co-storage’, ‘Mix and Match furniture shop’, and ‘Renovation andup-cycling’ concept elements.Participatory design (designing with people) has been the core approach in this project.Additionally, I have been influenced by user-centered design, as well as service designapproaches in order to comprehend the services, system and activities of recycling andup-cycling in cities like: SYSAV, STPLN, Cykelköket, Återskapa, Toolpool. The findingpresented here are examples of practices that could make up the composition of recyclingand up-cycling activities in future local communities.
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Ansari, Rushina. "Creative Paper Recycling." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23795.
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With the intention of empowering children and guiding them towardssustainable habits at an early age, the empirical findings in the choseninternational school pointed towards a heavy use of paper. A study wascarried out to understand the various factors related to paper use.Interviews, experiments and workshops were conducted to probe furtherinto the variety of insights that were gathered.The scope of the project was to use interaction design techniques tounderstand and address the issues through creating small designinterventions using three main strategies of a) placing appropriateaffordances, b) designing for transparency and hence creating awarenessof the use of resources, and c) by attempting to instill a culture throughdirect involvement that supports eco-ethics.An effort was made to conceptualize and design an artifact that was inline with the mood and disposition of the specified section of the school. Ametaphorical concept prototype was created to test the effect of theproposed artifact. Moreover, the overall culture of the school affected thebehavioral patterns and hence a separate strategy was employed toaddress the awareness in the entire institution.
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Ehrlich, Kornelia. "Creative City Ljubljana?" Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät I, 2014. http://dx.doi.org/10.18452/16891.
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Die Verhandlung von Stadt, öffentlichem Raum und Kultur im Kontext neoliberaler Stadtpolitiken zeigt sich gegenwärtig in etlichen Regionen und Städten, so auch im slowenischen Ljubljana. Der Beitritt Sloweniens in die Europäische Union katapultierte die slowenische Hauptstadt in den globalen Städtewettbewerb, bei dem die Entwicklung eines einzigartigen Profils zur zentralen Aufgabe wird. Bei diesem Profilierungsprozess orientiert sich die lokale, regionale sowie nationale politisch-administrative Ebene am Leitbild einer creative city und passt sich so dem Umbau von Stadt mittels neoliberaler Politiken an. Gleichzeitig verhandeln Kultur- und KreativakteurInnen sowie politische AktivistInnen mithilfe kultureller und sozial-räumlicher Praxen Vorstellungen von urbanem öffentlichem Raum; dabei entwickeln sie zum Teil Gegenentwürfe zum offiziellen Leitbild. Diese Aushandlungsprozesse werden in der Arbeit theoretisch eingebettet in die kulturanthropologische Europäisierungsforschung und in neuere Konzepte von Raum(-verhandlung). Darüber hinaus verknüpft die Arbeit postsozialistische mit postkolonialen Perspektiven, um spezifische Entwicklungen im Feld adäquat(er) erklären zu können. Empirisch werden die Verhandlungen und theoretischen Konzepte anhand sechs konkreter Orte verdeutlicht: Rog, einer alten Fahrradfabrik, die zu einem Centre of Contemporary Arts umgebaut werden soll; Kino Siska und Spanski Borci, zwei kommerzielle Kulturhäuser; Krater Bezigrad, einem Entwicklungsprojekt für eine urbane Brache; Tabor-Park, der umgestaltet wird um wieder attraktiver für die AnwohnerInnen zu sein sowie einem community Garten. Am Ende der Arbeit steht ein Plädoyer für eine linke(re) Stadtpolitik, mit deren Hilfe Handlungsansätze aufgezeigt werden für den Umgang mit Konflikten im öffentlichen urbanen Raum wie sie in dieser Arbeit exemplarisch für Ljubljana aufgezeigt werden - die in ähnlicher Form aber auch in anderen Kontexten zu finden sind.The negotiation of public urban space and culture in the context of neo-liberal urban policies is visible in various cities and regions; this can also be observed in the Slovenian capital Ljubljana. The accession of Slovenia to the European Union ejected the city into the global urban competition where the development of a unique profile becomes essential. In this matter, the local, regional as well as the national political level are oriented towards the concept of the creative city; this concept is closely connected with neo-liberal urban development concepts. Also cultural and creative actors as well as political activists negotiate urban public space with the help of cultural and social-spatial practices. Partially they are developing contrary approaches to the official concept the political level follows. These negotiations are being theoretically embedded in this thesis into cultural-anthropological concepts of Europeanization and new concept of space and its negotiation. Furthermore it brings together postsocialist theories with postcolonial approaches in order to grasp specific developments in the field more precisely. Empirically this is being done by reflecting on six concrete places where these negotiations and theoretical concepts can be observed: Rog, a former bicycle fabrication site which shall be transformed into a Centre of Contemporary Arts; Kino Siska and Spanski Borci, two commercial centres for culture; Krater Bezigrad, a development project of an abandoned site; Tabor park which shall be made more attractive for its users and a community garden. The thesis ends with a call for leftist urban policies with which conflicts that emerge in the public urban space can be addressed adequately.
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Still, Frederick George. "Digital Collage-Access to inspiration: The use of multimedia as a catalyst for creative thought." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2891.
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This paper takes the position that creativity can be enhanced by multimedia. Computer software was designed and a study was conducted to measure that proposition. The author used participant self-analysis as a means to gather data on creativity enhancement holding to the presupposition that people can tell when they are creative and when their creativity is inhibited. The results of the study supported the belief that multimedia and the software designed for that purpose was able to enhance creativity.
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Lucas, Sátiro María Angélica. "Pedagogía para una ciudadanía creativa." Doctoral thesis, Universitat de Barcelona, 2012. http://hdl.handle.net/10803/96169.
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Esta es una Tesis de Compendio que trata de ofrecer una unidad temática a diez artículos publicados en libros y en revistadas indexadas, además de dos libros resultantes de investigación. Estos textos, publicados, en cinco países diferentes (España, Brasil, México, Argentina y Guatemala), son evidencias del esfuerzo investigador de una trayectoria que empezó en los años 80. La problematización que provocó la línea de investigación fue el interrogante sobre la capacidad creativa y sus posibilidades éticas, sociales y ciudadanas, aplicadas a la educación en su sentido más amplio. Alrededor de las relaciones posibles entre estos campos temáticos, se ha ido construyendo, a lo largo de los años, una praxis que ha planteado prácticas y reflexiones diversas. Los textos de este compendio representan pausas reflexivas acerca de esta praxis y se publicaron entre 2002 y 2012.
Lo que unifica temáticamente los artículos y libros en esta tesis es el planteamiento teórico que entiende la educación como un proceso creativo sistémico. La tesis propone una pedagogía para el desarrollo de la ciudadanía creativa. No se enseña a nadie a ser un ciudadano inventivo, pero se pueden generar las condiciones para que sí pueda aprender a serlo. La cuestión principal es aprender cómo ser este tipo de ciudadano. Para ello hace falta plantear el tema de la persona, del proceso, del ambiente y del producto creativo. Es el ámbito educativo el que tiene en sus manos la posibilidad de favorecer la emergencia de la ciudadanía creativa. Es decir, son los espacios educativos los que favorecen que personas y colectivos se tornen capaces de aportar evolución social frente a los retos actuales. Este proceso puede darse a medida que se favorecen acciones e interacciones coherentes con un modo de ser y de pensar el ejercicio de la ciudadanía (ethos creativo).
El objetivo de esta tesis es sistematizar la amplitud y diversidad praxiológica en un compendio con sentido más profundo. Para ello, se ha organizado como anexo el compendio de los diez artículos y los dos libros seleccionados, que son representativos de esta diversidad. Esto va precedido de una justificación de 211 páginas, dividida en introducción, desarrollo, discusión general, conclusiones y bibliografía. La introducción explicita la relación conceptual básica. En el desarrollo, son ampliados los ámbitos temáticos que dan unidad al compendio. A continuación, se hace una discusión general sobre los objetivos y los resultados provisionales de esta línea de investigación. Las conclusiones, igualmente provisionales, cierran las reflexiones. Se utiliza la palabra “provisionales” en función del carácter investigativo del tema, que seguramente seguirá en proceso. Antes de la bibliografía, se habla de la proyección de la tesis. Se utilizan mapas mentales para resumir y mostrar el carácter sistémico de las principales ideas y sus conexiones. Estos mapas aparecen en distintas partes del texto, además pueden encontrarse por separado en la web Ciudadanía Creativa que acompaña esta tesis: www.crearmundos.net/tesis/ciudadaniacreativaThis is a Thesis by Publication which seeks to provide a themed unit of ten articles published in referred books and journals as well as two books which result from investigation. These texts which have been published in five countries (Spain, Brazil, Mexico, Argentina and Guatemala) are evidence of a trajectory of research effort that commenced in the 1980’s. The issue which provoked this investigation was the question of creative capacity and its ethical, social and civic potential, applied to education in its broadest sense. Over the years a praxis, which has proposed various practices and ideas, has been created around the possible relationships between these thematic areas. The texts of this compendium represent thoughtful opinions about this praxis and were published between 2002 and 2012. This Thesis proposes pedagogy for the development of creative citizens. It seeks to develop resourceful individuals and groups, capable of creating original "products" through imaginative process in order to create societies which are prepared to face the challenges of the XXI century. It is based on the principle that nobody is taught to be a creative citizen, rather the conditions can be provided to allow them to learn to become one. For this the issue of systemic interaction between the following four basic elements is raised: the person, the process, the environment and the creative product. From this perspective is it the educational field that has the opportunity to favour the emergence of creative citizens. That is, it is the educational environment that encourages individuals and collectives to become enabled to use social evolution against current challenges. This process can become evident as actions and interactions that are coherent with a way of being and thinking on citizenship are favoured (creative ethos). So, the thematically unifying element of this compendium is an understanding of education as a systemic creative process. This Thesis is accompanied by the Ciudadanía Creativa website (www.crearmundos.net/tesis) where the elements of the compendium are expanded with quantitative and qualitative evidence of the projects quoted in the articles.
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Zubkova, Alina Boleslavivna. "Creative Economy: Driving of Internationalization and Global Development." Thesis, НТУ "ХПІ", 2015. http://repository.kpi.kharkov.ua/handle/KhPI-Press/35808.
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Early 2000th the concept of creative class and creative economy has been developed by Richard Florida and John Howkins. However, "creative economy" is not a well-defined term currently. The United Kingdom (UK) has the largest creative sector of the European Union. In the Creative Economy Report of UNESCO 2013 is stated: "Creative economy it is not a single superhighway, but a multitude of different local trajectories found in cities and regions in developing countries" [5]. Creative clusters open the fastest way for internationalization. Creative clusters development gives us the chance to be included into global supply chains and value creation. Successful startups as the key products of creative clusters will lead to economic growth through the entrepreneurship and SME development in Ukraine and Kharkiv in particular.
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Lloyd, Jana. "Finding Where I Am: A Collection of Creative Nonfiction - Creative thesis." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd771.pdf.
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Javeri, Sabyn. "The creative process : a journey of self-discovery through creative writing." Thesis, University of Leicester, 2016. http://hdl.handle.net/2381/37801.
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This PhD submission constitutes a novel and accompanying critical commentary. My novel Nobody Killed Her provides an alternative history of the assassination of Pakistan's only female Prime Minister, Benazir Bhutto. The thesis questions the choices I made in order to develop the writing of this novel and the decisions I took in order for it to reach its readers. I discuss the issues of creative integrity and the role of the publisher as an enabler, and as a modern day censor. I examine the role of literary influences and publishing pressures on the multi-layered and shifting strains of the creative process and explore fiction as a powerful tool for communicating the paradoxical state of modern Pakistani women, which my novel draws upon. Accordingly, my research narrative is interspersed with personal vignettes that helped shape my writing. Reflecting upon the role of memory, history and politics, and literary influences that shape our writing, I try to interrogate the ‘flash-bulb’ moments of inspiration and argue that creative writing is actually a series of complex thought processes that shape our consciousness. I have also, during the compilation of this essay, looked critically at the role of the publisher in shaping an author’s creativity and the author’s desire for publication in influencing his or her creative choices. I have examined the role of the audience, by asking who the writer is writing for, concluding that the creative journey is more important than the destination i.e., the culmination of the writing into a published form. I conclude by contending that creative writing is above all communication, not just with the reader but also with one’s self. It is about self- expression and therefore must remain true to the self.
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Nativio, Angela <1995>. "Shaping Creative Atmospheres - When Art & Business collide to create innovation." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/16026.
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Over the last two decades, policies concerning Creative Industries (CIs) have spread widely at international, European, national, regional and local level. Governments have hence started looking as CIs as to tools to ensure the growth and development of their economies, as they represent a recognised source of employment and innovation. Along the way, though, the policy discourse might have morphed into a ‘mere’ rhetoric, losing some of its significance. As actions and programmes concerning CIs go on repeating themselves without a confrontation with the everyday life of the sector, the gap between the two keeps widening. The risk is that of generating policies which no longer involve the activities at the core of CIs, and are therefore unable to sustain their development. This document examines the most salient aspects of the discrepancy, in order to propose a model that might help bridge the divide.
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Farrar, Ruth. "Creating soundscapes : a creative, technological and theoretical investigation of binaural technology usage." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/17557.
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Through its portfolio of practical case studies and its engagement with critical thinking from a range of disciplines, the PhD investigates the following key question: what are the technical, aesthetic and conceptual impacts of using binaural technology to create a soundscape? ‘Using binaural technology’ implies users and users are essentially at the heart of this impact because users mediate the technical and aesthetic aspects of binaural technology and also inherently shape the theoretical ideology of this technology. By analysing users’ interactions with binaural technology from a social constructivist perspective, this thesis gains rich insights into the impact of using binaural technology when creating soundscapes. Chapter One explores sound artists’ and field recordists’ work that use binaural technology for the shared purpose of documenting urban soundwalks. The first case study “Audio Postcards” is also informed by questions drawn from acoustic ecology, socio-political theories on the practices of everyday life and the challenges that arise in finding, recording and preserving ‘soundmarks’. Chapter Two outlines practitioners’ applications of binaural technology to create an intimate connection to an art piece such as theatre director David Rosenberg’s productions. Peter Salvatore Petralia’s concept of headspace is applied to the chapter’s case study: “From Austria To America” to further understand binaural technology’s psychoacoustic effects. Chapter Three studies the impact of social groups who use binaural technology to record classical music performances. Traditional stereo and binaural classical music recording conventions are shaped in a new direction in two case studies: “Point of Audition” and “From Page to Stage”. Questions of ‘fidelity’ also arise from this creative practice. The outcomes of this reflective binaural practice unearth deep layers of understanding. This thesis discovers the impact of binaural technology moves beyond the effect it has on a listener to realise this recording practice also impacts a recordist’s decisions in the field and a sound artist’s creative choices when crafting soundscapes. The beneficial impact of binaural technology including its inconspicuous nature, the ability to imprint an artist’s subjective signature on recordings and its lifelike immersive qualities in playback are revealed through practice and reflection. Representing the real, the role of artist and point of audition are also themes explored throughout each chapter. Ultimately, insights gained are woven together as a means of constructing an original theoretical framework for an under-theorised subject: understanding how social user groups shape the impact of using binaural technology when creating soundscapes.
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Malakate, Anna. "Assessing creative potential : recruitment and selection in creative SMEs in the UK." Thesis, University of Aberdeen, 2011. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=174685.
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This thesis tackles the assessment of job candidates‟ creative potential through the processes of recruitment and selection in UK creative SMEs. Literature on individual creativity (Rogers, 1954; Oldham and Cummings, 1996; Sternberg and Lubart, 1996; Sternberg, O‟Hara and Lubart, 1997; West, 1997; Simonton, 2000), has placed importance on the individual characteristics and personality traits that distinguish a creative individual from a non-creative. Lack of knowledge regarding creativity assessment through recruitment and selection in creative SMEs has triggered the author to investigate this area. The author has designed a theoretical framework which comprises three elements, namely personality traits, individual knowledge, skills and abilities (KSAs) and team KSAs, which, according to the literature review, need to be taken into account when assessing individuals‟ creative potential in creative SMEs. This framework was tested with the use of a mixed methodological approach. Firstly, the qualitative approach involved the performance of 17 interviews with the owners/managers and directors of creative SMEs in Scotland. The quantitative approach involved the design and distribution of a questionnaire to a larger sample of creative companies across the UK, which resulted in 140 answered questionnaires. From the analysis of these data, interesting findings arose which indicated that creative SMEs use a mix of criteria when assessing job candidates‟ creativity. Personality traits, individual and team KSAs were highlighted, as well as the importance of motivation, which influenced selection decisions. Variations on the importance of such criteria were evident when the researcher investigated the different creative sectors and the different positions the respondents held. The most commonly used recruitment and selection practices in creative SMEs were provided. Additionally, differences in the recruitment methods used between creative SMEs who have and have not won creative awards were highlighted.
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Kew, Carole. "Creative impulses - creative pauses : Nietzsche and the expressive dance of Mary Wigman." Thesis, Goldsmiths College (University of London), 2007. http://research.gold.ac.uk/6497/.
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Ehrlich, Kornelia. "Creative City Ljubljana?: A Cultural-Anthropological Approach to „Making“ a Creative City." Založba ZRC, 2018. https://ul.qucosa.de/id/qucosa%3A74295.
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This article presents theoretical and empirical insights into how Ljubljana is integrated
into the discourse of a creative city through top-down discourses and practices,
and how bottom-up activists and stakeholders actively position themselves towards
this development. The phenomenon described is an example for the realization of
European cultural policy in a local context on the geopolitical and imaginative periphery of “EU-rope”: Slovenia.
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Stevenson, Kylie J. "Creative River Journeys: Using reflective practice to investigate creative practice-led research." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/2025.
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This ‘Creative River Journey’ doctoral study explored the processes of art practice and knowledge-making by six artist–researchers engaged in creative higher degrees by research (HDR) at Edith Cowan University (ECU) in three arts disciplines—performing arts, visual arts, and creative writing. The study applied the Creative River Journey (CRJ) reflective practice strategy, originally applied as the River Journey tool in music education (Burnard, 2000; Kerchner, 2006), but further developed by the researcher into a three-phase reflective practice strategy for its application in complex practice-led research projects over the extended period of the participants’ HDR studies. Six rich cases studies of HDR artist– researchers, and their reflective practice and practice-led research, resulted. The researcher took an a/r/tographical approach (Irwin & de Cossen, 2004) and specifically focused on inquiring into the intersection between arts practice, practice-led research, and HDR creative arts training and pedagogy. The study addresses three questions in relation to these three concepts about what the application of the CRJ strategy to the creative process elucidated for, and about, the HDR artist–researcher. A fourth question addresses the experiences and evaluations by participants of the CRJ strategy.
The ‘Creative River Journey’ study aimed to examine the way that reflective practice and the CRJ reflective strategy might add to emerging practice-led research methodologies for individual artist–researchers and the field of practice-led in general. In the past decade, there has been a significant continued discussion about the nature of research in the creative arts (for example, Nelson, 2013; Barrett & Bolt, 2007; Smith and Dean, 2009). This study adds the perspective of the HDR artist–researcher engaged in a creative arts doctorate to this discussion. The study’s HDR perspective joins existing Australian contextual reviews of practice-led research, for example, effective supervision of creative practice higher degrees (Hamilton & Carson, 2013a), and examining doctorates in the creative arts (Webb, Brien & Burr, 2012). This study advances this discussion by providing rich case studies of HDR practice-led research from the outsider perspective of the researcher whilst, at the same time, providing a unique insider perspective as the researcher acts as a co-constructor of the participants’ reflective practice, and as the participants independently document their creative practice and reflective practice strategies.
This thesis will demonstrate that the CRJ reflective strategy is an innovative way of exploring the relationship between the creative and critical components in creative arts higher education degrees. The strategy generated knowledge about how each artist–researcher engaged in a meld of practice and research in the art-making process within practice-led research, and brought to light key critical moments in the practice-research nexus. Of consequence to the knowledge outcomes for the HDR artist–researchers in the study is how these captured the phenomena of their praxis, and thus was a useful documentation approach to their practice-led research. This thesis will make evident the ‘Creative River Journey’ study’s contribution to the rich established field of practice-led research in general, made possible through the deliberate pedagogical interventions of the CRJ reflective strategy.
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Calatrava, Santiago Tzonis Alexander Lefaivre Liane. "Santiago Calatrava's creative process." Basel [etc.] : Birkhäuser, 2001. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=3764363231.
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Muhrbeck, Anton, Richard Waller, and Martin Berglund. "Coworking : A Creative Workspace." Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-15899.
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Coworking is a new type of work model that has been developing rapidly during the 21th century. However, no academic research has been conducted on the subject yet. We have, therefore, decided to study the subject in order to evaluate if and how Coworking has an effect on creativity. The problem with this thesis is that creativity is a broad subject that includes several variables. This has led us to study theories within the field of: innovation, motivation, personal traits, and environment in respect to the Creative Process by Sawyer (2006). These theories have laid the foundation of our theoretical framework and are used to study our purpose and answer the research questions. This thesis is built upon data from individual case studies from semi-structured interviewees with coworkers from The Hub in Stockholm, Sweden. These interviews have then been transcribed and categorized by the Content Analysis in accordance with Hancock (1998). The data has then been analyzed in-depth by using Eisenhardt’s Cross-Case Pattern Analysis (1989) in order to evaluate the relevance and reliability of the data. The results from our analysis are presented in unity with our method and theoretical framework, this part concludes with a reflection over our purpose and suggestions for future areas of research. The main finding from the results is that Coworking has a positive effect on creativity. But, this is mainly due to the mix of people participating in Coworking. The diverse group of coworkers creates at network of knowledge located in an open atmosphere that simplifies the creation of new ideas. We believe that this thesis has contributed to the academic society as it currently is the only academic paper within the area of Coworking.
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Flint, Paul Martin. "Managing the creative mind /." Available to subscribers only, 2006. http://proquest.umi.com/pqdweb?did=1136089471&sid=15&Fmt=2&clientId=1509&RQT=309&VName=PQD.
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Smith, Jack. "Unleashing your creative potential." Theological Research Exchange Network (TREN), 1988. http://www.tren.com.
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Olson, Stephanie E. "Igniting my Creative Process." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/87.
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This art-based research study will examine creativity and the creative process during the production of a cohesive body of work. The author’s auto-ethnographic reflections of her creative process were recorded, and analyzed. The artist/teacher/researcher will provide conclusions based on her art production and self-reflection.
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Bonhomme, Desmond. "Creative Writing Thesis: Poetry." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/563.
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The title of this compilation of my own creative writings is Trees, Breathe, Paper. This unique collection of poetry, short stories and prose contains a range of work, composed from 2002-2012. The thematic goal of this undertaking is to ballast as many implicit and explicit meanings as are comprehensible, and to extrapolate a distinct spectrum of latent and straightforward explanations with discernible psycho-analytical accuracy. We all know poetry is truly formless and based on springs of natural inspiration. Thus, we derive our purest inspiration from the natural world and we prune it in its unfiltered, raw state. Poetry is an externality that materializes from thin air.
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Hill, Jonathan. "Creative users, illegal architects." Thesis, University College London (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312161.
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The central message of this thesis is that architecture is made by use and by design. To use a building is to alter it, by for example physically transforming it, using it in unexpected ways, or conceiving of it anew. The user can be passive, reactive or creative, whatever the character of the space he or she inhabits, but space can affect use, and each design suggests a certain user. Questioning the binary opposition of the architect and the user this thesis proposes a third entity: the creative user who can also be an 'illegal architect'. As a design strategy which recognises the creative role of the user in formulating architecture, it proposes a theory of montage in which the gaps are as important as the fragments. In contrast to traditional theories of montage, the 'montage of gaps' aims not to shock but to remain unresolved, to be remade by each user.
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Holloway, Lewis Weber. "Creative Participation: Rethinking Reclamation." Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/42730.
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This project investigates the development of Western Manâ s relationship with nature by comparing and contrasting it with the relationship that Native Cultures, particularly Native American Cultures have with nature. This reveals Western Manâ s reliance on the concept of objectivity and the resultant objectification of the natural world. In so doing Western Man has put himself apart from the rest of the world, somehow above it. Although I do not argue that this is wholly unjust, I do argue that it has resulted in a loss of an essential component of the human experience. Creative Participation is identified as a way to bring together some of the lessons of the Native communities with the existing knowledge of Western Society. This knowledge is then applied to the practical problem of Mine Land Reclamation in Southern West Virginia. Creative Participation, at its heart, is a way to reconnect man with the reality of his connection to the rest of the world, rather than his separation and control of it.Master of Landscape Architecture
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Riber, Henrik, and Pontus Sjögren. "Motivation in Creative Writing." Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35292.
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This paper aims to investigate to what extent creative writing promotes motivation for EFL learners to write. A report published by the National Assessment Project (NAFS) commissioned by The Swedish National Agency for Education evaluated the national tests in English for Swedish students during 2018/2019, documenting that the Swedish students obtained the lowest English scores on writing. This result corresponds with the national test scores in English from earlier years. According to The Swedish National Agency for Education (Skolverket, 2019) motivation is a necessary component for L2 learning, and teachers are expected to play a fundamental role in creating student motivation. However, research within the area of motivation indicates that the understanding of motivation in L2 learning is limited. Likewise, the research indicates a need for the understanding of motivation to be both revised and subject to further research, both to understand the nature of motivation and to define tools on how to push motivation in L2 writing. One such tool could be creative writing (CW). Thus, to understand to what extent CW can motivate EFL learners to write, we explore recent studies that examine how different implementations of CW activities and CW courses can motivate students to write within a school context. In the study, we argue that CW motivates EFL learners to produce text. CW seems to facilitate relevance for the student and empower writing activities that consider the student’s self-interest as well as bring new life to the student’s understanding of writing. The insights of this study hold pedagogical values for L2 writing in the EFL classroom.
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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.
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Chen, Kuo-Hua, and 陳國華. "Taiwan Magazine Industry Creative Value Creation Cycle Research." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/86747080568439549864.
Full textAbstract:
碩士國立臺灣大學
高階公共管理組
96
The magazine industry operates on a scale of more than 25 billion NTD per annum in Taiwan. In recent years, the proliferation of broadband Internet and an increase in Internet users have altered the methods and means by which consumers receive information. Faced with the challenges and opportunities brought about by the Internet, magazine publishers have attempted to incorporate their content onto the Internet in various ways, but the effects have been fairly limited. Analysis conducted in accordance with “The Long Tail” concept suggests that there is a market for past issues of magazines, but currently, a suitable means of accessing them does not exist yet. By integrating three forces of “Long Tail”, a market for past issues of magazines can be established. Research done for this paper reveals that by utilizing three key elements: past issues, paper copy scans, and subscription model, Internet platforms will be able to cooperate with magazine publishers and place content on the Internet. By practicing the Creative Value Creation Cycle’s framework, along with applying the three key elements: surf by units, search by keywords, and deliver content of past issues to the Internet, a different magazine industry value chain can be established. Actualization took place in April, 2008. Initially participation consisted of 50 magazines, but the number of participants is rapidly increasing. In terms of the Taiwanese market, revenue per annum is projected to reach 600 million NTD, with more than 500,000 subscribers. In the future, this platform will be able to combine forces with magazine publishers to enter the Internet advertisement market and create an entirely different magazine industry value chain. The closing conclusions of this paper are: 1. Paper magazines experience a “Long Tail” effect through digitalization. 2. Through digitalization, magazine content will be able to reach new readers and new markets. 3. A completely creative magazine industry value chain can be established through the Internet. Key word: Internet, Magazine, Long Tail, Creative, Value Chain, CVCC
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Ju-ChingHsueh and 薛如晴. "Does Creative Award Matter in Firm Value Creation?" Thesis, 2019. http://ndltd.ncl.edu.tw/handle/w5rkjy.
Full textAbstract:
碩士國立成功大學
國際企業研究所
106
Advertising is a common marketing strategy in our daily life. It can attract customers’ interest and purchase intention easily. However, the advertising spending is also a huge number. Firms desire to figure out what kind of advertising is worth to spend on. A wide variety of advertising, one is the creative advertising. The creative advertising is believed can push the message into viewers’ minds. In this study, I choose two internationally recognized awards: the Clio Awards and the One Show Awards as the rating indicator of creativity. Investigating the impact of winning of advertising award would increase the firm value or not. In addition, I try to figure out the initial signs carried by advertising awards. In this study, I use event study methodology to estimate the market reaction to announcements of winning creative award and develop regression models to explain the relationship between firms’ abnormal returns and selected variables. The sample firms are collected from 2009 to 2017 on The Clio Award and The One Show Award official websites. The study result shows that stock market has a consistent positive reaction to several factors like award rank. However, the abnormal return is significantly negative on the award announcement date. The creative awards may not generate much attention from the investment community.
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Kuo, Chih-Wei, and 郭智爲. "Creative Entrepreneurs\'\' Emotions, Creative Thinking, and Performance." Thesis, 2019. http://ndltd.ncl.edu.tw/cgi-bin/gs32/gsweb.cgi/login?o=dnclcdr&s=id=%22107NCHU5230033%22.&searchmode=basic.
Full textAbstract:
碩士國立中興大學
科技管理研究所
107
Research has suggested that creative entrepreneurs’ emotions influence their performance at work. In the present study, we apply this framework to clarify the interplay of variables that explain work performance and creative performance. We analysed the mediating roles of divergent thinking and convergent thinking between emotions and performance. Result from a sample of 318 creative entrepreneurs revealed that emotions were positively associated with creative thinking, and creative thinking were positively related with their performance. The effects of emotions on performance were fully mediated by creative thinking. The relations explored new elements for models that explain which variables influence creative entrepreneurs’ performance. It is important for creative entrepreneurs to realize that their emotions display may have effects on how well their creative thinking perform. Creative entrepreneur can inspired their creative thinking through teamwork with their partners and inspire their creative thinking through beneficial task conflict. Creative entrepreneurs may therefore enhance performance with their creative thinking.
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Heng-Chien, Chen, and 簡禎恆. "Creative Field－Creation Exposition of Chen Heng-Chien’s Painting." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/25806214249711457426.
Full textAbstract:
碩士國立嘉義大學
視覺藝術研究所
101
“Creative Field” is to discover author’s internal motivation on creation, and reflection of his thoughts to the realistic life and environment. Through creation, based on the skill and spirit of traditional Landscape Painting, “Creative Field” integrates soul-searching and external watching and is to pursue the balance between psyche and flesh. Replying upon external observation and the projection of reality, this creation artwork perfectly performs his self-inspiring and thought. Based on theoretical consideration, this artwork discussion contents 5 chapters, the first chapter focuses on the motivation, objective and the research method of this study. The second chapter discusses the ancient Chinese cosmology, “Heaven Thinking”, which influences the development of the theory of artistic creations, such as “spirit of mind, spirit of comfortable, lively spirit and Charm”. The third chapter stresses the concept of author’s creation and practices. Chapter 4 is the interpretation of the study. Chapter 5 focuses on author’s future development and expectation. “Harmony of humanity and heaven” and “lively spirit and Charm” are the central thought and spirit of these artworks. Referring to ancient Chinese cosmology “Creative Field” is actually the presentation of author’s observation to the value of life. This series work connects to the spirit of traditional Landscape Painting and reflects the relationship between life and realistic environment. Therefore, “Creative Field” perfectly exhibits author’s personal life to the image of thinking.
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Shih, Li-Chun, and 施麗君. "The Research of Banknotes creative design Media Application Creation." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/31484792881479102467.
Full textAbstract:
碩士國立臺灣師範大學
美術學系在職進修碩士班
101
With the progress of the technology, the” convergence” and “Interdisciplinary” become the key of changing the world, including Visual Media Design.The field of Visual Media Design including contents ,form and style. After the time government define cultural and creative as the industries, we are actively looking for the culture elements which can on behalf of Taiwan. The “originality” will be the core of this thesis. We start with the “originality” and comes to “form”. At the end, we will discuss the way of Media. We use the "Evolution Beyond Money" as the target case , and combine "2010 Taipei International Flora Exposition", "32nd Young Designers' Exhibition", " Body - interface Digital Art" , "A Dream Exhibition 100 years before the birth " and the "Visual Media Design" to compare the difference. The creations of course also associated with this context steadily, .In the form of "money" as the creative elements, interactive video display combined with innovations such as the use of digital interaction with the audience. Combined with the concepts and architecture, presenting specific creation Research. The creation of the final conclusion, there are four points summarize, 1 discussed the content of the material propensity new and the old way of the pattern; 2. The form of Taiwan today to cultural and creative application; 3. Creative Media applications received by the target bias who may be, most of the emphasis on creative forms of Media performances; 4 theoretical context parsing process of Visual Media Design rational to follow.
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Ho, Kuan Ting, and 何冠廷. "Creation behind curation: creative response to constraints through brokerage." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/20250715162167975316.
Full textAbstract:
碩士國立政治大學
科技管理研究所
100
When innovation is regarded as resources combination rather than novel invention, recombination therefore becomes the origin of innovation. One school demonstrated the concept of 『Bricolage』, which transfers existed resources into new values, however, it would be limited if resources are insufficient. The other school referred to 『Brokerage』, which brokers the resources outside the organization and creates new combinations through diversified resources. Nevertheless, most of relative researches focus on the process of recombination, which led to disregarding the constraints met by enterprises. Unlike normal barriers or challenges, constraints in the context are hard to removed for enterprise with insufficient resources. Due to the pervasive effectiveness of constraints, the problem-solving concept may not work well when it is applied to this issue. That is to say, how enterprises innovate under constraints is the issue neglected by past researches. Hence, this research mainly focuses on how innovator brokers diversified resources to respond to constraints creatively. Then we find that a type of brokerage named 『leverage through brokerage』. By this type of brokerage, innovators could respond to the effectiveness of constraints, and create new values through the recombination of existing resources. This research chooses B group, which belongs to a leading media company in Taiwan, as our research case. Rather than ineffective problem-solving ability of enterprise, this research cuts to the point from the effects to innovators in such constraints. B group has devoted into curation industry for many years, it tends to be easier to broker resources from different stakeholders and develop unique creativity since its media background and wide social networks. This research explains: When an enterprise confronts constraints, how does it broker resources to respond such constraints? This research chose 『Van Gogh exhibition』 held from 2009 to 2010 as a case study, adopting deeper research by interviews and using interpretation as qualitative research method, trying to analyze how curator broker resources from different stakeholders and leverage them to respond constraints. Finally, this research generalizes three creative responses as design principles from the curator's responding process to the constraints. The findings of this research demonstrate two academic contributions: (1) Different from past research, this case focuses more on the process of the brokerage when an enterprise try to innovate under constraints, therefore enriches the Brokerage theory. (2) This case concludes the process of curator's responding to constraints through brokerage as a way of creative response, hence complements the creative response theory.
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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.
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Cheng, Yi-Lun, and 鄭依綸. "The Research of Creative Set and Creative House." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/19266169886124460240.
Full textAbstract:
碩士國立臺北教育大學
數位科技設計學系(含玩具與遊戲設計碩士班)
102
Taiwan already move into knowledge society. The education system in knowledge is different from industry society. However, the educational system in Taiwan still remains in industry society. Therefore, the competitiveness of Taiwan is decreasing. This leads to the salary of the colleges students is still stay as in sixteen years ago. This causes lots of problem in the society of Taiwan. This research analyzes these education problems. Furthermore, this research propose a number of solutions to improve the quality of education in Taiwan. This will improve the competitiveness of Taiwan. The importance of innovation has been increasing tremendously in knowledge society. This research investigates different methods of creating innovation and proposes a systematic method to provide people an efficient way to create innovation. This systematic method is composed of creative elements, creative sets, and creative house. This is a totally new idea of creating innovation.