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Journal articles on the topic 'Geneplore model of creativity'

Author: Grafiati

Published: 30 June 2021

Last updated: 1 February 2022

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1

Pike, Christopher. "Exploring the Conceptual Space of LEGO: Teaching and Learning the Psychology of Creativity." Psychology Learning & Teaching 2, no. 2 (June 2002): 87–94. http://dx.doi.org/10.2304/plat.2002.2.2.87.

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This paper reports on the use of the construction toy LEGO as an effective learning resource for undergraduate classes in the psychology of creativity. Students first attended a short series of lectures on aspects of creativity, including learner characteristics such as motivation and metacognition, and theoretical approaches to problem-finding and problem-solving including the Geneplore model and the metaphor of learning as navigation in a multidimensional conceptual space. This was followed by three sessions in which students explored the conceptual space of LEGO under each of three conditions: freeplay in session 1, constraints on process in session 2 (rules for assembly), and constraints on product in session 3 (set goals). Throughout this time, students were required to keep a ‘metacognitive diary’ of their experiences, and to reflect on their own learning processes within and across sessions. Evaluation was carried out by means of a post-activity questionnaire. The paper reports on the kinds of structures produced under each set of constraints, patterns of student learning experiences, motivational changes, and student evaluations of the activity as a whole. It is suggested that, used in this way, LEGO provides a simple, highly enjoyable, yet effective medium for teaching, learning and research in the psychology of creativity.

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Hertel, Frederik, and Michelle Wicmandy. "Metaphorical creativity: an aspect of everyday creativity cleans-up a work-based problem." Development and Learning in Organizations: An International Journal 35, no. 5 (February 15, 2021): 15–18. http://dx.doi.org/10.1108/dlo-09-2020-0200.

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Purpose According to Mumford et al. (2018), case studies illustrating creative-problem solving at work is lacking. To help fill this gap, this study aims to show how metaphorical creativity was integrated in the realm of everyday creativity to form a new soap that solves a cleaning crew's challenge. Design/methodology/approach Participatory observation was the qualitative methodology used to conduct this study. The cleaning team understood they were the research participants under investigation in the food plant. Participatory observation favored an efficient and flexible process for the cleaners to demonstrate their experiential knowledge while the researchers documented the cleaners' routine cleaning practices and challenges. Directly observing and analyzing the cleaners' everyday creative acts inferred face validity. This ensured to a degree that the study was effective at exploring everyday creativity. Findings Following Finke's Geneplore model in creative cognition (Birdsell, 2019), the consultant shifted between cycles of analogical reasoning in the generative process with exploratory processes to test hypothesis and tailor his thinking. Through this process, the consultant leveraged everyday creativity to develop a small innovation of foaming a non-foaming soap. The foaming process changed the soap's chemistry, enabling the cleaners to remove the spot quickly, accelerating the cleaning process. Research limitations/implications According to Mumford et al. (2018), case studies illustrating creative-problem solving at work are lacking. In this study, we aim to show how metaphorical creativity was integrated into the realm of everyday creativity to form a new soap that solves an industrial cleaning crew's challenge. To fully understand the variety of metaphorical creativity more qualitative cases need to be analyzed and qualitative research is needed to grasp the scale of metaphorical creativity in everyday creativity. Practical implications The findings gleaned from this study are beneficial to help organizations solve problems. Viewing problems metaphorically in everyday creativity involves unconventional thinking. When confronted with a challenge that seems impossible to solve, employees should approach the problem from a different angle. Sometimes, a small, innovative act can solve problems that appear hopeless, similar to the Columbus Principle. After all, a challenge is only simple once you know how to pull it off – the triumph is having the courage to try something new and succeeding. With practice, metaphorical creativity is a skill that one can develop. This could e.g. be viewing old problems through a new lens. Applying a new approach may reveal an unconventional solution. Originality/value According to Mumford et al. (2018), case studies illustrating creative-problem solving at work are lacking. To help fill this gap, this study aims to show how metaphorical creativity was integrated into the realm of everyday creativity to form a new soap that solves a cleaning crew's challenge.

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3

Bogunović, Blanka. "Creative cognition in composing music." New Sound 53, no. 1 (2019): 89–117. http://dx.doi.org/10.5937/newso1901089b.

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In this paper we presented an overview of theoretical and empirical research in a domain of cognitive psychology of music, psychology of creativity and interdisciplinary studies concerning the creative cognitive processes in composing music, with an intention to bring them into connection and to raise questions about further research. We brought into focus the cognitive processes in composing music since the key role of cognitive mechanisms and processes, next to the emotional experience and imagery, was shown in our previous research. The wide scope of knowledge, within a time span of some 35 years, was introduced covering the following themes - generative models of creative cognition, metacognitive strategies in composing, the relation between creativity, knowledge and novelty, creativity in the social-economical context. We paid attention to the several crucial theoretical models, some of them developed on the basis of exploration of compositional practices, one of the first being John Sloboda's psychological Model of typical compositional resources and processes (1985), that gave a global overview of the relevant components of the composing behavior. Psychology of creativity gave several process models that can be applied in a field of composing music. One of them, developed by Wallas (1926) and adapted for music making by Lehmann, Sloboda and Woody (2002), is the well-known theory of the creative process stages. We considered as the most prominent the Creative cognition approach formulated by Smith, Ward and Finke (1997) and their Geneplore model (1992). The authors listed a wide range of processes that are crucial for creativity, nevertheless they are engaged in the generative or exploratory phase. In our paper, we discussed metacognitive strategies engaged in a process of composing while considering music creation as a self-regulated activity. Further on, the relation between immersion, knowledge, the production of heuristic ideas and the cognitive strategies of problem solving were brought into focus. It was pointed out that quality of the creative outcomes will be influenced by the extent of the person's long-term knowledge structures, drawn intentionally or intuitively during the process, and by the manner in which the elements of that knowledge are accessed and combined. The social and cultural factors were considered in a frame of several confluent models, first of all Csikszentmihalyi's systems theory of creativity (2004), focused less on the creative person but on involving multiple factors. Simonton took into account massive and impersonal influences from the Zetgeist or Ortgeist and grouped them into four categories: cultural factors, societal factors, economic and political factors (2004). Further on, models and concepts, new research methodologies and new technology, that were developed specifically in a domain of music creation, as well as their results, were presented.

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4

Huh, Yoon-Jung. "Talk Aloud Protocol with Geneplore Model on Concept Generation." World Journal of Game Science and Engineering 1, no. 1 (October 30, 2017): 1–18. http://dx.doi.org/10.21742/wjgse.2017.1.1.02.

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5

Styhre, Alexander, and Mats Sundgren. "Creativity as connectivity: a rhizome model of creativity." International Journal of Internet and Enterprise Management 1, no. 4 (2003): 421. http://dx.doi.org/10.1504/ijiem.2003.003908.

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6

Stevens, Catherine, Stephen Malloch, Shirley McKechnie, and Nicole Steven. "Choreographic Cognition." Pragmatics and Cognition 11, no. 2 (December 31, 2003): 297–326. http://dx.doi.org/10.1075/pc.11.2.06ste.

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The process of inception, development and refinement during the creation of a new dance work is described and explored. The account is based on annotated video of the professional choreographer and dancers as they create and sequence new movement material, as well as weekly journal entries made by one of the dancers. A 24-week chronology is reported. We analyse the choreographic process using the Geneplore model of creative cognition as an organising framework and identify generative and exploratory processes including problem finding and problem solving, metaphorical thinking, non-linear composition, and multi-modal imagery. An analytical tool adapted from the discipline of music analysis is used to explore relationships between recurring themes and visual, visceral, spatial and tactile images. Ideas for experimental work relating to choreographic cognition are discussed.

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7

Hosseini, Afzal Sadat. "The Effect of Creativity Model for Creativity Development in Teachers." International Journal of Information and Education Technology 4, no. 2 (2014): 138–42. http://dx.doi.org/10.7763/ijiet.2014.v4.385.

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8

Basadur, Min. "Managing creativity: a Japanese model." Academy of Management Perspectives 6, no. 2 (May 1992): 29–42. http://dx.doi.org/10.5465/ame.1992.4274394.

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9

Fleming, David J., Brooke Taylor Culclasure, and Daniel Zhang. "The Montessori Model and Creativity." Journal of Montessori Research 5, no. 2 (November 14, 2019): 1–14. http://dx.doi.org/10.17161/jomr.v5i2.7695.

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Prior research has demonstrated that the characteristics of school environments can impact the development of creativity in children. Thus, we explored the construct of creativity in the context of a Montessori environment. We used the Evaluation of Potential Creativity to measure creativity in children during one academic year. The study sample comprised 77 third-grade students at a Montessori public school in the southeastern United States and 71 demographically similar students at a traditional public school. Results show that Montessori students performed somewhat better on the Evaluation of Potential Creativity assessment than similar non-Montessori students did. Subgroup analyses indicate that male Montessori students demonstrated higher creativity than did male non- Montessori students. The findings of this study augment the body of research supporting creative development in Montessori children and suggest that researchers should continue to focus on the measurement of creativity in studies related to the efficacy of the Montessori model.

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Széll, Zsófia. "The Two-way Model of Creativity." Central European Journal of Educational Research 3, no. 2 (July 19, 2021): 56–65. http://dx.doi.org/10.37441/cejer/2021/3/2/9263.

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Creativity is a term that has proven difficult to define. The field of English language teaching (ELT) especially struggles with this concept, often treating it as an axiom that eludes clear definition or a notion that everyone has an implicit understanding of. In other pieces of research, creativity is equated with divergent thinking as evidenced and measured by performance on different standardized creativity tests. In contrast to these views, this paper argues that sound research begins with a clear definition of key terms; as such, there is a need to establish a suitable model of creativity specifically for the field of ELT. After a review of notable existing views and definitions, a new model for creativity in ELT is outlined. The two-way model of creativity proposes that certain conditions enable creativity through specific tasks that allow for creativity to emerge. This will produce creative results that eventually have a reactive effect on the conditions.

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Cropley, David H., James C. Kaufman, and Arthur J. Cropley. "Malevolent Creativity: A Functional Model of Creativity in Terrorism and Crime." Creativity Research Journal 20, no. 2 (May 7, 2008): 105–15. http://dx.doi.org/10.1080/10400410802059424.

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Huang, Lei, and Dina V. Krasikova. "Leaders' creativity initiative, LMX, and employee creativity: Testing a multilevel model." Academy of Management Proceedings 2012, no. 1 (July 2012): 17987. http://dx.doi.org/10.5465/ambpp.2012.17987abstract.

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13

KAUFMAN, JAMES C., JASON C. COLE, and JOHN BAER. "The Construct of Creativity: Structural Model for Self-Reported Creativity Ratings." Journal of Creative Behavior 43, no. 2 (June 2009): 119–34. http://dx.doi.org/10.1002/j.2162-6057.2009.tb01310.x.

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Banerjee, Amit, Juan C. Quiroz, and Sushil J. Louis. "A Computational Model of Collaborative Creativity." International Journal of Knowledge and Systems Science 2, no. 2 (April 2011): 68–87. http://dx.doi.org/10.4018/jkss.2011040105.

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The role of collaboration in the realm of social creativity has been the focus of cutting edge research in design studies. In this paper, the authors investigate the role of collaboration in the process of creative design and propose a computational model of creativity based on the newly proposed meta-design approach. Meta-design is a unique participatory approach to design that deals with opening up of design solution spaces, and is aimed at creating a viable social platform for collaborative design. A meta-design-based collaborative approach to the design process may achieve ET-creativity by expanding the conceptual space of design beyond what would have been possible by individual, non-collaborative design. The model has been implemented using interactive genetic algorithms, which casts the design problem as an optimization problem and uses a set of collaborative users for subjective fitness evaluation. The design problems investigated include the collaborative design of architectural floorplans and editorial design of brochures.

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15

Marshall, Lucy. "Creativity, Uncertainty, and Automated Model Building." Groundwater 55, no. 5 (July 3, 2017): 693–97. http://dx.doi.org/10.1111/gwat.12552.

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Dudek, Stephanie Z. "Creativity and Psychoticism: An Overinclusive Model." Psychological Inquiry 4, no. 3 (July 1993): 190–92. http://dx.doi.org/10.1207/s15327965pli0403_6.

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King, Laura A., Lori McKee Walker, and Sheri J. Broyles. "Creativity and the Five-Factor Model." Journal of Research in Personality 30, no. 2 (June 1996): 189–203. http://dx.doi.org/10.1006/jrpe.1996.0013.

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CAESKEY, MAAGUERITE NELSON. "The Cracker Jack Model of Creativity." Journal of Creative Behavior 20, no. 4 (December 1986): 258–60. http://dx.doi.org/10.1002/j.2162-6057.1986.tb00442.x.

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Chiu, Chi-yue, and Letty Y.-Y. Kwan. "Culture and Creativity: A Process Model." Management and Organization Review 6, no. 3 (November 2010): 447–61. http://dx.doi.org/10.1111/j.1740-8784.2010.00194.x.

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The articles in this forum present many innovative ideas on the role of culture in creativity. In this commentary, we first discuss the contributions of these articles in relation to two recurrent themes: (i) where creativity resides and (ii) what conceptual refinements are needed to push the field forward. Next, we oudine a process model of creativity and explain the role of culture at each stage of knowledge creation. We argue that successful innovation involves one or more iterations of the following three stages: (i) authoring new ideas; (ii) selecting, editing, and marketing new ideas; and (iii) acceptance of the new ideas in the market. The desired outcomes are different at the different stages, and culture influences all stages of the process. Specifically, existing knowledge provides a reference point for evaluating the originality of ideas; assumed cultural consensus provides the normative basis for idea selection, editing, and marketing; and actual cultural norms determine how likely an idea will be accepted in a culture. Furthermore, different social and psychological processes are at work at different stages of the creativity process, and culture can affect the outcomes of the creativity process through its effects on these social and psychological processes.

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문성욱, 양홍석, JAMES WON-KI HONG, and Jae Ho Shin. "Leader’s Role in Fostering Creativity: The Creativity Creation Model at KT AIT." Seoul Journal of Business 22, no. 1 (June 2016): 97–113. http://dx.doi.org/10.35152/snusjb.2016.22.1.003.

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Alberti, P., P. H. Dejean, and A. Cayol. "How to assist and capitalise on a creativity approach: a creativity model." CoDesign 3, sup1 (January 2007): 35–44. http://dx.doi.org/10.1080/15710880701336749.

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Chang, Chia Ling, and Ding Bang Luh. "A Development Model of User Creativity Platform." Applied Mechanics and Materials 311 (February 2013): 293–98. http://dx.doi.org/10.4028/www.scientific.net/amm.311.293.

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As the generation changes, the wide variety of information available has sparked a lot of creativities in the new generation of users. The users expect to modify or successively design the products after purchase according to their own creative needs. “User creativity orientation” becomes a focus in new product development. Products which facilitate user’s creativity can be viewed as a creativity platform. The development of software in this aspect has been going on for years, while the research and relevant discourses on physical products are still lacking. This study proposes a development model of User Creativity Platform (UCP) for physical products, which includes eight steps: (1) User creativity needs exploration, (2) Functionality classification, (3) Primary and secondary components development, (4) Creativity-friendly interface design, (5) Design prototyping, (6) Creativity potential confirmation, (7) Intellectual property protection, and (8) Implementation. According to the proposed model, a set of the storage furniture has been developed and successfully granted invention patent. The model opens up a new dimension for designers to develop a user-friendly interface for user creation, rather than merely for user assembly. The feasibility of the model was also validated on the flexible furniture and toy design for pre-school kids.

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Livingstone, Linda Parrack, and Debra L. Nelson. "TOWARD A PERSON-ENVIRONMENT FIT PERSPECTIVE OF CREATIVITY: THE MODEL OF CREATIVITY FIT." Academy of Management Proceedings 1994, no. 1 (August 1994): 244–48. http://dx.doi.org/10.5465/ambpp.1994.10344737.

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Chen, Zhibin, Xiping Jia, and Zhenghong Xiao. "A Computational Cognitive Model of User Applying Creativity Technique in Creativity Support Systems." Procedia Computer Science 55 (2015): 818–24. http://dx.doi.org/10.1016/j.procs.2015.07.154.

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Baas, Matthijs, Marieke Roskes, Daniel Sligte, Bernard A. Nijstad, and Carsten K. W. De Dreu. "Personality and Creativity: The Dual Pathway to Creativity Model and a Research Agenda." Social and Personality Psychology Compass 7, no. 10 (October 2013): 732–48. http://dx.doi.org/10.1111/spc3.12062.

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Boguslavskaya, Alisa. "Does Creativity Take a Village? A Model of Community Participation and Entrepreneurial Creativity." Academy of Management Proceedings 2014, no. 1 (January 2014): 17475. http://dx.doi.org/10.5465/ambpp.2014.17475abstract.

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Saleem, Maria, and Faisal Mahmood. "Transformational Leadership and Employees’ Creativity: A Multi-Mediation Model." Journal of Management and Research 5, no. 1 (December 2, 2019): 1–21. http://dx.doi.org/10.29145/jmr/51/0501005.

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This research aims to examine the relationship between transformational leadership and employees’ creativity through mediating role of trust and job autonomy. The study employed cross sectional survey method for the collection of data from 187 employees working in construction and banking sectors of Pakistan. The findings reveal that transformational leadership fosters employees’ creativity through trust and job autonomy. Both trust and job autonomy have statistically significant mediating effect. However, trust being the mediator, plays a more significant role in boosting up the transformational leadership and employees’ creativity relationship as compared to job autonomy. This research helps to know how transformational leadership enhances employees’ creativity by enlightening the mediating role of trust and job autonomy. Further, the findings of this research also help the managers to understand and create such environment which enhances employees’ creativity by focusing on the factors identified in this study. This research contributes to advance the literature on the mediating role of trust and job autonomy in describing the relationship of transformational leader and employee’s creativity and highlighting that trust plays a more important role to enhance creativity in contrast to job autonomy. Further, this is the first attempt to enhance the employee creativity through transformational leadership style and the mediating role of both trust and job autonomy in Pakistan.

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Rohmaniyah, Alfiatur, and Tatiek Nurhayati. "IMPROVING TEACHER PERFORMANCE BASED ON CREATIVE MODEL." International Journal of Islamic Business Ethics 2, no. 2 (September 4, 2017): 347. http://dx.doi.org/10.30659/ijibe.2.2.347-364.

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This aims of the study is to describe and analyze the relationship between the effect of teacher creativity on teacher performance by work it self, innovative behavior and professional competence as an intervening variable. Based on the distribution of questionnaires to all Madrasah teachers in EastSemarang who were certified by 97, the sample of 88 respondents was obtained. The analytical tool in this researche is path analysis, where already validated and pass the reliability and classical assumptions were tested. The test results show that teacher creativity has a positive impact on work it self, innovative behavior and professional competence. The direct test results also show teacher creativity, work it self, innovative behavior and professional competence have a significant positive impact on the teacher performance. Work it self and innovative behavior also capable of being an intervening variable between teacher creativity and teacher performance. Professional competence is capable to be an intervening variable between teacher creativity and teacher performance, meaning that the higher theteacher�s ability to produce new ideas in the teaching and learning process, the competence or professionalism skills of teachers will increase so that it has an impact on the teacher performance achievement maximally.Keywords : teacher creativity, work it self, innovative behavior, professional competence and teacher performance.

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29

JACOB, BRUCE L. "Algorithmic composition as a model of creativity." Organised Sound 1, no. 3 (December 1996): 157–65. http://dx.doi.org/10.1017/s1355771896000222.

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There are two distinct types of creativity: the flash out of the blue (inspiration? genius?), and the process of incremental revisions (hard work). Not only are we years away from modelling the former, we do not even begin to understand it. The latter is algorithmic in nature and has been modelled in many systems both musical and non-musical. Algorithmic composition is as old as music composition. It is often considered a cheat, a way out when the composer needs material and/or inspiration. It can also be thought of as a compositional tool that simply makes the composer’s work go faster. This article makes a case for algorithmic composition as such a tool. The ‘hard work’ type of creativity often involves trying many different combinations and choosing one over the others. It seems natural to express this iterative task as a computer algorithm. The implementation issues can be reduced to two components: how to understand one’s own creative process well enough to reproduce it as an algorithm, and how to program a computer to differentiate between ‘good’ and ‘bad’ music. The philosophical issues reduce to the question who or what is responsible for the music produced?

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Rao, J. S. "Creativity in design–Science to engineering model." Mechanism and Machine Theory 125 (July 2018): 52–79. http://dx.doi.org/10.1016/j.mechmachtheory.2017.08.023.

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Carson, Shelley H. "Creativity and Psychopathology: A Shared Vulnerability Model." Canadian Journal of Psychiatry 56, no. 3 (March 2011): 144–53. http://dx.doi.org/10.1177/070674371105600304.

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Titus, Philip A. "Applied Creativity: The Creative Marketing Breakthrough Model." Journal of Marketing Education 29, no. 3 (December 2007): 262–72. http://dx.doi.org/10.1177/0273475307307600.

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Horn, D., and G. Salvendy. "Product creativity: conceptual model, measurement and characteristics." Theoretical Issues in Ergonomics Science 7, no. 4 (July 2006): 395–412. http://dx.doi.org/10.1080/14639220500078195.

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Rodrigues, Lewlyn L. R., G. R. Krishnamurthy, and C. Gurudas Nayak. "Innovative Educational Model to Enhance Learner Creativity." IETE Technical Review 22, no. 1 (January 2005): 55–61. http://dx.doi.org/10.1080/02564602.2005.11657890.

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Jauk, Emanuel. "A bio-psycho-behavioral model of creativity." Current Opinion in Behavioral Sciences 27 (June 2019): 1–6. http://dx.doi.org/10.1016/j.cobeha.2018.08.012.

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Fleury, Sylvain, Rishi Vanukuru, Charles Mille, Killian Poinsot, Aurélien Agnès, and Simon Richir. "CRUX: a creativity and user experience model." Digital Creativity 32, no. 2 (April 3, 2021): 116–23. http://dx.doi.org/10.1080/14626268.2021.1915339.

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Zhang, Jie, Yun Fan, and Xu Zhang. "The Role of Power Motivation in Creativity: A Moderated Mediation Model." Social Behavior and Personality: an international journal 43, no. 4 (May 24, 2015): 613–28. http://dx.doi.org/10.2224/sbp.2015.43.4.613.

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We hypothesized that power motivation would influence employees' creative performance. Drawing on a relational perspective, we conceptualized a moderated mediation model in which power motivation enhanced individual creativity through improving the quality of leader–member exchange (LMX). We further hypothesized that supervisor support for creativity would moderate the indirect effect of power motivation on creativity through LMX. In a sample of 410 Chinese employees in 6 state-owned companies, we found that power motivation was positively related to creativity, and that this relationship was mediated by LMX. Moreover, the results suggested that the indirect relationship between power motivation and creativity via LMX was stronger when supervisor support for creativity was high than when it was low.

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Wang, Yating, Chaoying Tang, Stefanie E. Naumann, and Yong Wang. "Paternalistic leadership and employee creativity: A mediated moderation model." Journal of Management & Organization 25, no. 1 (March 14, 2017): 137–56. http://dx.doi.org/10.1017/jmo.2017.8.

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AbstractOur study extends the relationship between paternalistic leadership and employee creativity by identifying employee organizational identification as a mediator and employee perceived job security as a moderator. Results based on the data of 378 employees from a large bank in China indicated that employee perceived job security moderated the relationship between the morality component of paternalistic leadership and employee creativity. In addition, employee organizational identification mediated the relationship between the morality component of paternalistic leadership and employee creativity. We discuss implications for research on paternalistic leadership and employee creativity.

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Hirudayaraj, Malar, and Jennifer Matić. "Leveraging Human Resource Development Practice to Enhance Organizational Creativity: A Multilevel Conceptual Model." Human Resource Development Review 20, no. 2 (February 13, 2021): 172–206. http://dx.doi.org/10.1177/1534484321992476.

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Developing creativity is a critical challenge for the survival and success of businesses. Using Amabile’s dynamic componential theory of creativity as a framework, we examined the underexplored potential of HRD practice to develop and foster creativity at the individual, group, and organizational levels. We bring together dispersed attempts in HRD literature to hypothesize the role of individual HRD activities under a conceptual model and indicate how the different activities influence specific component/s of organizational creativity identified in the theory. The model demonstrates the potential of HRD practice to exert a multilevel influence on organizational creativity and provides a theoretical grounding for the potential of HRD to develop creativity and augment the strategic capabilities of organizations. This article also contributes to organizational creativity literature by outlining specific relationships between key HRD practices and components of organizational creativity and to an underexplored area of creativity, namely developing the creative abilities of individuals and teams within organizational contexts.

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Natalia N., Popova. "Factor Dynamic Model of Pedagogical Monitoring." Scholarly Notes of Transbaikal State University 16, no. 1 (March 2021): 13–19. http://dx.doi.org/10.21209/2658-7114-2021-16-1-13-19.

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The article examines the topical problems of scientific validity and practice-oriented monitoring in education in the context of increasing requirements for individualization, diversification and differentiation of education. Based on the data of psychological and pedagogical diagnostics, a dynamic factor model of pedagogical monitoring has been developed. For this, the essential characteristics of pedagogical monitoring as a continuous, dynamic and multifactorial technology for supporting students have been determined. Representative representation of the monitoring results was carried out on a sample of students from a number of educational institutions of the Transbaikal Territory, numbering 250 people. The focus of the article is on the creativity of students as a manifestation of their non-standard and individuality, capable of ensuring their success in professional activities. The results of dynamic monitoring of students creativity indicators collected using a battery of tests of verbal and non-verbal creativity, as well as a number of personal techniques are presented. It has been empirically proven that the factorial dynamic model, built on measuring the level of development of the main indicators of creativity, ensures the comparability of results and the identification of latent factors (activity, personality creativity and values). These explain the presence or absence of dynamics in the studied indicators (creative attitude to the profession, originality, uniqueness and personality traits). The data obtained demonstrate the presence of statistically significant changes at the level of originality, the uniqueness of the developed fluency and flexibility in the process of the correlation conditioning of the dynamics of the integral characteristics of the personality (values: traditions, hedonism; self-esteem; emotionality, sociability, high normality of behavior and sensitivity). Keywords: pedagogical monitoring, creativity, dynamic model, factor analysis, students

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Swann, Andrew. "Lenaťs creativity." Pragmatics and Cognition 1, no. 1 (January 1, 1993): 149–60. http://dx.doi.org/10.1075/pc.1.1.10swa.

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Lenat has come to the conclusion that his celebrated computer programs, AM and Eurisko, despite impressive achievements, ultimately f ail as creative discovery systems. The paper discusses Lenaťs various attempts to model sustainable creative intelligence, primarily within the paradigm of symbolic processing. Lenaťs current approach requires a larger knowledge base than that of his previous efforts, and in fact Lenat hopes that his new system, Cyc, will have achieved a human breadth and depth of knowledge in the relatively near future. It is concluded that the Cyc project should be extremely important f or future A.I. research, making a significant contribution to the connectionist/symbolist debate.

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Nguyen, Thanh An, and Yong Zeng. "A Theoretical Model of Design Creativity: Nonlinear Design Dynamics and Mental Stress-Creativity Relation." Journal of Integrated Design & Process Science 16, no. 3 (2012): 65–88. http://dx.doi.org/10.3233/jid-2012-0007.

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L. Dennis, John. "Teaching Creativity: The Case for/Against Genetic Algorithms as a Model of Human Creativity." Open Education Journal 4, no. 1 (November 18, 2011): 36–40. http://dx.doi.org/10.2174/1874920801104010036.

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Clinton, Gregory, and Brad Hokanson. "Creativity in the training and practice of instructional designers: the Design/Creativity Loops model." Educational Technology Research and Development 60, no. 1 (September 9, 2011): 111–30. http://dx.doi.org/10.1007/s11423-011-9216-3.

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Zona, Mega Asri, and Arif Adrian. "THE IMPLEMENTATION OF DUAL PATHWAY CREATIVITY MODEL IN TOURISM SECTOR IN WEST SUMATRA." Hasanuddin Economics and Business Review 3, no. 2 (October 31, 2019): 75. http://dx.doi.org/10.26487/hebr.v3i2.1993.

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This research examined the implementation of the Dual Pathway Creativity Model (DPCM) as a function of cognitive flexibility and cognitive persistence in employees working at companies engaged in the tourism sector in West Sumatra. Dual Pathway Creativity Model (DPCM) suggests a more comprehensive theory about employee creativity. DPCM argues that a flexible and pleasant environment can encourage flexibility and creativity. However, problems and a less flexible environment might also encourage creativity, but through a different process compared to a flexible environment. This research used a purposive sampling technique with 96 respondents, consisting of employees working in the tourism sector. The results showed that cognitive flexibility had a positive effect on employee creativity in the tourism sector in West Sumatra, while cognitive persistence had a negative effect on employee creativity in the tourism sector in West Sumatra.

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Hidayati, Nurkhairo, Siti Zubaidah, Endang Suarsini, and Henry Praherdhiono. "The Integrated PBL-DMM: A Learning Model to Enhance Student Creativity." Pedagogika 135, no. 3 (December 1, 2019): 163–84. http://dx.doi.org/10.15823/p.2019.135.9.

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The present study aimed to test the effectiveness of two learning models, namely Problem-Based Learning (PBL) and Integrated Problem-Based Learning and Digital Mind Maps (PBL-DMM) in improving student creativity. This experiment employed a pretest-posttest control group design and involved 103 participants. An essay test was used to evaluate the participants’ creativity. The results showed that both PBL and PBL-DMM had an effect on creativity, yet among these two learning models, PBL-DMM was considered more effective to boost student creativity.

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Ogbeibu, Samuel, Abdelhak Senadjki, and Tan Luen Peng. "An organisational culture and trustworthiness multidimensional model to engender employee creativity." American Journal of Business 33, no. 4 (October 1, 2018): 179–202. http://dx.doi.org/10.1108/ajb-12-2017-0043.

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PurposeThe purpose of this paper is to elicit a conceptual understanding of the moderating effect of trustworthiness on the relationship between organisational culture and employee creativity.Design/methodology/approachThis study is theoretical in nature and draws conceptual insights from an integration of theoretical and conceptual underpinnings: the competing values framework, trustworthiness from the integrative model of organisational trust and the componential theory of individual creativity.FindingsTrustworthiness plays a major role in influencing the degree at which managers engender employee creativity. This study postulates that clan and adhocracy organisational culture dimensions have a positive impact on employee creativity, while market and hierarchy organisational culture dimensions have negative impacts on employee creativity. Employee creativity would be engendered if organisational cultures are tailored towards improving the ability of employees. Engendering of employee creativity is contingent on an acceptable degree of benevolence and integrity expressed between managers and their respective employees.Originality/valueBy integrating several methodological underpinnings to produce a multidimensional model for engendering employee creativity, from the lens of a supportive organisational culture, this study offers novel insights for both managerial practice and actions.

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Silitonga, Purnama, Mara Bangun Harahap, and Derlina . "EFFECT OF INQUIRY TRAINING LEARNING MODEL DAN CREATIVITY ON SCIENCE PROCESS SKILLS." Jurnal Pendidikan Fisika 5, no. 1 (June 1, 2016): 44. http://dx.doi.org/10.22611/jpf.v5i1.3706.

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This study aims: 1) to determine differences in science process skills of students with learning model inquiry training and conventional learning models, 2) to determine the difference science process skills of students who have high creativity and creativity is low, 3) to determine the interaction model of learning inquiry trainingwith creativity of the science process skills. The sampling technique conducted cluster random sampling two classes, where first class as a class experiment with the number of students 32 people applied learning model inquiry training (X-1) and the second class as a class control the number of students 32 people who applied conventional learning model ( X-2). Instruments in this study is the science process skills test and a test of creativity in the form of a description. From these results it can be concluded that: 1) science process skills of students that learned with a learning model inquiry training is better than the students that learned with conventional learning models, 2)science process skills of students with high creativity better than students with creativity is low, 3) there is interaction between inquirylearning model training and creativity in influencing the science process skills of students.

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Hodhod, Rania A., and Brian S. Magerko. "Computational Creativity." International Journal of Cognitive Informatics and Natural Intelligence 8, no. 2 (April 2014): 1–14. http://dx.doi.org/10.4018/ijcini.2014040101.

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Conceptual blending (CB) is a basic mental operation that plays a fundamental role in the construction of meaning in our everyday life. The core of CB is the partial matching of two input mental spaces and the selective projection from those inputs into a novel 'blended' mental space, which then dynamically develops an emergent structure. Improvisational acting is one specialized domain in which conceptual blending is heavily used; improvisers are required to co-create stories on the stage in real time based on how they continuously perceive their environment. The Digital Improv Project has been engaged in a multi-year study of the cognitive processes involved in improvisational acting and has led to a better understanding of human cognition and creativity. In this article, the authors provide a computational model for the conceptual blending of cognitive scripts that can help digital improv agents to select the two input spaces required in the blending process. The blend is an emergent structure that provides new interesting events that the digital improv agents can adopt in their acting.

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Gocłowska, Małgorzata Anna, Rodica Ioana Damian, and Shira Mor. "The Diversifying Experience Model: Taking a Broader Conceptual View of the Multiculturalism–Creativity Link." Journal of Cross-Cultural Psychology 49, no. 2 (January 18, 2018): 303–22. http://dx.doi.org/10.1177/0022022116650258.

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We examine the multiculturalism–creativity link from the perspective of diversifying experiences research. Multicultural experiences can be construed as diversifying experiences—highly unusual and unexpected events or situations (e.g., unusual educational experiences, early life adversity) that push individuals outside the frameworks of their ordinary everyday lives, forcing them to embrace new and uncommon ideas. Our review identifies a range of diversifying experiences (e.g., multicultural exposure, unexpected adversity, violations of expectations) that have been found to influence creativity. We introduce the Diversifying Experience Model (DEM), where we argue for a curvilinear relationship between diversifying experiences and creativity, whereby creativity improves as a result of moderate (but not low or high) levels of diversifying experiences. We also propose adaptive personal resources as the key moderator, and threat and challenge appraisals as the key mediators of the diversifying experience–creativity relation. When adaptive resources are high, moderate diversifying experiences are appraised primarily as a challenge, facilitating creativity, whereas when adaptive resources are low, moderate diversifying experiences are appraised primarily as a threat, derailing creativity. This broad and parsimonious theoretical framework can help clarify and expand research on when and why various diversifying experiences (including multicultural experiences) facilitate creativity.

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