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Deltner, Johan. "Varaktig förgänglighet : En undersökning av kreativitet inom ramen för ett historiskt tänkande kring kontinuitet och förändring." Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-44286.
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Creative thinking is a popular and ambiguous ability but so far we have limited knowledge about how creativity work within history education. The purpose of this study was therefore to investigate how individual creativity and a historical thinking with a focus on continuity and change relate to each other within history education. Data was collected with the help of an authentic history assignment and analyzed with qualitative content analysis and statistical correlations. A constructivist framework with a specific focus on the The Geneplore Model of Creativity and Historical thinking was chosen to guide the analysis. Results point to several similarities between creativity and historical thinking on continuity and change, with both concepts focusing on constructing new and meaningful knowledge. Here, the strongest correlation was found between creative thinking and reflections about change through history. The analysis also pointed to cognitive processes with a particularly promising potential to develop both creative and historical thinking, namely divergent thinking with the purpose to generate several alternative answers, and janusian thinking with the purpose to generate contradictory perspectives. Further, the analysis also revealed some differences between creativity and historical thinking on continuity and change. Here, thinking creatively with help of distant analogical thinking was particularly difficult since those conclusions seldom were rooted in historical facts. In fact, many of the creative conclusion identified in this study showed a potential to develop students understanding of the past, but were still in an undeveloped stage. These results indicate a need for a continued critical exploration of creative answers after initially being generated. In sum, the identified similarities and differences between creative and historical thinking on continuity and change demonstrate that creativity could play a role in the development of students historical understanding and points to a promising direction for future research interested in creative comparisons over time.
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Khazanchi, Shalini. "A "Social Exchange" Model of Creativity." Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1115336085.
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Thesis (Ph. D.)--University of Cincinnati, 2005.Title from electronic thesis title page (viewed Apr. 11, 2006). Includes abstract. Keywords: Creativity; Social Exchange; Fairness; Trust. Includes bibliographical references.
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Kong, Jing, and Toyohide Watanabe. "CREATIVITY SUPPORT THROUGH A KNOWLEDGE HANDLING MODEL." INTELLIGENT MEDIA INTEGRATION NAGOYA UNIVERSITY / COE, 2006. http://hdl.handle.net/2237/10435.
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Qokweni, Noluvuyolwetu. "A creativity model to increase employee productivity." Thesis, Nelson Mandela Metropolitan University, 2016. http://hdl.handle.net/10948/5401.
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For business firms to continue as going concerns, productivity is a primary goal. In order for the firms to remain productive, it is imperative that managers continuously explore ways of improving productivity and employee performance. Employee productivity, in particular, is the measurement of performance and competitiveness in any business firm. A competitive advantage enables a business firm to, amongst others, survive financially, expand its operations and grow its market share. Creativity and innovation are fundamental sources of competitive advantage. In order for a business to retain its competitive edge, it must effectively enhance employee productivity, creativity and innovation. The primary purpose of this study was to investigate a creativity model that could contribute to the enhancement of employee productivity. More specifically, the study investigated how employee productivity (the dependent variable) was influenced by the independent variables rewards, a climate conducive for creativity and innovation, employee creativity, self-esteem and performance intent. The sample consisted of 82 blue-collar employees from various manufacturing firms in Port Elizabeth. The empirical results revealed that the firms’ rewards for performance and their climates for creativity and innovation were positively related to the creativity of their employees. The creativity and self-esteem of their employees were positively related to their employees’ performance intentions, while collectively these three variables were positively related to their employees’ productivity. The managerial implications of these and other findings are discussed in the study.
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Perez, y. Perez Rafael. "MEXICA : a computer model of creativity in writing." Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285399.
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Mollison, Deborah. "Children's musical perception and creativity as a compositional model." Thesis, Middlesex University, 2001. http://eprints.mdx.ac.uk/13636/.
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The intention of this study was to understand more fully the process of creating musical composition. As a means to to this I created a compositional model, "Maya's Words", a conscious experiment which utilised the techniques I discovered and codified from children's compositions. By utilising rhe model as a working tool and the information extracted from the children's works I was able to draw together my own theories and observations concerning the process of musical composition and how it works. Within this study I have also examined my own process of musical composition and drawn, in a limited way, upon my work on the methodology behind the compositional procedures of composer Elisabeth Lutyens. The way in which the children used their own musical ideas in a flexible and original manner illustrated a mental state that seemed to be able to grasp thoughts from anywhere, without reference, for example, to tradition or style. This dexterity brought to my attention the notion that the children were using fragments of ideas/music/sound and integrating them into their own compositions. In the compositional model for this study I chose to compose in a way that utilised information from this study in many manifestations but it also had to be an organic growth as a means to be real and for me to have a true input into it a sa composer. It also had to incorporate many of the study elements into it otherwise it would not be a conscious experiment. The two forces here, for me haave worked in tandem as the flexibility of approach used by the children has allowed me to work in a flexible way in this compositional model and yet the uncomplicated way in which the children evaluated their own progressions has had a profound influence on me too and provided me with a method of self-evaluation which does not create self-inflicted damage to my own feelings about my composition. I hope in the same way that this study will allow composers a freedon of perspective that will open for them a new understanding of musical composition.
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Calonico, Cipriano. "Towards a multidimensional model of creativity: an analysis of six models of creativity and the creative process." Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-32099.
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Creativity appears repeatedly in the curricula for the Compulsory School and the Upper Secondary School in Sweden, as well as in the course syllabi for Art Education.The purpose of this essay is to achieve a better understanding of the building blocks of creativity, in order to widen the range of tools that can be used in teaching situations. Departing from six established models of understanding creativity, the essay attempts to find some common aspects among the models, which can help teachers to unify and organize the models with the ultimate aim of achieving a wider and more comprehensive understanding of creativity.Close reading is used as the method of analysis and interpretation in order to find common categories among the selected models of creativity. The process of close reading is performed and organized using the structure and concepts of Qualitative Content Analysis (QCA), with an inductive approach.The analysis of the six models of creativity results in the identification and classification of two common themes: flexibility and bird’s eye view, the combination of which can be used as a way to achieve a more comprehensive, complete and thus enhanced model to understand creativity, which can give teachers a wider range of tools to apply creatively in the classroom.
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Blain, Peter J., and N/A. "A Computer Model of Creativity Based on Perceptual Activity Theory." Griffith University. School of Information and Communication Technology, 2007. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070823.171325.
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Perception and mental imagery are often thought of as processes that generate internal representations, but proponents of perceptual activity theory say they are better thought of as guided exploratory activities. The omission of internal representations in the perceptual activity account has led some to see it as computationally implausible. This thesis clarifies perceptual activity theory from a computational perspective, and tests its viability using a computer model called PABLO. The computer model operates in the Letter Spirit domain, which is a framework for creating stylistic variations on the lowercase letters of the Roman alphabet. PABLO is unlike other computer models of perception and mental imagery because it does not use data-structures to represent percepts and mental images. Mental contents are instead modelled in terms of the exploratory activity in which perceptual activity theory says they consist. PABLO also models the flexibility of imagery, and simulates how it can be harnessed and exploited by the system to generate a creative product. PABLO is a first attempt at an implementation of perceptual activity theory, but the results suggest that the theory is computationally viable, and that it has advantages over other theories of mental imagery in the context of creativity.
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Riedt, Johanna. "A model of organisational creativity : learning from two creative giants." Thesis, University of Kent, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498860.
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Scratchley, Linda Sharon. "Managerial creativity : the development and validation of a typology and predictive model." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0019/NQ27241.pdf.
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Taylor, Aisha Smith. "Transformational Leadership, Diversity, and Creativity at Work: A Moderated Mediation Model." PDXScholar, 2015. https://pdxscholar.library.pdx.edu/open_access_etds/2341.
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Organizational leaders often seek to hire and retain innovative employees as a source of competitive advantage. Both transformational leadership and effectively managed workplace diversity have been theorized and shown to lead to increased employee creative performance at work; however, a full model of the relationships between leadership and the multi-dimensional construct of workplace diversity has not yet been tested. Using a sample of 371 employees in three Chinese high-technology firms matched with 64 supervisors collected at three time points, this study theorized and tested a moderated mediation path model in which transformational leadership and diversity climate were predicted to significantly interact to influence the workplace diversity constructs of organizational justice and organizational identity, which in turn, influence individual creative performance. Based on major theories of leadership, diversity, and creativity, several partial mediation hypotheses are presented, including diversity climate as a mediator of the relationship between transformational leadership and creative performance as well as organizational justice and organizational identity as mediators of the relationship between the interaction of transformational leadership and diversity climate and creative performance. Several single- and multilevel path analyses were conducted to test the model, using two measures of creative performance: self-ratings and supervisor ratings. The results showed that the interaction of transformational leadership and diversity climate significantly predicted self-rated creative performance, and organizational identity significantly predicted supervisor ratings of creative performance. In addition, transformational leadership was found to significantly predict diversity climate and organizational justice was a significant predictor of organizational identity. Finally, transformational leadership had a significant indirect effect on creative performance through diversity climate. The contributions of this study to three major bodies of literature, as well as the implications of the results for research and practice, are discussed.
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Bhambry, T. K. "Creativity and control : towards a model of authorship in Witold Gombrowicz." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1401158/.
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My thesis explores concepts of authorship in the work of the Polish novelist, diarist, playwright and essayist Witold Gombrowicz (1904-1969). I argue that implicit or subtextual allegories of authorship pervade his novels and diary, thus complementing the explicit discussions of literature and writing across his works. My close readings of perplexing passages and themes in Gombrowicz’s major works, presented in the context of contemporary debates on authorship and of his output as a whole, allow me to reveal his model of authorship as a paradoxical reconciliation of spontaneous creativity and disciplined control. Each chapter analyses a central paradox in one of Gombrowicz’s major works. Chapter 1 examines authorship as a controlled surrender in a short travel journal in Gombrowicz’s literary diary (Dziennik). The following chapters and the Postscript focus on his novels in chronological order. I discuss the notion of the work as the author’s ghostly double in Ferdydurke, Gombrowicz’s fascination with silence as both a threat and a prerequisite for literary creativity in Trans- Atlantyk, and the interweaving of eroticism and literature in Pornografia. The Postscript experiments with alternative formats of engaging with the work of a highly original and provocative writer who insists on the personal dimension of literary criticism: rather than presenting a traditional scholarly analysis of his final novel Kosmos, I enter into an imaginary dialogue with Gombrowicz, at once heeding and subverting his directives. My study, which engages with Gombrowicz scholarship in Polish, English, French, and German, enhances our understanding of a key figure of twentieth-century literature. What is more, I contribute to current debates on artistic explorations of creativity, literary self-reflexivity, and twentieth-century writers’ responses to cultural and theoretical representations of authorship. Thus my thesis illuminates the dilemmas surrounding questions of language, art, and individual autonomy that preoccupy a generation of artists and theorists alike.
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Alhajri, Salman. "Developing a pedagogical model to enhance and assess creativity in Omani graphic design education." Thesis, Loughborough University, 2013. https://dspace.lboro.ac.uk/2134/12357.
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This research investigates the position of creativity within graphic design education in general, and within the Omani educational context specifically. It situates itself among three realms: education, design, and creativity, investigating the relationships, effectiveness, and interrogations among these three topics. Creativity is defined within this research and in relation to graphic design education as problem solving , which is explained also as a cultural activity, or a cultural production. Graphic designers can involve themselves effectively in solving communication, social, and cultural problems that are classified as wicked problems , which usually require creative solutions. It is argued that Omani graphic designers should be creative problem solvers and able to find effective solutions for these problems. Yet this is not the case in Oman, at least from an educational point of view. The research problem is that the Omani design education system lacks a framework that recognises creativity as an important concept in education. Such a lack creates a twofold problem: 1) underestimating the importance of creativity in Omani design education; and 2) a shortage of pedagogical structured programmes that can enhance students creativity. It is argued that this problem is a result of the neglected situation of creativity in Arabic traditional education in general. Traditional education usually does not support creative thinking in design students, which consequently minimises their roles in social and cultural change. Based on the above, this research aims to develop a pedagogical model that can enhance and promote creative potential within Omani graphic design students. This aim can be achieved through re-establishing the position of creativity within Omani design education and valuing creativity as integrated part of graphic design. It proposes that the pedagogical model can offer a systematic approach for lecturers, to guide them into the best practice to enhance the creative potential of their students. Therefore, this research, and the proposed model, is the first step towards improving the position of creativity in Omani design educational systems in general. The model would propose to help Omani graphic design students to develop their creative problem solving abilities, which can allow them to effectively find solutions for several social and cultural wicked problems faced in Oman, such as the increased rate of car accidents nationally). The model will contain some creative-thinking techniques, and some pedagogical strategies that are already used internationally in education to improve creativity. The relevant literature has been reviewed to study the techniques and strategies used internationally to improve the creative potential of graphic design students. A qualitative interpretative methodology was used to answer the research questions and fulfil the aims. A survey approach was used for this research, implementing two methods: questionnaires and interviews. The online questionnaire was conducted with 33 international participants. It investigated how creativity is defined within graphic design contexts; whether creativity can be taught or enhanced; if yes, How, and by which techniques and strategies? Which curriculum contents are most suitable and effective? And how to assess creativity within graphic design education?. The same set of questions was asked in face-to-face interviews conducted with 39 design lecturers. The participants in these interviews were local lecturers who teach graphic design courses at six Omani institutions. All of the collected data were analysed by a thematic analysis method, by coding and categorising them according to different themes that had been extracted earlier from the literature. The contribution of this research is in defining the concept of creativity through scientific research; more specifically by practical research conducting an international survey and local interviews. Through this approach, this research has collected ideas, insights and trends about creativity in graphic design and how it can be developed. Also, this research has advanced knowledge of the relationships among graphic design, creativity, and education, specifically in the Arabic region. It is an attempt to emphasise this new field. Moreover, this research has given a snapshot of differing views regarding creativity in design education as perceived by international lecturers versus Omani lecturers, through conducting a cross-cultural study by asking these two groups the same questions, which was an interesting comparison. Finally, the collected data were utilised to develop the proposed pedagogical model designed for graphic design lecturers who teach design courses within Omani design education. The pedagogical model is the main contribution of this research. It would be suggested to the Omani Ministry of Higher Education that the model should be part of the Omani undergraduate graphic design curriculum.
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Rutherford, Raché. "A creativity development model to enhance educator security : a labour law perspective / Raché M. Rutherford." Thesis, North-West University, 2009. http://hdl.handle.net/10394/3144.
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World-wide research has shown that educators are suffering physical as well as psychological symptoms because of their experiences in their school environment. A large body of legislation, including the Bill of Rights, general and education legislation protect the rights of educators to working conditions which are safe and healthy. It seems clear from the literature that protecting the security of the educator implies the inclusion of psychological security. One of the aims of this research was to establish to what extent legislation succeeds in protecting the psychological security of educators at school. The study showed that although a large body of legislation exists, a lacuna exists in the application of this legislation. Furthermore, the research showed that educators are not experiencing this protection in actuality, are suffering several stress symptoms and are generally not aware of the rights which should protect them. The findings revealed that learner discipline and work overload were experienced as the main causes of psychological insecurity for participating educators.
During the research it was investigated whether the development of creative skills could enhance the ability of educators to cope with the psychological insecurities in their workplace. Further aims of the study were to design a theoretical creativity development model and to determine the characteristics of an effective programme to enhance workplace psychological security in education. The literature and findings revealed that creativity programmes which could inter alia enhance attitude and general health should include aspects such as problem solving processes, the development of positive attitudes and the enhancement of the psychological work environment. The study also includes the design of a creativity programme which can be applied in the participating and similar schools in order to develop creativity skills which may be able to assist educators to cope more effectively in their work environment.Thesis (Ph.D. (Education))--North-West University, Potchefstroom Campus, 2009.
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Vo, Thuc Anh. "Idiomatic creativity : a pragmatic model for creative idiomatic uses in authentic English discourse." Thesis, University of Nottingham, 2011. http://eprints.nottingham.ac.uk/14388/.
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This thesis is a corpus-based investigation from a pragmatic perspective or the phenomenon of idiomatic creativity. The ultimate aim of the thesis is to provide comprehensive empirical evidence of the intertwining relationships between different factors of idiomatic creativity and the effects of such relationships on the reassessment of the determinants of idiomatic creativity in context-specific communicative events. It has often been suggested in the psycholinguistics tradition that the semantic transparency of some idioms facilitates the creative manipulations of such idioms in discourse, while the lack thereof hinders creativity in some others. In other words, the internal characteristics of idioms, including compositionality, analysability and motivation, which contribute towards transparency, arc postulated to determine idiomatic creativity. While theoretical arguments and illustrative examples appear to support such a hypothesis, empirical validation of the hypothesis using large bodies of authentic data is still required for it to gain acceptance in the linguistic community. In the first half of the thesis, therefore, quantitative analyses of corpus data and statistical tests arc carried out to empirically validate the psycho-linguistic hypothesis concerning the semantic determinants of idiomatic creativity. It is found in the analyses and tests that there are significant trends in the data that point towards the prevalence or transparent idioms over opaque ones in terms of both the range and the frequency of their creative manifestations in authentic English discourse. In the second half of the thesis, with a view to flesh out the otherwise decontextualised and superficial results from such quantitative analyses, qualitative analyses of individual instances of idiom variants in the data are carried out, thus elaborating on the varying degrees or importance of the underlying factors of idiomatic creativity and, notably, their interaction with one another in specific contexts. The results suggest that, together with idioms' semantic characteristics, external factors, including context, cognitive constraints and phraseological constraints, also contribute to idiomatic creativity. It is further revealed that the roles of the facilitating and constraining factors of idiomatic creativity vary according to the particular context-specific types of variant, in which context has the overarching power to overrule certain constraints as well as to disambiguate unusual creative uses. As such, the true functional profile of idiomatic creativity is argued to be best described and predicted in relation to context. A context-based model of idiomatic creativity in authentic English discourse is therefore proposed in this thesis in the hope that it will contribute to the existing literature on idiomatic creativity and offer a better understanding of the possibilities and constraints on the phenomenon in real life discourse.
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Karastathi-Panagiotou, M. "Creativity, the creative school and the greek gymnasium : A conceptual model for a creative gymnasium." Thesis, Lancaster University, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.379185.
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Breslow, Jay. "The Community Creativity Collective: Introducing and Refining a Community-Based Model for Creative Curriculum Development." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19195.
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Calls for more creative teaching and learning in classrooms are often matched by increasingly stringent accountability measures. Negotiating the creativity/accountability paradox is difficult for teachers, who are often isolated as they interpret, design, and deliver curriculum in their classrooms. This dissertation introduces and refines a 7-stage process called the Community Creative Collective (3-C) designed to generate solutions to three problems that derive from this paradox. First, narrowing of curriculum inhibits the ability of teachers to generate creative teaching and learning. Second, factors, including time constraints and teacher training, limit teachers' ability to develop the creative habit. Third, inclusion of family and community members as co-creators of curriculum provides a potential source of creative curriculum development.
Three research questions guide the exploration of the process:
1. How does the 3-C process allow teachers and community members to collaboratively generate creative teaching and learning opportunities for their students?
2. What are the distinguishing features of this collaborative curricular process?
3. How does such a process impact teachers' interpretations of their role as interpreters, designers and deliverers of curriculum?
Using a Design Based approach, these questions investigate the process as it was implemented in a 5th-grade classroom. The first question uses a case study methodology to trace the development of the 3-C process as it was developed and implemented. Findings demonstrated that communication at multiple stages impacted the generation of creative ideas. The second question uses qualitative data from documents, interviews, audio and video recordings and observations to extrapolate some of the distinguishing feature of the process. Key features included the Ideational Speed Dating (ISD) process for idea-generation, the 3-C process as a peak flow experience and the impact of parent and community expertise to generate creative classroom content. The third question uses interviews with the participating teacher to examine the impact of the 3-C process on her interpretation of her role in the classroom. The process influenced her view on family and community involvement, providing space through which tensions can be resolved and creative engagement can flourish. Finally refinements for future iterations are discussed in addition to implications for future research.
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Nakano, Tatiana de Cássia, Priscila Zaia, and Karina da Silva Oliveira. "Correlational study: verbal creativity and personality according to the Big Five Model in Brazilian students." Pontificia Universidad Católica del Perú, 2016. http://repositorio.pucp.edu.pe/index/handle/123456789/99657.
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In Brazil, few studies are found investigating the relationship between creativity and personality constructs, especially considering the Big Five Model. This study investigated a sample of 83 Brazilian high school students, between ages 14 and 18 years (M = 16.01, SD = 0.95) that answered two questionnaires, the Torrance Thinking Creatively with Words (Brazilian version) and the Bateria Fatorial de Personalidade (Factorial Battery of Personality). The results indicated significant correlations only between the socialization factor and twoverbal creative indexes (ICVI = .26; ICVII = .26). In the present study the investigated constructs are weakly related. The influence of the instrument and the theoretical modeladopted in the findings is discussed.En Brasil es escasa la literatura científica acerca de la relación entre los constructos de creatividad, personalidad y el Modelo de los Cinco Factores. A partir de la aplicación del Test de Pensamiento Creativo con Palabras de Torrance (versión brasilera) y la Batería Factorial de Personalidad en 83 estudiantes brasileros de secundaria, con rango de edad de entre 14-18 años (M = 16; DS = .95), se estudia la relación entre la creatividad verbal y la personalidad. Los resultados revelan la existencia de relaciones significativas bajas entre el factor socialización y dos índices creativos verbales (ICV I = .26; ICVII = .26). Se discute la influencia del instrumento y del modelo teórico asumido en los hallazgos.
No Brasil, a escassez de estudos que investigam a relação entre os construtos da Criatividade e Personalidade, principalmente considerando-se o modelo Big Five, pode ser notada. Neste cenário, a partir da aplicação dos testes Pensando Criativamente com Palavras de Torrance (versão brasileira) e a Bateria Fatorial da Personalidade, o presente trabalho pesquisou em uma amostra de 83 estudantes brasileiros do Ensino Médio, com idades entre 14 e 18 anos (M = 16.01, DP = .95) a relação entre os construtos referidos anteriormente. Os resultados indicaram a existência de correlações significativas apenas entre o fator Socialização e os dois índices criativos verbais (ICVI = .26; ICVII = .26), de modo a apontar que, nesta pesquisa, os construtos apresentamse pouco relacionados. Discutese a influência dos instrumentos edo modelo teórico adotado.
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Evens, Gabe. "A Model of Collaborative Creativity: The Arrangements of Nelson Riddle for Frank Sinatra and Ella Fitzgerald." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849765/.
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This dissertation explores the themes of collaboration and creativity in the relationship between arranger Nelson Riddle and vocalists Frank Sinatra and Ella Fitzgerald. It examines the balance between structure and freedom as well as the specific musical results that emerge from collaboration between an arranger and vocalists who are considered among the greatest in their fields. An examination of their interactions, musical scores, and performances, reveals that the constraints that are present in a collaborative effort can lead the artists to find a shared process to make a creative, unified product.
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Davis, Luiza. "The Immortality Phantasy : an extension of the instinctual model of creativity and its application to classic literary texts." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/18932/.
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This thesis puts forward the hypothesis that there exists within us an Immortality Phantasy which can help to explain the relationship between creativity and destruction. The Immortality Phantasy occurs in response to sublimation, leading to desexualised libido and the release of self-destructive impulses and can help to explain the connection between creativity and destruction. As a result of the first identifications with the Oedipal parent, we can see a defusion of instinct occur, which allows for the concurrent release of creative and destructive energies. The ego is left unprotected against the death instinct, resulting in guilt and punishment for Oedipal phantasies. However, through creativity and reparation on the page, a survival can occur, and it is this survival which must be repeated; it is also responsible for the oscillation often viewed in creative artists between manic creativity and melancholia. Each repetition is a symbolic phantasy of victory over the father, but with the survival, there is also the accompanying destruction. So we can define the Immortality Phantasy as the symbolic matrix of the desire for survival, stemming from the repetition of the defusion of instinct following sublimation. The Immortality Phantasy allows for an indulgence in destructive behaviour due to an omnipotent belief in our immortality. The ego acts as if it cannot be destroyed, which allows it in turn to survive this created destruction, reinforcing this idea. This thesis explores in detail Freud’s theories of the life and death instinct, whilst giving close considerations to the existing theoretical ideas on creativity, aesthetics and melancholia. Three novels are used as case studies to test the Immortality Phantasy hypothesis: The Spire by William Golding, Mrs Dalloway by Virginia Woolf and The Sorrows of Young Werther by Goethe.
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Moore, Deborah Sarah. "Creativity and the New Technologies : Developing a Model of Interaction to Inform Practice and Pedagogy in the Educational System." Thesis, Manchester Metropolitan University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504539.
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Tillman, June Barbara. "Towards a model of the development of musical creativity : a study of the compositions of children aged 3-11." Thesis, University College London (University of London), 1987. http://discovery.ucl.ac.uk/10006544/.
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Palmer, Joy A. "Creativity, connoisseurship and change : the application of the connoisseurship model of qualitative evaluation to an investigation into the development of creativity in primary school children and to the process of improving educational practice." Thesis, Durham University, 1989. http://etheses.dur.ac.uk/6737/.
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The research described within this thesis aims to integrate two radically differing approaches to investigating classroom life and to bring them together within one investigation in such a way that they inform and compliment each other These two approaches are the traditional , experimental, deriving from a scientific basis and the qualitative illuminative deriving from an artistic basic. A model of qualities classroom evaluation criticism is employed within a traditional experimental research design. A second major aim is to document a substantial investigation into the development of creative or divergent thinking abilities in children of primary school age and illuminate some of the inter-relationships that exist amongst the development and approaches to the organisation of teaching and learning. Finally it is aimed to produce an end product which may be used as the basis for curriculum development work and the professional development of teachers and student in training. Qualitive and quantative data presented are certainly of educational significance and may be used in in-service and initial training courses. The conclusions are well times to inform the National Curriculum framework and methodologies that they may employ in the future. It is concluded that it is certainly possible to harness and nurture divergent thinking abilities in primary school classrooms and that there is a definite relationship between teaching method/approaches to curriculum organisation and the development of children's creative potential. It is also demonstrated that the combined use of the methodologies utilised would appear to have tremendous potential for deepening out understanding of classroom processes and for making informed recommendations about approaches to teaching and learning.
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Bondeson, Anna, and Sanna Grönlund. "Opportunities and challenges in the management of an innovation laboratory : A case study of Semcon Innovation Lab." Thesis, Uppsala universitet, Industriell teknik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-300742.
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Innovation laboratories are environments especially designed for carrying out the innovation process. They are an example of a new kind of organisational structure that has emerged as a managerial response to challenges associated with organisational dynamic capability development. Using a mixed-method approach, this thesis attempts to create an understanding for the challenges and opportunities that exist in the management of an innovation laboratory, both on a level of organisational innovation and of individual creativity. The componential model of creativity and innovation in organisations is used as a framework for analysis of an innovation laboratory in the case company, the tech consultancy firm Semcon. The results confirm that there is a lack of clarity in the conceptualisation of innovation labs. Some important findings are that the implementation of an innovation laboratory could in itself be seen as an opportunity, but that acting in the borderland between the objectives of profitability and creativity could prove a challenge. A challenge may also lie in maintaining a realistic view of the actual abilities of the innovation laboratory. Cross-functional collaboration between consultants seems to bring opportunities in that it may contribute to knowledge creation and transfer within the firm, but there is a challenge in that teams are in need of leaders with skills in creativity management and agile project management, but also technical expertise. A general conclusion for managing innovation laboratories is that they need enough resources to have room for mistakes. The findings have implications for the management of existing innovation laboratories and those in the planning.
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Candy, Linda. "Creative knowledge work and interaction design." Thesis, Loughborough University, 1998. https://dspace.lboro.ac.uk/2134/6992.
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The main aim of the research presented in this thesis is to inform the design of interactive computer systems for supporting creative knowledge work. Research into creativity and knowledge work has been explored and used to develop a criteria modelling approach. The particular contribution of the author's work is the drawing together of that research and applying the findings to interaction design. The publications were selected on the basis of how well they represent the main outcomes of the work. The journey from prescribing system requirements and design goals to framing the system design process in terms of evaluation criteria may be traced through the papers presented. Interest in creativity and the role of computer technology in creative tasks has recently increased. A number of national initiatives have been set in motion in the LJK, beginning in December 1996 with the Initiative for National Action on Creative Technologies, the Creative Media Initiative: Technology Foresight, Department of Trade and Industry, National Endowment for Science and Technology in the Arts (NESTA) and the People and Computers Programme, of the Engineering & Physical Science Research Council (EPSRC). Thus, the author's involvement in creativity research and computer support is proving to be timely. Amongst her recent initiatives is Creativity and Cognition, an international symposium which brings together creative people in the arts with technologists and scientists. The thesis is divided into three parts : themes and outcomes, methodology and case studies. A criteria-based modelling approach is presented which has evolved from earlier models that represent key elements of creativity and knowledge work. A model of creative knowledge work is proposed and categories of criteria identified. Underpinning the main outcomes are the case studies which were carried out in industry/academic collaborative projects. The findings were considered in relation to other studies. The thesis presents an approach to computer systems design and development that directly links the requirements definition to the application of evaluation criteria. These criteria are based upon the characteristics of the cognitive style and working practices of creative knowledge workers.
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Katz-Buonincontro, Jennifer Leah. "Developing a model for promoting creativity in leaders based on a comparative case study of three arts-based executive institutes /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3201687.
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Thesis (Ph. D.)--University of Oregon, 2005.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 256-269). Also available for download via the World Wide Web; free to University of Oregon users.
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Kilgour, A. Mark. "The Creative Process: The Effects of Domain Specific Knowledge and Creative Thinking Techniques on Creativity." The University of Waikato, 2007. http://hdl.handle.net/10289/2566.
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As we move further into the 21st century there are few processes that are more important for us to understand than the creative process. The aim of this thesis is to assist in deepening that understanding. To achieve this a review of the literature is first undertaken. Combining the many different streams of research from the literature results in the development of a four-stage model of the creative thinking process. The four stages are problem definition, idea generation, internal evaluation, and idea expression. While a large range of factors influence the various stages in this model, two factors are identified for further analysis as their effect on creativity is unclear. These two factors are domain-specific knowledge and creative thinking techniques. The first of these factors relates to the first stage of the creative thinking process (problem definition), specifically the extent to which informational cues prime domain specific knowledge that then sets the starting point for the creative combination process. The second factor relates to stage two of the model (idea generation), and the proposition by some researchers and practitioners that creative output can be significantly improved through the use of techniques. While the semantics of these techniques differ, fundamentally all techniques encourage the use of divergent thinking by providing remote associative cues as the basis for idea generation. These creative thinking techniques appear to result in the opening of unusual memory categories to be used in the creative combination process. These two potential influences on the creative outcomes of individuals: 1) domain specific knowledge, and 2) creative thinking techniques, form the basis for an experimental design. Qualitative and quantitative research is undertaken at two of the world's leading advertising agencies, and with two student samples, to identify how creative thinking techniques and domain-specific knowledge, when primed, influence creative outcomes. In order to measure these effects a creative thinking measurement instrument is developed. Results found that both domain-specific knowledge and creative thinking techniques are key influences on creative outcomes. More importantly, results also found interaction effects that significantly extend our current understanding of the effects of both primed domain-specific knowledge and creativity techniques on different sample populations. Importantly, it is found that there is no 'one size fits all' for the use of creative thinking techniques, and to be effectively applied, creative thinking techniques must be developed based upon the respondent's current domain and technique expertise. Moreover, the influence of existing domain-specific knowledge on individual creativity is also dependent upon how that information is primed and the respondent's knowledge of cognitive thinking strategies.
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Duncan, Erin. "Design and Critical Thinking: A Process Model to Support Critical, Creative and Empathic Learning in Studio-based Design Education." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354643684.
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Safuanov, Ildar S., and Valery A. Gusev. "Creative mathematical activity of the students in the model of differentiated teaching in Russian Federation." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-80882.
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In this paper, creative mathematical activities of school pupils in conditions of the differentiated teaching in Russian Federation are described. Various forms of differentiated teaching (internal – level, external – profile) are characterized. Ways of using entertaining problems for detecting and fostering mathematical abilities are revealed. New course of geometry for differentiated teaching is introduced.
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Tolbert, Yvette Roxanne. "Activating and Encouraging Supervisees' Creativity and Intuition through the Clinical Supervisory Relationship." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1492202838228721.
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Norton, Daniel. "Mixing the library : information interaction and the DJ." Thesis, University of Dundee, 2013. https://discovery.dundee.ac.uk/en/studentTheses/0d76d345-7bfc-4487-9d72-ab102a35784a.
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Digital collections have been amassed by institutions and individuals for over two decades. Large collections are becoming increasingly available as resources for research, learning, creativity, and pleasure. However, the value of these collections can remain elusive. Systems and methods are needed to unlock the potential held within collections, to access the knowledge and to make new discoveries with the available information. The aim of this research is to identify and describe a system for interacting with large volumes of digital material that supports both learning and creative development. This is done by investigating the Disc Jockey (DJ) who works with electronic media files. DJs have worked with large digital collections since the birth of file sharing in the 1990s. Their activities necessitate a library system that supports retrieval, creative play, and public presentation of material. The investigation will develop a model of information interaction from their activities. To examine the practice, the research employs an autoethnographic diary study, video interviews, and a practice-led method that combines Grounded Theory with digital interface development. Findings indicate a model of interaction which facilitates learning through the development of a personal collection, and allows creative innovation through key information behaviours of selecting and mixing. The research distinguishes fundamental interface requirements that support the process, and demonstrates transferability of the model to other data representations.
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Alhusaini, Abdulnasser Alashaal F. "The Effects of Duration of Exposure to the REAPS Model in Developing Students' General Creativity and Creative Problem Solving in Science." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/613255.
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The Real Engagement in Active Problem Solving (REAPS) model was developed in 2004 by C. June Maker and colleagues as an intervention for gifted students to develop creative problem solving ability through the use of real-world problems. The primary purpose of this study was to examine the effects of the REAPS model on developing students' general creativity and creative problem solving in science with two durations as independent variables. The long duration of the REAPS model implementation lasted five academic quarters or approximately 10 months; the short duration lasted two quarters or approximately four months. The dependent variables were students' general creativity and creative problem solving in science. The second purpose of the study was to explore which aspects of creative problem solving (i.e., generating ideas, generating different types of ideas, generating original ideas, adding details to ideas, generating ideas with social impact, finding problems, generating and elaborating on solutions, and classifying elements) were most affected by the long duration of the intervention. The REAPS model in conjunction with Amabile's (1983; 1996) model of creative performance provided the theoretical framework for this study. The study was conducted using data from the Project of Differentiation for Diverse Learners in Regular Classrooms (i.e., the Australian Project) in which one public elementary school in the eastern region of Australia cooperated with the DISCOVER research team at the University of Arizona. All students in the school from first to sixth grade participated in the study. The total sample was 360 students, of which 115 were exposed to a long duration and 245 to a short duration of the REAPS model. The principal investigators used a quasi-experimental research design in which all students in the school received the treatment for different durations. Students in both groups completed pre- and posttests using the Test of Creative Thinking-Drawing Production (TCT-DP) and the Test of Creative Problem Solving in Science (TCPS-S).A one-way analysis of covariance (ANCOVA) was conducted to control for differences between the two groups on pretest results. Statistically significant differences were not found between posttest scores on the TCT-DP for the two durations of REAPS model implementation. However, statistically significant differences were found between posttest scores on the TCPS-S. These findings are consistent with Amabile's (1983; 1996) model of creative performance, particularly her explanation that domain-specific creativity requires knowledge such as specific content and technical skills that must be learned prior to being applied creatively. The findings are also consistent with literature in which researchers have found that longer interventions typically result in expected positive growth in domain-specific creativity, while both longer and shorter interventions have been found effective in improving domain-general creativity. Change scores were also calculated between pre- and posttest scores on the 8 aspects of creativity (Maker, Jo, Alfaiz, & Alhusaini, 2015a), and a binary logistic regression was conducted to assess which were the most affected by the long duration of the intervention. The regression model was statistically significant, with aspects of generating ideas, adding details to ideas, and finding problems being the most affected by the long duration of the intervention. Based on these findings, the researcher believes that the REAPS model is a useful intervention to develop students' creativity. Future researchers should implement the model for longer durations if they are interested in developing students' domain-specific creative problem solving ability.
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O'Neill, Brian. "A computational model of suspense for the augmentation of intelligent story generation." Diss., Georgia Institute of Technology, 2013. http://hdl.handle.net/1853/50416.
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In this dissertation, I present Dramatis, a computational human behavior model of suspense based on Gerrig and Bernardo's de nition of suspense. In this model, readers traverse a search space on behalf of the protagonist, searching for an escape from some oncoming negative outcome. As the quality or quantity of escapes available to the protagonist decreases, the level of suspense felt by the audience increases. The major components of Dramatis are a model of reader salience, used to determine what elements of the story are foregrounded in the reader's mind, and an algorithm for determining the escape plan that a reader would perceive to be the most likely to succeed for the protagonist. I evaluate my model by comparing its ratings of suspense to the self-reported suspense ratings of human readers. Additionally, I demonstrate that the components of the suspense model are sufficient to produce these human-comparable ratings.
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Bolin, Irina, and Sandra Magnusson. "Den kreativa personligheten : En socialpsykologisk studie om femfaktormodellens personlighetsdrag och dess samverkan med konstnärlig kreativitet." Thesis, Högskolan i Skövde, Institutionen för hälsa och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-13833.
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Syftet med denna uppsats var att undersöka personlighet och dess eventuella kausala samband med konstnärlig kreativitet. Femfaktormodellen användes för att undersöka personlighetsdragen öppenhet, extroversion och neuroticism. Begreppet kreativitet beskrivs genom tidigare forskning och konstnärlig kreativitet utgör grunden för studien. En kortare pilotstudie genomfördes för att testa förståelsen av mätinstrumentet för kreativitet, som tidigare översatts från engelska till svenska. I undersökningen ingick 89 respondenter som besvarade en online-enkät utlagd i facebookgruppen “studenter vid högskolan i Skövde”. Resultatet visade att personlighetsdraget öppenhet predicerar konstnärlig kreativitet. Resultaten för personlighetsdragen extroversion och neuroticism visade inte på någon predicering av konstnärlig kreativitet. Dock visade resultatet att facetten sällskaplighet för personlighetsdraget extroversion predicerar den konstnärligt kreativa domänen dans, medan personlighetsdraget neuroticism och facetten depression predicerar den konstnärligt kreativa domänen kreativt skrivande. Därigenom kunde följande slutsats dras: ett flertal av studiens respondenter uttrycker sig på ett konstnärligt kreativt sätt och vilken typ av konstnärligt kreativt uttryckssätt som individen föredrar beror på individens personlighet.The purpose of this study was to investigate personality and it’s potential causality with artistic creativity. The five-factor model was used to investigate the personality traits openness, extraversion and neuroticism. Creativity is described by earlier research and artistic creativity creates the basic of this study. A short pilot-study was performed to evaluate the understanding of the instrument for creativity, that had been translated earlier from english to swedish. The sample used consisted of 89 respondents, who participated in an online-survey posted at a facebook-group named “studenter vid högskolan i Skövde”. The results showed that the personality trait openness predicts artistic creativity. The results of the personality traits extraversion and neuroticism did not show any predictability of artistic creativity. However, the results showed that the facet gregariousness from the personality trait extraversion predicts the artistic creative domain of dance, while the personality trait neuroticism and the facet depression predicts the artistic creative domain creative writing. Thereby the following conclusion could be made: several respondents of this study are expressing themselves in an artistic creative way and what kind of artistic creative expressions they use is defined by the personality of the person.
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Šimleša, Milija. "Collectif flow : sociocognitive model of optimal collaboration." Thesis, Sorbonne Paris Cité, 2018. https://wo.app.u-paris.fr/cgi-bin/WebObjects/TheseWeb.woa/wa/show?t=2029&f=14449.
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Face à la pression à innover, les entreprises cherchent à augmenter la créativité des équipes travaillant sur les projets d'innovation tout en favorisant leur bien-être de façon durable. La littérature suggère que le Flow (Csikszentmihalyi, 1975-2000), l'expérience d'hyperconcentration et de fonctionnement optimal humain, est bénéfique à la fois au bien-être et à la performance. Toutefois, le sujet est assez peu exploré quand il s'agit du Flow dans des contextes sociaux. Par conséquent, l'objectif de la thèse est de contribuer à la compréhension du concept du Flow Collectif (FC). Soutenu par l'entreprise SBT Human(s) Matter, ce projet a aussi l'objectif de transférer ces avancées de connaissances sur le Flow et la créativité de l'équipe afin d'améliorer le bien-être à long-terme et d'atteindre la collaboration optimale pour les clients de SBT. Nous définissons le FC comme un état se manifestant quand le groupe agit comme un tout. Les membres de l'équipe sont absorbés dans l'activité commune, se coordonnent efficacement et se sentent bien ensemble. Ensuite, nous avons construit un modèle sociocognitif conceptualisant le FC comme un processus reposant principalement sur les processus attentionnels, motivationnels et socio-identitaires, déclenchés par les préconditions spécifiques comme l'empathie des membres de l'équipe, l'ambition collective et une identité partagée. Six expérimentations en laboratoire et quatre études de terrain nous ont permis de tester le modèle et les hypothèses. La recherche a été menée avec des élèves ingénieurs travaillant sur des projets d'innovation. Les résultats de nos premières expérimentations montrent que le niveau moyen de théorie de l'esprit ne prédit ni le FC ni la créativité des groupes. Cela va à l'encontre des recherches antérieures sur l'intelligence collective. Les analyses indiquent que le FC peut être prédit par la motivation intrinsèque et l'identification sociale des membres du groupe. En outre, la créativité des groupes est prédite par l'expérience individuelle du Flow. Les résultats de la 2eme étude, qui a manipulé le niveau d'identification de l'action a montré qu'un niveau élevé d'identification de l'action stimule l'identification sociale, la motivation intrinsèque et le Flow des membres du groupe. L'analyse de médiation indique que l'effet de l'identification de l'action sur l'expérience du Flow est médiée par l'identification sociale et la motivation intrinsèque des membres. Les études expérimentales testant l'impact de l'identité sociale ont montré que, contrairement à nos attentes, la saillance des indices d'identité sociale n'impacte ni le FC ni la performance. De nouveau, nous observons que la motivation intrinsèque et l'identification sociale sont des prédicteurs du Flow, au niveau individuel et collectif. Cependant, le FC ne semble pas être prédit par le Flow individuel des membres de l'équipe. Notre dernière étude expérimentale explorant l'expérience du Flow à distance, en se fondant sur le modèle SIDE, a testé la créativité collective en ligne dans des environnements virtuels anonymes, identifiés, synchrones et asynchrones. Nos résultats montrent que le mode de collaboration asynchrone n'entrave pas le Flow et que le mode synchrone ne le favorise pas non plus. Les individus engagés dans une tâche collective peuvent faire l'expérience du Flow même en travaillant à distance et de manière asynchrone. Nos résultats montrent que le Flow dans un contexte de groupe est prédit par la motivation intrinsèque et l'identification sociale des membres du groupe. L'ambition collective de l'équipe est aussi susceptible d'augmenter l'expérience du Flow. Résultats concernant l'impact du FC sur la créativité sont moins clairs, indiquant que, dans certains cas, l'expérience du Flow individuel favorise la créativité. Néanmoins, ceci peut être plus complexe et ainsi représente une perspective d'approfondissement sérieuse pour acquérir une meilleure compréhensionWith the increasing pressure to innovate, companies are led to find solutions how to increase the creativity of the teams working on innovation projects in a sustainable way. Research has shown that the flow (Csikszentmihalyi, 1975-2000), the optimal psychological experience of hyperfocused human functioning has benefits on subjective eudaemonic well-being as well as objective performance. However, the topic is poorly explored when it comes to flow experience in social settings. Therefore we decided to address the concept of collective flow. Funded by a French company SBT Human(s) Matter, this research project has also an applicative goal of gathering more knowledge about flow and team creativity in order to improve sustainable well-being and reach optimal collaboration for SBT's clients. We define collective flow as a state manifesting when a group acts as a whole. The members of the group are absorbed in the common activity, are coordinating efficiently and feel good together. Subsequently, we have built a sociocognitive model that conceptualizes collective flow as a process mainly relying on motivational and social identification processes, and triggered by specific preconditions such as team members' empathy, collective ambition and shared group identity. Six laboratory studies and few field tests allowed us to test our theoretical model and therefore test our hypotheses. The research was mainly conducted with French engineering students working on innovation projects. Results of the first study show that average level of Theory of Mind of group members does not predict neither the collective flow nor the creative output of the groups. This challenges previous findings related to collective intelligence of teams. However, analyses indicate that collective flow can be predicted by intrinsic motivation and social identification relative to group membership. Moreover, we have found that creativity of groups is predicted by individual flow experience. Results of the second, experimental study, which manipulated the level of action identification (high versus low) showed that high level action identification boosts social identification, intrinsic motivation, and flow of individual group members. Also, mediation analysis indicates that the effect of action identification on flow experience is mediated by social identification and intrinsic motivation. Third, experimental study testing the impact of social identity showed that, contrary to our expectations, the salience of social identity cues (wearing special T-shirts) neither impacts collective flow nor the creative output of the teams. Just like in the first study we found that intrinsic motivation and social identification are significant predictors of both individual and collective flow. However, collective flow did not seem to be predicted by the individual flow of group members. Finally, the fourth experimental study exploring flow experience in a Computer-Mediated Communication setting, relying on Social Identity model of Deindividuation Effects, tested online group creativity in anonymous, identified, synchronous and asynchronous virtual environment. Our results show that asynchronous mode of collaboration is not a flow-killer and that synchronous mode is not a flow booster. This means that individuals engaged in a collective task can indeed experience flow even when working remotely and asynchronously. Consistent in all four studies, our results show that flow in group settings is predicted by intrinsic motivation and social identification. Collective team ambition is also likely to considerably increase the experience of flow in team context. Lastly, our results concerning the impact of collective flow on creativity are less clear, indicating that in some cases the experience of individual flow boosts the creativity. However, this might be more complex and therefore provides a good reason to seek further refinement and better understanding
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Reynolds, Rebecca K. "Idea, Energy, and Power: Sayers’s Creative Process Model and the Storytelling of Jay O’Callahan." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etd/1418.
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This research uses an adaptation of Dorothy L. Sayers's 3-step theory of creativity to analyze the self-described creation process of contemporary storyteller Jay O'Callahan. Sayers wrote that Idea, Energy, and Power are foundational elements of the creative process. Idea is the invisible image that provides vision and unity throughout a project. The Energy is the working out of art into a medium. The Power is the connective force that binds artist to art and both to audience. (Sayers, 1987). This hermeneutical study develops subcategories within each of those 3 primary elements of creativity, then uses qualitative methods to explore connectivity to the creation process of O'Callahan. It was concluded that a high levels of correlation can be drawn between the Idea, Energy, Power model and O'Callahan's methods of story construction and delivery.
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Monteith, Kristine Perry. "Automatic Generation of Music for Inducing Emotive and Physiological Responses." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3753.
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Music and emotion are two realms traditionally considered to be unique to human intelligence. This dissertation focuses on furthering artificial intelligence research, specifically in the area of computational creativity, by investigating methods of composing music that elicits desired emotional and physiological responses. It includes the following: an algorithm for generating original musical selections that effectively elicit targeted emotional and physiological responses; a description of some of the musical features that contribute to the conveyance of a given emotion or the elicitation of a given physiological response; and an account of how this algorithm can be used effectively in two different situations, the generation of soundtracks for fairy tales and the generation of melodic accompaniments for lyrics. This dissertation also presents research on more general machine learning topics. These include a method of combining output from base classifiers in an ensemble that improves accuracy over a number of different baseline strategies and a description of some of the problems inherent in the Bayesian model averaging strategy and a novel algorithm for improving it.
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Baker, Gregory Douglas Ansell. "User creativity in the appropriation of information and communication technologies :$ba cognitivist-ecological explanation from a critical realist perspective." Thesis, University of Canterbury. Accounting and Information Systems, 2014. http://hdl.handle.net/10092/9742.
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A fundamental process in many important research foci in information systems is the appropriation of IT artifacts in creative ways by users. The objective of this thesis is to develop a theoretical explanation of that process.
An embedded multiple-case study of incidents in which users, in a variety of field settings, developed creative ways to apply IT artifacts, was conducted. Employing theoretical lenses drawn from cognitive science (dual-process theory, distributed cognition), and Markus and Silver’s (2008) variant of adaptive structuration theory, a novel theoretical framework was developed to analyze the data. This framework – Affordance Field Theory – was used to abstract away the context-specific details of each case, so that the events in each could be compared and analyzed using a common conceptual vocabulary.
Applying critical realist assumptions, the initial retroductive analysis was done with narrative networks, then the cases were re-analyzed using framework matrices. The complementary logical forms (processual and thematic, respectively) of the analytic tools helped to provide empirical corroboration of the findings. A set of cognitive mechanisms was identified that describe the information-processing operations involved in creative user appropriation. Using assumptions from distributed cognition, it was demonstrated that these mechanisms can describe those operations at the individual and collective levels. An integrative model which shows how the mechanisms explain user creativity at the individual level was then developed. It is called the Information Cycle Model of creativity.
This thesis makes several contributions to knowledge. It develops a theoretical framework for analyzing interactions between users and systems that is designed to represent the cycles of ideation and enactment through which creative appropriation moves are developed. It also presents a model of the cognitive mechanisms involved in the discovery of novel appropriation moves. The thesis also contributes to current debates within IS about representational metaphors for user interaction with IT.
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Riley, Kim. "Capitalising on South Africa's innovation resource through entrepreneurship in the creative industries." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20244.
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Thesis (MScEng)--Stellenbosch University, 2012.ENGLISH ABSTRACT: Capitalising on South Africa’s innovation resource through entrepreneurship in the creative industries. In light of the current global challenges as well as local needs and opportunities, there is a need for improved utilisation of South Africa’s innovation resource. Due to designers possessing creativity and the ability to innovate, it is proposed that an increase in the quality and quantity of entrepreneurship activity in the creative sectors will have notable impacts on the sustainability, competitiveness and value of South Africa’s economic activity. It is argued that designers and creative individuals inherently possess a number of entrepreneurial traits and that design education promotes the development of many entrepreneurial behaviours. Thus, it is necessary to offset and maximise these skills with the requisite businessrelated cognitions, attributes and abilities. For this reason, this study looks at the contextual characteristics and needs of small businesses operating in South African design sectors. The objective is to provide relevant and practical suggestions for improving ‘effective’ entrepreneurial activity in the design industries. The current state of entrepreneurship education in a representative sample of South African entrepreneurship courses is analysed. The outcome of this process is used as a base-line in consulting a number of experts in the South African small- and medium-sized enterprise (SME) sector, in order to ascertain the context-specific ‘success factors’ for small businesses in South Africa. Empirical data is then gathered regarding the current state of entrepreneurship and small business content in design education in South Africa. The results of all these processes are analysed in conjunction with the empirical results regarding the individually perceived abilities and attitudes of designers currently operating small businesses in South Africa. The outcome of this analysis is a framework describing the important elements (and relationships between elements) necessary in the development of effective entrepreneurial ability.
AFRIKAANSE OPSOMMING: Benutting van Suid-Afrika se innovasie hulpbron deur middel van entrepreneurskap in die kreatiewe bedrywe. In lig van die huidige wêreldwye uitdagings, insluitend die plaaslike behoeftes en geleenthede, is daar ‘n noodsaaklikheid vir die beter benutting van Suid-Afrika se innovasie-hulpbron. As gevolg van die feit dat ontwerpers oor kreatiwiteit en die vermoë om te innoveer beskik, word daar voorgestel dat ‘n verhoging in die gehalte en hoeveelheid entrepreneuriese aktiwiteite in die kreatiewe sektore ‘n beduidende impak op die volhoubaarheid, mededingendheid en waarde toevoeging van Suid-Afrika se ekonomiese aktiwiteite sal hê. Daar word geredeneer dat ontwerpers en kreatiewe individue oor ‘n bepaalde aantal intrinsieke entrepreneuriese eienskappe beskik en verder dat ‘n aantal entrepreneuriese gedragspatrone deur ontwerp onderwys ontwikkel en bevorder kan word. Dit is daarom nodig om hierdie vaardighede met die vereiste sake beginsels, eienskappe en vermoëns te versterk en optimeer. Om hierdie rede ondersoek hierdie studie die kontekstuele eienskappe en behoeftes van klein sake-ondernemings in die Suid-Afrikaanse ontwerp sektore. Die doel is om toepaslike en praktiese voorstelle vir die verbetering van ‘effektiewe’ entrepreneuriese aktiwiteite in die ontwerp nywerhede te voorsien. Die huidige stand van entrepreneurskap-onderwys is bepaal deur ‘n verteenwoordigende steekproef van die Suid-Afrikaanse entrepreneurskap kursusse te ontleed. Die uitkoms van hierdie proses word gebruik as ‘n basis-lyn in die raadpleging van ‘n aantal deskundiges in die Suid- Afrikaanse klein sake-sektor, ten einde die konteks-spesifieke ‘sukses faktore’ vir klein ondernemings in Suid-Afrika vas te stel. Empiriese data word dan versamel met betrekking tot die huidige stand van die entrepreneurskap en kleinsake inhoud wat in die ontwerp onderwys van Suid-Afrika vervat word. Die resultate van al hierdie prosesse is ontleed tesame met die empiriese resultate wat verkry is ten opsigte van die vermoëns en houdings wat gekoppel word aan ontwerpers wat tans werksaam is in die klein ondernemings in Suid-Afrika. Die uitkoms van hierdie analise poog om ‘n raamwerk daar te stel vir die beskrywing van die belangrikste elemente (en verhoudings tussen elemente) wat benodig word in die ontwikkeling van effektiewe entrepreneuriese vermoëns.
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Lederman, Jonathan E. "Ethical applications of free culture applied for art education : piloting chinavine as an interactive model." Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1444.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Humanities
Philosophy
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Lee, Judith. "Melancholy, the muse and mental health promotion : an analysis of the complex relationship between mood disorder and creativity, developing a scientific model of mental health promotion." Thesis, University of Ulster, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428346.
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Hanke, Ralph C. M. "Team creativity a process model /." 2006. http://www.etda.libraries.psu.edu/theses/approved/WorldWideIndex/ETD-1242/index.html.
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Stokes, Dustin R. "Minimal creativity : a cognitive model." Thesis, 2006. http://hdl.handle.net/2429/18575.
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Creativity is remarkable in at least two ways. It is remarkably important to all manner of human practice, culture, and theory. It is, however, remarkably neglected by philosophers and psychologists. This neglect is symptomatic of the complexity of the phenomenon, of a number of conceptual confusions, and of a tradition of unconstrained theoretical analyses. But it can be avoided: an informative model of creativity that accommodates its importance and complexity is possible. After diagnosing the confusion and misanalysis, we endorse an alternative explanatory strategy: begin at the fundamental level of creativity and model creativity as a psychological phenomenon. This encourages a descriptive analysis: all evaluative concerns are to be initially set aside. Moreover, concerns specific to this domain or that--say to physics or painting--are to be set aside. The explanandum is thus narrowed to the psychology of minimal creativity. The explanans is cognitivist and naturalistic: all features of the target phenomenon are explained in terms of cognitive processes and from within the bounds of natural science. Chapter 1 offers a conceptual analysis of minimal creativity: the minimum conditions independently necessary and conjointly sufficient for attributions of ’creativity.’ The definition that results is adopted for the remainder of the thesis. Chapter 2 identifies a number of extreme cognitivist treatments of creativity. There is much to be learned from these views, but a balance between them is both preferable and possible. Chapter 3 provides a functional analysis of problem solving and then identifies the functional similarities between problem solving and creative thought: both comprise context, problem, solution, and heuristic roles. Chapter 4 is an analysis of the different modes of imagination; it concludes with an inference that imagination uniquely enjoys cognitive freedom. Chapter 5 identifies the role of imagination in creative cognition. Imagination, as a cognitive state that is both workful and playful, is ideally suited to service creative thought. Chapter 6 provides a naturalistic model of incubated cognition and its role in creative cognition, focusing on neural plasticity and the effects of attention on the functional networking of the brain.Arts, Faculty of
Philosophy, Department of
Graduate
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i, Chang Cheng, and 張政義. "Technological Creativity Instruction Model and its Practical Research." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/93996049092014783012.
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博士國立花蓮教育大學
國民教育研究所
97
The Purpose of this research is for discussing Technological Creativity Instruction Model (TCIM) applied to the teaching effect of science and life technology program in the elementary school, to establish the operation guide of scientific instruction practice. This research collects and analyzes the related theories of technological creativity and the instruction to form the basic framework of TCIM, and then to proceed the teaching experiment according to Quasi-experimental research. The study introduces STAT (Sternberg Triarchic Abilities Test), CIA (Cogitation Idea Assessment), PCA (Product Creative Assessment) as the examine instrument, to compare the quality of teaching effect between TCIM and the traditional instruction model. In the meanwhile, to learn the creation course of the experimenting students in TCIM by the interview, the learning result, the design and the works. Moreover, “Design and Practice” is developed and cultivated as the equipment of TCIM in this research, and the experimental study shows that: 1. TCIM may promote students’ technological creativity. 2. TCIM on “Design and Practice” course may promote the elementary students’ abilities in the analysis, the creativity and the application. 3. The development of the technological creativity is a spiral dynamic dialectical course. Through the analysis, the creativity and the application thought, the students in TCIM may interpret the cognition course and the constructivist framework of technological creativity development in the writing, the design and the skill. The TCIM, carries out operative teaching development of technological creativity and integrates the complex scientific education theory and the practice access, can be the instruction principle on the science and life technology program in the elementary school. As an innovative instruction model, TCIM deserves to be introduced widely.
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Tai, Chia-yi, and 戴嘉儀. "Constructing and Empirical testing a Stimulating Creativity Model." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/72895215411657830984.
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碩士大同大學
資訊經營學系(所)
99
Living in this rapidly changing era, each enterprise must use creativity to resolve different problems or strain new challenges. It seems that creativity has become the pronoun of enterprise's competitiveness, even above the traditional factors of production including land, capital and labor. In order to reveal the mysterious veil of creativity, and then to stimulate creativity, we constructed the integrated model to excite creativity. In this model, there is creative input, processing, and output, that has four dimensions including person, situation, process, and product. Among them, we take human motivation, expertise, creative thinking skills, and social environment as the elements of creative inputs. It is based on Amabile’s components of creativity. The greater interaction between the four components, the higher creativity is. In addition, we proposed four components and nine steps of creative problem solving (CPS) as creative process. It is based on three components and six stages of CPS, which was modified by Isaksen, Dorval, and Treffinger in 2011. We added the fourth component: Incorporate the society, and the component within the three stages: authenticated by gatekeepers, infusing into domain, generating new culture. It is not only extend the scope of research to social science, but also highlight the originality and usefulness in creativity, and emphasize the importance that the creative product must have be passed down along time. Finally, we put Wii's creativity as a typical case into this model to deduction and empirical. The results show that the model is logically. In the innovation process, it can help individuals or businesses according it to stimulate creativity.
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Hsu, Yu-Ching, and 許玉靜. "A Study of Interactionist Model of Organizational Creativity." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/997ydd.
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碩士長榮大學
經營管理研究所
96
“Innovation” was the one and only way for corporate success. As the new era comes, the rapid changing environment seriously shocked the conventional thinking style. To conquer the coming challenges, the growth and sustainable operation of an enterprise was determined by whether it may satisfy the inherent customers and create new customers with new ideas, products and services. As the environment became gradually complicated, the individuals or teams usually provided several kinds of skills relating to each other, to create a completely new innovative mode through internal operation, and further enhanced the organizational capability and competitive advantages in the industry. This research compiled “scale of individual creativity”, “scale of team creativity” and “scale of organizational creativity” through literature review and deliberate statistics analysis. The employees and directors in Taiwan’s financial and insurance industry were selected as research subjects, 300 portions of questionnaires delivered through purpose sampling, 200 portions of questionnaires recycled with a valid recycle rate of 72%. ANOVA, regression analysis, hierarchical regression analysis were also adopted to verify the assumption of this research. The following results and conclusions were gained from the statistical analysis: 1. Individual creativity had significantly positive relationship with organizational creativity, and caused significant positive influence on it; 2. Team creativity had significantly positive relationship with organizational creativity, and caused significant positive influence on it; 3. Individual creativity influenced by the moderating effect resulted from team creativity would have significantly positive impact on organizational creativity. At last, this research conducted in-depth discussion through conclusion and managerial intuition, and presented concrete contributions and practical recommendations as reference for the academic field and industry.
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陳姿汝. "A design creativity model for peer-group interactions." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/28068160355278640442.
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博士國立交通大學
土木工程學系
101
Creativity comes from diverse interaction processes. There is great correlation between creativity and design activities. They all pursue the goal of creative thinking and emphasize the value of group dynamics. In design practice it could be found that expert designers spent a lot of time and efforts on talking with the specific consultants and peers. This showed that it was important to interact with each other in design activities. However, in the design field, few researchers discussed the effect of the interaction among designers on creativity in a group design process. Therefore, the paper would like to research what the creative process of peer-group interactions is and how the sharing of the design ideas influences the creative thinking of the designers in a peer-group. The objective of this research is to get a design creativity model for peer-group interactions from a pool of empirical data. The methodologies and steps in this study were divided into two main parts. Step one used the method of observations and case studies to observe two practical design cases and shape a preliminary design creativity model of group interaction first. The second step is to discuss the detail cognitive process in a design group using protocol analysis and then build a final design creativity model for peer-group interactions. The results are to understand the interaction of creative thinking in a group. It is useful not only for people to realize the process of group creativity, but also for designers to master their own creative thinking in the process which is interacted with others.
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Tsai, Yi-Yi, and 蔡怡怡. "A Study of Senior Artists' Creativity-Analysis via the Perspective of Csikszentmihayi's Systems Model for Creativity." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/6wh87x.
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博士國立臺灣師範大學
社會教育學系
104
The main purpose of this research is to investigate the changes of creativity for aging artist painters, the internal and external factors affecting such changes and the painters’ responding strategies, and their practice for developing sustainable creativity. In this research, four outstanding Taiwanese senior painters were purposively sampled. In-depth interview was the major method of this study, supplemented by collecting artists’ painting-albums and books, reviewing art critics and documentaries, visiting relevant exhibitions, and attending their speeches. In addition, in order to enhance the reliability and creditability of this research, three professional painters were invited to participate in assessing these painters’ changes of paintings. Basically, this research analyzed the artists’ sustainable creativity via the systems model developed by Csikszentmihalyi. After inspecting the materials of the four cases, the findings of this research are as follows : 1. The relations of the changes of creativity and relevant factors: (1) Painters believe artistic break-through are still possible even in aged period; (2) The quantities of their creation do not decrease even though in old age. If there is any decrease, it is due to less passion for certain topics, changes of painting media, or important life events; (3) The quality of the artworks gets better and more even with the painters’ more mature skills, techniques and experiences. (4) Before their aged period, the painters tended to develop unique techniques/skills by “associated thinking” as their artistic approach. After that, the artists use their own integrated and unique skills to directly express their thoughts. (5) After the aged period, the painters tend to have different mindsets and visions, and thus create different artwork. 2. Based on creativity systems model created by Csikszentmihalyi, this research found that the systems model is partially applicable to the development of creativity for senior painters. Among the three systems, “individual”, which includes artistic faith, successful aging, important life events and their understanding about life, is the most important system that affects the senior artists’ creativity transformation. The painters’ art creations, representing explicitly their creativity, are the connection between the “individual” and the “field” systems. Other gatekeepers in the “field”, such as collectors, students and peer artists, may embrace, interpret, and/or propagate the creativity messages passed by the senior painters, and are influenced by the senior painters with their leadership. In the aspect of the “domain” system, the senior painters have been seeking their own personal breakthroughs, while they continue absorbing but from other knowledge domain and hope to infuse these into their artworks. Nevertheless, whether these creativity showed by the painters’ artworks will last permanently in the domain or not is up to the future domain gatekeepers to decide. On the “field” and “domain” systems with respect to the senior painters’ creativity, this research concludes: (1) Virtuous interaction with the “field” helps them to strengthen their motivation for art creation; (2) The painters tend not to interact with uninteresting people or matters and those cause negative feelings; (3) They gradually pay less attention to the gatekeepers in the field; (4) They are influenced less by surrounding environment but are eager to absorb interdisciplinary knowledge extensively. 3. The relations of aging and the changes of the painters’ creativity: (1) all four painters are approaching toward “successful aging,” in terms of physiological aging, psychological aging, and social aging; (2) Resilience plays an important role in developing creativity during the aging period; (3) Strengthening cognitive function help maintaining and promoting creativity; (4) Spirituality is the main emphasis of their creativity, and wisdom is the shinning spot of such creativity; (5) Artistic creation and continuous learning help to achieve successful aging and vice versa. 4. In additional to the decline of physical conditions and psychological aging such as memory deterioration, the painters currently also face many challenges not related to aging, like computer literacy or time management. To cope these imminent need in their old age, they adopt four specific strategies: (1) establishing supporting systems; (2) adjusting their mindsets; (3) always having alternatives or only focusing on what they are good at; (4) learning. From the study of the four cases, this research also found that the painters take the following practices to sustain their development of creativity: (1) maintaining good health and keeping creating artworks with their own unique self-discipline; (2) continuing self-learning -- focusing on peacefulness and concentration; (3) exerting moderate self-pressure to sustain creating artworks; (4) taking more pondering; (5) continuing to engage in their favorite matters. Finally, this research found the meaning of creativity in old age, exemplified by these painters, are: (1) Creativity, influenced by internal motivation, expresses the painters’ inner feelings and spiritual vision; (2) The painters try to pass on their legacy and have influence through their creations; (3) They continue to absorb interdisciplinary knowledge extensively in order to make self-breakthrough; (4) Their art creations have been contributing to human cultures and societies.
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Murray, Anna Marie. "Training teachers to foster creativity using the 4MAT model." 1992. https://scholarworks.umass.edu/dissertations/AAI9233118.
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This study was undertaken to assess outcomes of a teacher training program whose goal was application of the 4MAT Learning Style Model (McCarthy, 1987) to the design of lessons which foster student creativity. Results derived from the analysis of data in this study indicate that the training program met its objectives of content mastery, attitudinal change, and application of theory, within the context of a case study involving 27 subjects undergoing 36 hours of training. Goals of the training program included: (1) developing understanding of basic learning style and creativity concepts; (2) increasing positive attitudes regarding the significance of diversity and creativity; and (3) applying concepts taught through construction of 4MAT lesson plans. Training program content was based on topics covered in the introduction and literature review including the importance of accommodating diversity and developing creativity in society today; an explanation of the 4MAT Model; an overview of typology and creativity research; and examination of implications for education. Outlined in detail are scope and sequence of the training program, as well as measures of evaluation which included a content pre/post-test, a retrospective attitudinal survey, a lesson rating scale, and anecdotal commentary. Results were analyzed quantitatively not only in terms of new learning acquired, degree of attitudinal change, and quality of lesson plans, but also with regard to patterns of performance emerging among sub-groups categorized according to sex, grade level taught, work experience, previous training, learning styles, and attendance. Results indicate that (1) during the course of the training there was a significant increase in positive attitude regarding the importance of accommodating diversity and creativity in educational settings; (2) that the training program prepared the majority of participants to develop lessons which integrated creativity and learning style theory, while satisfying 4MAT criteria; (3) that performance on lesson plan design correlated more closely to attitude than to content; and (4) that gender and learning style of participants appeared to significantly affect assessment scores.
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Chia-LingChang and 張嘉玲. "User Creativity-Oriented Design Process and Searching Model for Knowledge." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/42990818290712572589.
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博士國立成功大學
工業設計學系碩博士班
101
With rising of the open innovation notion, satisfying user’s creative needs of becomes a focus in new product development. Products which facilitate user’s creativity can be regarded as a kind of creative platform. Extending the concept of user innovation, this study explored two issues based on user creativity orientation. First, a design process based on user's creativity platform (UCP) is proposed for enterprises, which includes eight steps: (1) Explore user's creativity needs, (2) Classify functionality of the product, (3) Develop primary and secondary components, (4) Design creativity-friendly interface, (5) Prototype components, (6) Examine UCP product features, (7) Evaluate user’s creation experience, and (8) Assess creativity potential of user’s outcomes. Through the process, three products allowing user successive design are developed, including a set of EVA toys, storages for fresh worker and furniture for pre-school children. The process can elevate the idea of design from pure product design to the level of creative platform and experience design, assist industries to develop platform products, and meet the users’ needs for self-accomplishment. Additionally, in order to explore the user’s search behaviour for design knowledge in self-design activity, this study proposes a methodology and tools and takes the highly-involved LEGO players as the subjects to construct a “model of user's search behaviour for design knowledge”. With the proposed method, the users can be categorized by length of involvement and breadth of experience content into four kinds of status types of users, and nine essential knowledge attributes and eight key search approaches can be gained. According to the constructed model, the enterprise’s role as enabler and users’ role as designer can be further explored in design research and marketing strategy of products. The design knowledge and skills of highly-involved users will advance form a few individual hobby to a creative experience industry. It is also anticipated to offer enterprises with effective applications of users’ design resources and create new energy on knowledge economy.