Dissertations / Theses on the topic 'Electronic creativity'

A natural extension of play for creative thinking can innovatively drive technology-led changes to the facilitation of creative problem solving, and generate a new genre in serious gaming. Whilst the use of serious games has grown considerably in recent years, support for players to think creatively is often implicit in the game, and does not exploit the wide range of creativity techniques and software tools available. The work reported in this thesis is the first to explicitly integrate creativity support into serious games. The results show that creative serious games can systematically support acquisition of creativity skills, generation of creative learning outcomes, and induction of motivational and learning benefits amongst the players. Therefore, this thesis introduces the concept of explicit creativity support in serious games, with a focus on games for motivated learning in adult professional setting, and reports formative and summative evaluations of new prototype games for this setting, in order to instantiate, refine and validate the concept. The creative learning objective of the prototype games was to train carers in creativity techniques to deliver more person-centred care to people with dementia. The findings are delivered in the form of a new framework, which proposes recommendations for the design and understanding of creative serious games. Four formative evaluations of three prototypes of creative serious games with carers provided results that led to refinements of the framework and the design of more usable and effective games. A subsequent summative evaluation partially validated the framework, delivering both a framework and prototype creative serious game that demonstrated the potential to improve person-centred dementia care training. The thesis provides a proof-of-concept of the value of creative serious games, and shows the potential for the framework to be applied and have impact on other application domains.

Creativity is a useful attribute for people to have. It allows them to solve unfamiliar problems, introduce novelty to established domains, and to understand and assimilate new information and situations - all things we would like computers to be able to do too. However, these creative attributes do not exist in isolation: they occur in a context in which people tend to solve problems routinely where possible rather than consider non-standard ideas. These more mundane attributes might also be useful for problem solving computers, for the same reasons they are useful for us. However, they are often ignored in attempts to implement systems capable of producing remarkable outputs. We explore how the study of both human and computational creativity can inform an approach to help computers to display useful, complete problem-solving behaviour similar to our own: that is, robust, exible and, where possible and appropriate, surprising. We describe a knowledge-based model that incorporates a genetic algorithm with some characteristics of our own approach to knowledge reuse. The model is driven by direct interactions with problem scenarios. Descriptions of the role or appearance of key themes and concepts in literature in functioning problem-solving systems is lacking; we suggest that they appear as artefacts of the operation of our model. We demonstrate that it is capable of solving routine problems flexibly and effectively. We also demonstrate that it can solve problems that would be effectively impossible for a genetic algorithm operating without the benefit of knowledge-driven biasing. Artefacts of the behaviour of the model could, in certain scenarios, lead to the appearance of non-routine or surprising solutions.

Organisations need to develop their physical/psychological environments in order to build more creative, positive, activated and motivated spaces for people to work. Although previous research has investigated the effect of environment on creative performance, there has been little research into how it might support creative work that evolves through a sequence of divergent and convergent activities based on people’s emotions. This research proposes a theoretical framework with which to design the environments to support creative thinking that recognize and apply components that link creativity and emotions. Environment, emotion and creativity are the 3 main elements that form the structure of this framework. It is called the CSE (Creativity-Support-Environment) framework. The framework uses the link between emotion and creativity to create physical and digital environments that actively enhance and maintain different types of creative thinking in the design workspace. The framework addresses that gap in knowledge in the fields of environmental design and psychology, the effect of physical and digital work environment on creativity on the one hand, and the impact of emotions on creativity in the environment. On the other, the framework gives rise to guidelines for designing physical and digital spaces that facilitate creative thinking. To validate the CSE framework, empirical studies were undertaken in different environments, a set of design guidelines that can be applied in designing spaces with different stimuli (physical and digital), to foster divergent and convergent creative thinking. The CSE framework is important because it examines creativity from the perspective of emotion and applies the link of creativity and emotion in designing the environment to improve creative thoughts. In practice, the design guidelines can be adopted by designers of physical and digital environments to ensure those environments better support divergent and convergent design tasks. The results of this research have implications for the development of further design guidelines to form the construction of creative design environments in organizations with the aim of optimizing creative potential.

Emotions can influence creative thinking. The ability of people to have the emotions that augment creativity can therefore help them to achieve higher creative task performance. How to design interactive systems that can effectively make use of this potential is, however, still an unanswered question. To explore possible answers to this question we have developed two novel approaches to interactive systems that can be used to effectively hack into the emotion-creativity link. One approach we developed enables a system to hack into the function of motor expressions in emotion regulation, in order to regulate the emotions that happen spontaneously during a creative task. We demonstrate that embodied interactions designed based on motor expressions, while used to interact with a system, can influence an intended emotion, and thereby influence the relationship between emotion and creativity. The second approach that we developed enables a system to hack into the cognitive appraisal processes that help cause emotion during a creative task. We demonstrate that believable computer generated feedback about the originality of a user’s own ideas, can be manipulated to help cause an intended emotion, determine its intensity, and thereby also influence the relationship between emotion and creativity. The contribution of this thesis is the development of two novel approaches to interactive systems that aim to influence the emotion-creativity link and in particular the explication of the mechanisms underlying these approaches. The studies form a novel contribution to both interactive systems research and the creativity sciences.

Internal+/-External Terrains is a meditation on the nature of electronic creativity, primarily from a production point of view. It seeks to arbitrate and synthesise a range of skills, attributes and ideas that might constitute the field of electronic aesthetics. It does this from the perspective of electronic artists, and the socio/economic/cultural system they increasingly serve. The aesthetics of electronic production, as looked at through the framework of electracy, serves as a model through which to locate some specific shifts in both self-making, and capitalism, in both their Post-Fordist, and globalising manifestations. Internal+/-External Terrains is a meditation on the re-conceptualisation going on in electronic meaning-making, as it is currently happening at the interfaces of the psyche, the politico-cultural domain, and in the techno-aesthetic apparatus of its production. Through the compilation of a possible program in electracy (of its various aesthetic components as used in production), along with a brief outline of the electronic artist, Internal+/-External Terrains situates both, as role-model and epicentre, of an increasingly accepted mode of abstraction: Radial-Logic©. And it is this omnidirectional form of abstraction currently lighting the cyber-cohering logic of an already arrived future.

Corporations spend a great deal of time and money trying to facilitate innovation in their employees. The act of introducing something new, a product or a service that is viable and innovative is often increased by enhancing or nurturing creativity.This experimental study investigated the effect of group verbally interactive brainstorming (social interaction) on creativity, not by comparing the number of ideas generated on a simple task in a brainstorming session, but by assessing creativity in the final product of a complex heuristic task. The purpose of this study was to compare the effect of group interactive brainstorming to individual brainstorming on individual creativity assessed in the final product.The hypothesis which was tested in this study was that participation in group verbally interactive brainstorming prior to developing a design solution would not facilitate creativity in the final product more than individual brainstorming. Indeed, it was hypothesized that individuals brainstorming in teams.Participants were 36 interior design students in a FIDER accredited program at Virginia Tech. The Multidimensional Stimulus Fluency Measure (MSFM) was administered before beginning the experiment in order to determine individual differences in creativity. Subjects were randomly assigned to either a treatment group than participated in group verbally interactive brainstorming prior to developing a product individually, or a control group that participated in an individual brainstorming session. All subjects then created a design project individually that was assessed for creativity by judges who were recruited from professional interior design organizations. Creativity was measures using the Consensual Assessment for Interior Design Creativity (Barnard, 1992). A post session questionnaire also was used to measure attitudes and perceptions of the subjects about the creative process.Analysis of variance revealed no significant differences when creativity scores were compared between two brainstorming groups. That is, projects developed by interior design students did not differ significantly in creativity systematically between the two brainstorming techniques. When scores on the two dependent variables of secondary interest (novelty and appropriateness) were compared between groups they also did not differ significantly.Responses to post-session questionnaires indicated that although students found it more difficult to generate ideas in a group, they still believed they would generate more ideas and preferred to generate ideas in a group rather than alone. However, when developing a project students preferred to work independently.This study supports past research which suggests that group verbally interactive brainstorming does not enhance creativity. In this study, interactive brainstorming neither enhanced nor constrained creativity in the final product. The creativity scores were higher for those in the individual brainstorming condition, although not significantly so. This study also supports findings which indicate that people still believe they will generate more ideas in a group and that they prefer to generate ideas as a group.<br>Ph. D.

This dissertation presents the Cognitive Network Model of Creativity. This causal model posits that creative solutions occur when new associations are formed between disparate elements from memory. The likelihood of forming new associations is a positive function of the disparity between these elements and an inverse function of the problem solver's cognitive load. Cognitive load is, in turn, a positive function of the disparity between elements and the quantity of stimuli per unit of time to which the problem solver is exposed. Cognitive load is also an inverse function of the extent to which elements may be combined. The disparity between elements is a positive function of stimuli diversity, while the extent to which elements may be combined is an inverse function of stimuli diversity. Thus, the Cognitive Network Model of creativity represents a highly plausible answer to the research question: "What is a basic cognitive mechanism responsible for producing creative solutions to a problem?" that is grounded in group support systems, cognitive psychology, problem solving, and creativity research. Sixty one four-person groups participated in one of two experimental problem solving tasks designed to evaluate the model. The solution space for each task was partitioned into five smaller domains based upon known criteria for good solutions. Four directed brainstorming prompts were derived from each domain. These twenty prompts were then arranged to create three treatment conditions with respect to stimuli diversity (low, medium, and high). In each treatment, one directed brainstorming prompt was delivered to the electronic brainstorming supported groups every two minutes; groups in the control condition received no facilitation. Initial findings consistent with the model suggest that people using directed electronic brainstorming produce higher concentrations of creative solutions than people using free brainstorming because directed brainstorming focuses the efforts of the problem solvers on specific goals while simultaneously providing ready access to discontiguous areas of memory that help problem solvers avoid bounded, familiar, and narrow thought patterns. Findings show directed brainstorming advantages for low stimuli diversity, resulting in sharply focused creative solutions, and high stimuli diversity, resulting in broadly focused creative solutions. Medium diversity facilitation bestowed no benefit.

This thesis describes how I took part in a series of collaborations with dancers Danai Pappa and Katie Hall, musician George Williams and video artist Julie Kuzminska. To realise our collaborations, I built electronic sculptural instruments from junk using bricolage, the act of subversion, skip diving and appropriation. From an auto-ethnographic viewpoint, I explored how collaborations began, how relationships developed and how various levels of expertise across different disciplines were negotiated. I examined how the documentation of the performances related to, and could be realised as, video art in their own right. I investigated the themes of work, labour and effort that are used in the process of producing and documenting these works in order to better understand how to ‘create’. I analysed the gender dynamics that existed between my collaborators and myself, which led to the exploration of issues around interaction and intimacy, democratic roles and live art. The resulting works challenged gender stereotypes, the notion of what a musical instrument can be and how sound is produced through action/interaction. I found that reflective time was imperative; serendipity, constant awareness of one’s environment, community and intimate relationships greatly enhanced the success of the collaborations. Instruments became conduits and instigators with shifting implied genders based on their context or creative use. As well as sound being a product of movement, effort and interaction, I realised it was also an artefact of the instruments.

This thesis explores both the creative process and the creative product behind a unique and complex collaboration between two composers, called Endings (2012): firstly Jeremy Peyton Jones and secondly Kaffe Matthews. It interrogates the behavioural aspects and negotiations between the two composers in the compositional and rehearsal processes, in the run-up to three performances. Using ethnomusicological methodologies towards data collection (rehearsal recordings, interviews, studio work) and analysis (discourse in compositional discussion, rehearsal), the thesis offers new understandings on collaboration, specifically the fluidity and complexity of the interaction between composers who work in two very different ways: Peyton Jones, who composes with scored, conventional notation, rehearsing with his ensemble Regular Music II; and Matthews, who works improvisationally with live electronics and electroacoustics, both with her surrounding sonic material and pre-existing samples. The thesis finds two core important conclusions, which contribute to our current knowledge and understanding of music and collaboration. Firstly, pre-existing models of collaboration segregate behaviours into ‘types’. Endings offers an example where such types cannot always be applied so exclusively. And secondly, collaboration in the rehearsal of Endings contradicts conventional rehearsal models which state talking should be kept to a minimum. The majority of the collaborative process between Peyton Jones and Matthews rests heavily on conversation.

Tem havido um crescente interesse na inserção de atividades envolvendo programação física em ambientes educacionais, e há diversos trabalhos publicados que comentam sobre os benefícios propiciados por tais atividades, inclusive como forma de incentivar a criatividade em sala de aula. Entretanto, são ainda escassas as publicações científicas que apresentam análises empiricamente fundamentadas relacionadas à avaliação dos efeitos de atividades de programação física no desenvolvimento do potencial criativo de estudantes. A presente pesquisa investigou como a introdução de atividades de programação física no Ensino Fundamental II, a partir de uma abordagem que privilegia processos de exploração e experimentação, impactou o potencial e sentimento criativo dos estudantes. O currículo proposto, baseado no referencial teórico construcionista, foi elaborado com o objetivo de engajar cada estudante e de contribuir para o desenvolvimento de seu potencial criativo, confiança criativa e de novas perspectivas sobre o mundo e sobre si mesmo. Foi identificada a necessidade de adaptar e desenvolver materiais para a aplicação do currículo proposto, e para isso foi criado um kit de programação física, bem como novos recursos de aprendizagem. O currículo foi aplicado a partir de sucessivas reformulações em duas escolas particulares e em uma escola da rede pública. Durante a aplicação do currículo, além das observações em sala de aula e de conversas periódicas com os estudantes, foram utilizados três instrumentos de coleta de dados: (1) realização de entrevistas, (2) aplicação de questionários de percepção criativa e motivação para a aprendizagem e (3) aplicação de um teste de pensamento divergente. Os instrumentos (2) e (3) foram aplicados também a um grupo controle, com pré e pós-teste. A partir da análise das observações de sala de aula e das conversas realizadas com os estudantes, foram identificadas estratégias que podem auxiliar na implementação de currículos introdutórios de programação física no Ensino Fundamental II, bem como os desafios encontrados durante a aplicação da proposta. Os resultados indicam que o currículo proposto teve impacto positivo na criatividade dos estudantes, bem como em sua confiança criativa e motivação para aprendizagem. Os resultados sugerem ainda que os estudantes que participaram das atividades desenvolveram novas perspectivas a respeito de si mesmos e do mundo ao seu redor.<br>There has been a growing interest in introducing physical programming activities in educational environments, and there are several published works that comment on the benefits provided by such activities, stating they can provide a way to stimulate creativity in classrooms. However, there are still few scientific publications that present empirical analysis related to the evaluation of the effects of physical programming activities on the development of the creative potential of students. This research investigated how physical programming activities, designed from a tinkering approach, influenced the potential and creative feeling of Elementary School students. Our curriculum, based on the constructivist theoretical framework, was elaborated with the goal of engaging every student, and to develop their creative potential and creative confidence. Given the need to adapt and develop materials for the application of the proposed curriculum, we created a physical programming toolkit, as well as new learning resources. This curriculum was applied from successive reformulations at two private schools and one public school in Brazil. In addition to observing students\' behavior in classrooms and periodic follow-up interviews with them, three data collection instruments were used: (1) interviews, (2) questionnaires about creative self-efficacy and motivation for learning, and (3) a divergent thinking test. The instruments (2) and (3) were also applied to a control group, with pre and post tests. We share the learnings that emerged from the activities, the difficulties found during the development of the curriculum, and strategies that may help with the implementation of introductory physical programming curricula in Elementary School. The results indicate that the application of the activities had a positive impact on students , as well as in their creative confidence and motivation for learning. The results also suggest that students have developed new perspectives about themselves and about the world around them.

Les machines de fabrication personnelle, comme les imprimantes 3D, permettent aux créateurs occasionnels de fabriquer leurs propres objets. Il est possible de créer des pièces rigides, mais aussi des pièces souples, flexibles ou malléables. Ces propriétés mécaniques ouvrent des perspectives inédites dans la recherche en Interaction Homme-Machine (IHM) puisqu’elles permettent de réaliser de nouvelles formes d’interaction. Le défi reste toutefois d'intégrer des capteurs et du retour visuel dans ces matières. Les sciences des matériaux ont introduit plusieurs techniques pour produire des éléments interactifs, mais leur application requiert une expertise spécialisée ou la disposition d’équipements très couteux. Ma thèse se concentre sur les professions créatives, comme les professionnels du design, les architectes, ou les chercheurs en IHM. Elle vise à accompagner leur processus de conception et de prototypage avec des matériaux souples et interactifs, produisant des objets élastiques, des modèles avec des formes reconfigurables, ou même des maquettes qui peuvent être découpées. De tels matériaux pourraient enrichir notre interaction avec le monde numérique de trois manières différentes : 1) les dispositifs prosthétiques et l’informatique ubiquiste 2) le design de produits personnels 3) la fabrication interactive. J’introduis d’abord une nouvelle méthode pour intégrer des capteurs tactiles, des capteurs de proximité et des écrans électroluminescents dans des matériaux de silicone étirables. Basée sur des techniques d’impression en sérigraphie, la méthode permet de fabriquer rapidement des interfaces étirables et peu coûteuses, qui peuvent être intégrées dans les vêtements et dans d’autres objets ordinaires. Deuxièmement, je présente une approche pour créer des modules de constructions interactives, qu’on appelle “Tangramis Interactifs”. Les Tangramis interactifs sont des matériaux souples, par exemple du papier, pliés et combinés ensemble pour créer des structures modulaires en 3D. Ils peuvent réagir au toucher, être actionnés, et intégrer des composants électroniques comme des LEDs. Nous utilisons une technique rapide d’impression par jet d’encre pour intégrer des capteurs et des circuits dans le papier. Nous avons également développé une interface graphique qui permet aux créateurs de concevoir la forme et le comportement interactif de leurs propres interfaces physiques avant de les imprimer sur papier. Troisièmement, j’introduis une méthode de fabrication de matériau capable à identifier sa forme (“shape-aware material”). Ce matériau peut détecter et communiquer sa géométrie en temps réel durant son découpage par un créateur. La méthode s’appuie sur une nouvelle technologie de capteurs de forme, imprimés par jet d’encre et intégrés dans du matériel de maquettage, comme le carton mousse. Notre logiciel aide les créateurs à générer du matériel de prototypage en 2D ou en 3D qui peut capter sa forme, en configurant la topologie des capteurs pour optimiser la précision du modèle. Il permet également d’établir le lien entre un modèle physique et sa représentation numérique dans un environnement CAO (Conception Assisté par l’Ordinateur), par exemple Blender et Unity. Notre approche soutient un processus de fabrication bi-directionnelle en intégrant des outils de modélisation à la fois physiques et numériques<br>Personal fabrication machines, such as 3D printers, allow casual makers to create custom objects, which may also contain soft, flexible, or shape-changeable parts. Making use of these mechanical properties and developing novel forms of interaction opens up new possibilities for research in Human-Computer-Interaction (HCI). However, embedding sensing and output capabilities into material is still challenging. Although research in materials science has introduced a range of methods for producing interaction-aware materials, these methods require significant domain expertise and often rely on specialized and expensive equipment. My dissertation focuses on casual makers, designers, and HCI researchers, and investigates how to support their design and physical modeling tasks with interactive, non-rigid materials that are stretchable, shape configurable, or cuttable. I explore three directions on how such materials can enhance user interaction, with applications to wearables and ubiquitous computing, DIY product design, and interactive fabrication. First, I introduce a new fabrication method for embedding touch sensing, proximity sensing, and electroluminescent displays into stretchable silicone materials. Based on screen printing, the method allows for rapidly fabricating inexpensive and highly stretchable user interfaces than can be embedded in wearables and other everyday objects. Second, I present an approach for creating interactive paper-folded building blocks that we call Interactive Tangrami. Interactive Tangrami are made of flexible materials such as paper, folded and combined together to form modular 3D structures. They support touch sensing and actuation and can also integrate rigid electrical components, such as LEDs. We use a rapid ink-jet printing technique to apply sensors and circuits on paper. We also offer a software tool that helps makers to design the geometry and interactive behavior of their physical user interfaces and then print them on paper. Third, I introduce a method for fabricating shape-aware material, which is modeling material that captures and streams its own shape while being cut by an artist. The method is based on a novel inkjet-printable sensing technology that can be embedded into a variety of cuttable material such as foam-core. Our software toolkit helps makers produce 2D or 3D shape-aware material and customize its sensing topology for higher sensing accuracy. It also allows them to link the physical model with its digital copy in a 3D CAD environment, such as Blender and Unity. Overall, our approach supports a bi-directional fabrication workflow that combines both physical and digital modeling tools

碩士<br>國立中央大學<br>資訊工程學系<br>103<br>In recent year, the importance of creativity in the world is crucial. Creativity is in connection with individual cognition. If a student can get priming when he is thinking, it is beneficial to alter his cognition and improve idea generation and creativity. Purpose of articles is to transfers thinking and viewpoint to other. Without creativity, an article is difficult to make a profound impression on reader. Therefore, creativity is also important in article. In the related research, there is evidence to suggest that different type of word can enhance opportunity to produce creative idea. Verbal brainstorming is the most used technique to develop creative ideas in group. However, researches indicate that experimental subjects generated more creative idea in electronic brainstorming (EBS). We want to combine above two elements to research on the effect of improving creativity when using EBS with word priming of the words produced during thinking process. In order to know whether the word priming can be used to influence individual cognition, increase idea quantity and alter group cognition, in this research, we developed a web-based EBS system for group brainstorming through word priming of the words produced during thinking process. Besides, we also developed visualized icon into the system to support experimental subjects to connect their idea with word priming and record their thinking.

碩士<br>國立交通大學<br>資訊科學系所<br>93<br>In Taiwan, the authority is devoted to the innovation of education. One of the objectives is to turn education towards diversification. Creative education is the key point. People in Taiwan must have the ability of creative thinking、criticizing thinking and problem solving to compete with the other countries in the world. The duty in the stratum of education is to provide the profitable environments for the students to develop the accomplishments in creative. In this paper, our purpose is to discuss the influence of web-environment to the groups on the activities of creative thinking. We introduced a web-based brainstorming system. It helps participants to make the activities of creative thinking efficiency and facilitation. Through the technical assistance, we acquired the positive outcome to the experiment.

碩士<br>大同大學<br>資訊工程學系(所)<br>106<br>Good tools are important for the progress of civilization. In the past, many convenient and useful tools were used by experts. When the Internet appears, people have a chance to get these tools from the Internet. People can&apos;t make good use of it because of most of them are lack of professionalism. Computer science is still in progress so far. If we can design another way so that people can easily use technology. Can we find out more about development of technology application? This thesis proposes the IoT electronic building blocks that make non-professionals and children can use electronic material easily. To making sure the circuits will be correct and safe, we used the polarity of magnets between different blocks. User can design and make many kinds of IoT devices by blocks and their imagination.

碩士<br>國立中央大學<br>資訊工程研究所<br>99<br>Early exposure to music can help children promote their language development, enhance their creative ability, and improve their physical coordination capability. Therefore, a lot of musical toys (e.g., toy guitars, toy drums and percussion, toy keyboards and pianos, toy wind instruments, toy band sets) which can provide a good introduction to musical instruments and give children hours of entertainment are commercially available on the market. With modern electronics and software, the functionalities of music instrument toys can be improved. In this paper, we present an electronic trombone-like toy for children who try to experience playing a trombone or pretend to play a trombone at the professional level as a truly professional trombonist does. We tried to extend the traditional trombone by providing tutorial and entertaining elements via the use of IR sensors, a wireless transmission module, a microprocessor, a microphone and a computing device (e.g., PC) with a MIDI software application which provide three playing modes: tutorial mode、play mode and performance entertainment mode. The design of the electronic trombone aimed to achieve several goals. First of all, we wanted to provide an easy and entertaining approach to learning to play a trombone-like instrument. Secondly, we tried to make the entry level of playing a trombone for children as low as possible. Thirdly, we hope to preserve as much of the physical interactions needed for playing an actual trombone as possible while one plays the electronic trombone. Experiments were designed to evaluate the proposed electronic trombone.

碩士<br>樹德科技大學<br>資訊管理系碩士班<br>104<br>This objective of this study is to use focus group approach tostudy the effects of using animated electronic books (e-book) on reading motivation and creativity of young children in kindergarten. Thirty children of three to six years old in a mixed-age class were recruited. During the 1-month study period, the teaching activities using animated e-books were videotaped and recorded, and in-class observation and questionnaire were implemented to assess the change and effect of e-book teaching on children’s reading interest, motivation and creativities. The finding from this study is summarized as follows. (1) The use of animated e-books in teaching through appropriate instructional design motive children to read. (2) Teaching children via animated e-books increase children’s creativity. (3) Animated e-books better attracts children’s attention, which helps achieve the goal of effective teaching. In addition, Kindergarten teachers can use animated e-books as a multimedia tool to enhance the teaching quality so that the teaching activities are no longer limited to the traditional physical picture books. The use of animated e-books withtheir special effects and sound also help improve the teacher’s proficiencyin technology and resourcefulness of the internet information, which allows us to reach the ultimate goal of education in reading motivation and creativity. Based on results of this study, we suggest that it is feasible and necessary to adopt suitable e-book content and teaching strategies in education activities. By appropriate use of animated e-books, teachers are more likely to identifysetbacks, discuss issues with students, and finally solve the problems. This is the essence of education.

碩士<br>國立交通大學<br>理學院碩士在職專班網路學習學程<br>97<br>The purpose of the study is to examine the relationships among organizational cultures, organizational innovation, and personal creativity. A questionnaire survey was adopted by the study to collect data, and the questionnaires were distributed to three electronic technology companies with 140 valid questionnaires returned. The data analysis shows that personal creativity was positively correlated with organizational innovation and education. Furthermore, organization managerial innovation was discovered to be positively correlated with creative organizational culture and supportive organizational culture. More findings were discussed in the thesis.

碩士<br>國立高雄應用科技大學<br>商務經營研究所<br>97<br>For the past 50 years, despite rapid economic development in Taiwan creating a so-called economic miracle, because of overemphasized economic development among business organizations, environmental protection and ecological conservation were ignored to result in tremendous damage to ecological environment. Recently, with increased emphasis on environmental protection awareness, together with the thoughtful consideration of economic, society and environmental protection. Global business activities had to face challenges, business profit and the effort made to reduce environmental pollution had to be considered to create a win-win opportunity. Therefore, to reach new goals for business management, new environmental protection strategies for development and usage of green products would bring about the concepts of permanent management for environmental protection among business organizations. This research was operated with questionnaires and there were questionnaires delivered with 158 valid replies received. From local electronic and electromechanical industries, strategic orientation and the influence caused by green creativities onto new green products were explored. Furthermore, the variable, integration capability, was also explored to understand the influence on correlation of competition edges among new green products. SEM was established with subsequent verification on the hypothesis created for this research. AMOS 7.0 was used to analyze data. The research results confirmed that: The strategic orientation did not exert obvious impact on the green new product competitive advantage; A positive relation was showed between the green creativity and the green new product competitive advantage; The strategic orientation and the green creativity exerted a positive impact on the integration competence; The model added on the integration competence intermediary for variable, knew the strategic orientation and the green creativity exerted a positive impact on the green new product competitive advantage; Finally the green new product competitive advantage exerted a positive impact on the company competitive advantage. It was showed the integration competence can help to improve the green new product competitive advantage. Therefore, a company will develop the green new product to enhance the competitive advantage of the company in the future.

yes<br>Engineering undergraduates not only need to learn facts, but also how to be creative in the open-ended situations they will encounter in their professional careers. Our final year Honours module gives students a grounding in digital systems design, mainly using VLSI for design entry and simulation. The second half of our module is a design exercise, which has straightforward aspects, but which allows motivated students to undertake progressively open-ended investigations. Our educational framework is guided by recommendations of professional bodies promoting excellence and encouragement of creativity in engineering development. (C) 2013 The Authors. Published by Elsevier Ltd.