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Letteratura scientifica selezionata sul tema "Creative process"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 2 novembre 2024

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Articoli di riviste sul tema "Creative process"

1

Paris, Thomas, e Sihem Ben Mahmoud‐Jouini. "The process of creation in creative industries". Creativity and Innovation Management 28, n. 3 (24 luglio 2019): 403–19. http://dx.doi.org/10.1111/caim.12332.

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2

Bronowski, Jacob. "The Creative Process". Leonardo 18, n. 4 (1985): 245. http://dx.doi.org/10.2307/1578075.

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3

Todd, R. Larry, e Jon W. Finson. "The Creative Process". Musical Times 131, n. 1771 (settembre 1990): 485. http://dx.doi.org/10.2307/1193666.

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4

Kirin Narayan. "Narrating Creative Process". Narrative Culture 1, n. 1 (2014): 109. http://dx.doi.org/10.13110/narrcult.1.1.0109.

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5

Setiawan, Hendra. "Study of Milton Glaser's Creative Process In Creating Design". VCD 3, n. 1 (15 aprile 2019): 13–20. http://dx.doi.org/10.37715/vcd.v3i1.798.

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

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Collard-Stokes, Gemma. "Creative Critical Representation of the Choreographer’s Creation Process". Dance Chronicle 43, n. 3 (1 settembre 2020): 343–49. http://dx.doi.org/10.1080/01472526.2020.1827871.

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Kušnírová, Eva. "Creative Workshop – Creative Activity of Undergraduate Students in The Process of Theatre Creation". Review of Artistic Education 17, n. 1 (1 marzo 2019): 159–70. http://dx.doi.org/10.2478/rae-2019-0017.

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Abstract Within the frame of the study field of Aesthetics at Faculty of Arts Prešov University in Prešov, the students have an opportunity to acquire abilities and skills also in creative artistic activities. One of the possibilities is to participate in the creative workshops as the part of Academic Prešov Festival that is very popular with the participants. The actors of a creative workshop can experience, in a short period of time (mostly weekly), an intense creative process in which a young undergraduate student headed by a professional, in the amateur communication with a professional, can experience an unrepeatable experience of creativity, creation of theatrical work as well as the distinctive level of theatrical communication on the axis of participant-lecture-process-making-theatrical work-viewer. In this way, he discovers potential artistic, authentic, and generationally specific dispositions.

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Simi dos Santos, Silvia Spagnol, Maroni Da Silva e Vanessa Cristina Grabowski Aoki. "Creative failure in advertising: Influencing the creative process". Revista de Psicología 40, n. 2 (4 luglio 2022): 957–81. http://dx.doi.org/10.18800/psico.202202.012.

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

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Moroz, L. I., e V. I. Vlasiuk. "MNEMONIC AND CREATIVE ELEMENTS IN THE CREATIVE PROCESS". Habitus, n. 60 (2024): 153–58. http://dx.doi.org/10.32782/2663-5208.2024.60.23.

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Toustou, Beatrice, e Renata Kaminska. "Exploring Creative Process Dynamics". Academy of Management Proceedings 2015, n. 1 (gennaio 2015): 18242. http://dx.doi.org/10.5465/ambpp.2015.18242abstract.

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Tesi sul tema "Creative process"

1

Calatrava, Santiago Tzonis Alexander Lefaivre Liane. "Santiago Calatrava's creative process". Basel [etc.] : Birkhäuser, 2001. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=3764363231.

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2

Olson, Stephanie E. "Igniting my Creative Process". Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/87.

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Abstract (sommario):

This art-based research study will examine creativity and the creative process during the production of a cohesive body of work. The author’s auto-ethnographic reflections of her creative process were recorded, and analyzed. The artist/teacher/researcher will provide conclusions based on her art production and self-reflection.

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3

Babington, Amanda-Louise B. "Handel's 'Messiah' : the creative process". Thesis, University of Manchester, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518483.

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The primary aim of this study is to utilise Messiah as a case study into Handel's creative process, attempting to examine details of its composition in chronological order, for the purposes of exposing and exploring Handel's creative decisions and methods. This means that the study is divided into chronological sections and, as the creation of the libretto of Messiah is inextricably linked to the creation of the musical work, the study begins with an investigation into the cultural precedents to the libretto of Messiah, the libretto's genesis and Charles Jennens's aim in (and method of) constructing it. Sketches and other 'pre-compositional' material form the next stage for discussion, raising the issue of Handel's well-known propensity to re-use his own and others' music. Handel's methods of creating the autograph score are then outlined in preparation for an analysis of the alterations that he made to the autograph during the work's initial composition. The focus then shifts towards the conducting score for an exploration of the various types of later alteration that some movements in particular were subjected to, examining Handel's reasons for selecting movements for alteration, the possible circumstances behind the changes and his methods of marking alterations in both the autograph and conducting scores, before assessing the role of these later alterations as part of the work's creation.

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4

Jungmann, Manuela. "Embodied creativity : a process continuum from artistic creation to creative participation". Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/7374/.

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This thesis breaks new ground by attending to two contemporary developments in art and science. In art, computer-mediated interactive artworks comprise creative engagement between collaborating practitioners and a creatively participating audience, erasing all notions of a dividing line between them. The procedural character of this type of communicative real-time interaction replaces the concept of a finished artwork with a ‘field of artistic communication'. In science, the field of creativity research investigates creative thought as mental operations that combine and reorganise extant knowledge structures. A recent paradigm shift in cognition research acknowledges that cognition is embodied. Neither embodiment in cognition nor the ‘field of artistic communication' in interactive art have been assimilated by creativity research. This thesis takes an interdisciplinary approach to examine the embodied cognitive processes in a ‘field of artistic communication' using a media artwork called Sim-Suite as a case study research strategy. This interactive installation, created and exhibited in an authentic real-world context, engages three people to play on wobble-boards. The thesis argues that creative processes related to Sim-Suite operate within a continuum, encompassing collaborative artistic creation and cooperative creative participation. This continuum is investigated via mixed methods, conducting studies with qualitative and quantitative analysis. These are interpreted through a theoretical lens of embodied cognition principles, the 4E approaches. The results obtained demonstrate that embodied cognitive processes in Sim-Suite's ‘field of artistic communication' function on a continuum. We give an account of the creative process continuum relating our findings to the ‘embedded-extended-enactive lens', empirical studies in embodied cognition and creativity research. Within this context a number of topics and sub-themes are identified. We discuss embodied communication, aspects of agency, forms of coordination, levels of evaluative processes and empathetic foundation. The thesis makes conceptual, empirical and methodological contributions to creativity research.

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Brewer, Peter W. "The Creative Process of Ira Sullivan". Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/238.

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Abstract (sommario):

Six Ira Sullivan performances were analyzed from studio and live recordings spanning the years 1962 to 1998. Sullivan plays different musical instruments on five of the six selections: trumpet, flute, tenor saxophone, alto saxophone (2 selections), and soprano saxophone. Musical facets considered include phrasing (length/placement), melodic contour, lyricism, harmonic phenomenon, and concept of sound. Common musical threads within Sullivan's improvisations were expected to be found throughout all performances. A call and response dynamic across myriad musical fundamentals such as melody, harmony, and rhythm was found to be present and seems to form a basis for much of Ira Sullivan's improvisations. This and other broad traits common to Sullivan's improvisations are presented herein through analysis.

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Braun, Jennifer Ann. "Wikis and the creative writing process". Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/11442.

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A wiki is one example of social software that can assist and augment the creative writing process in a number of ways. In this thesis, I present a work of original fiction developed in a wiki, a select literature review on wikis, an autoethnography of my creative writing process while working in a wiki, and an ethnographic study of my students who wrote their own wiki stories. The research thus far suggests that wikis can facilitate the following vis-à-vis creative writing: increased risk-taking; more extensive revision and editing; greater flexibility and freedom for writers; instant access to writing via the internet; the storage of intermediate drafts; and the ability to incorporate multimedia and hyperlinks to convey complexity in ways not possible in print. Wiki environments may also support dialectical inquiry and collaboration between students and teachers. This opportunity for easy (and easy to monitor) collaboration, along with their organizational and creative affordances, is why wikis should be more readily adopted into school curricula. As many texts today are digital, collaborative and under constant revision, wikis can support the creative writing process in a milieu that is becoming increasingly comfortable for people and provide them with a much wider audience than most print formats.

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Carse, Henry R. "Creative ambiguities in the pilgrimage process". Thesis, University of Kent, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408518.

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Engle, Teresa A. "Experimental Navigation and the Creative Process". VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1058.

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For this creative project, I am exploring alternate methods of navigating urban environments, and ways in which this activity can inspire creativity. This process is intended to create a new awareness of the urban landscape, break out of the prescribed, and to inspire innovation. The range of possibilities for this way of navigating is vast, and part of the challenge of my experience has been defining boundaries, assigning variables, and using strategies for exploration making my process inherently morphological. I hope that my work here will encourage others to step out of their comfort zone and experience their environment in a new way.

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Javeri, Sabyn. "The creative process : a journey of self-discovery through creative writing". Thesis, University of Leicester, 2016. http://hdl.handle.net/2381/37801.

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This PhD submission constitutes a novel and accompanying critical commentary. My novel Nobody Killed Her provides an alternative history of the assassination of Pakistan's only female Prime Minister, Benazir Bhutto. The thesis questions the choices I made in order to develop the writing of this novel and the decisions I took in order for it to reach its readers. I discuss the issues of creative integrity and the role of the publisher as an enabler, and as a modern day censor. I examine the role of literary influences and publishing pressures on the multi-layered and shifting strains of the creative process and explore fiction as a powerful tool for communicating the paradoxical state of modern Pakistani women, which my novel draws upon. Accordingly, my research narrative is interspersed with personal vignettes that helped shape my writing. Reflecting upon the role of memory, history and politics, and literary influences that shape our writing, I try to interrogate the ‘flash-bulb’ moments of inspiration and argue that creative writing is actually a series of complex thought processes that shape our consciousness. I have also, during the compilation of this essay, looked critically at the role of the publisher in shaping an author’s creativity and the author’s desire for publication in influencing his or her creative choices. I have examined the role of the audience, by asking who the writer is writing for, concluding that the creative journey is more important than the destination i.e., the culmination of the writing into a published form. I conclude by contending that creative writing is above all communication, not just with the reader but also with one’s self. It is about self- expression and therefore must remain true to the self.

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Bader, Angela. "A personal exploration of the creative process". Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/960.

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Libri sul tema "Creative process"

1

Best, Tinsley Molly, a cura di. The creative process. New York: St. Martin's Press, 1993.

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2

Panikkar, Shivaji. Creative process. Bombay: The Guild, 1999.

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3

Lubart, Todd, a cura di. The Creative Process. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-50563-7.

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1936-, Gustafsson Lars, Howard Susan Wells 1948- e Niklasson Lars, a cura di. The Creative process. Stockholm: Swedish Ministry of Education and Science, 1993.

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5

Deborah, Morrison, a cura di. The creative process illustrated. Cincinnati, Ohio: HOW Books, 2010.

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6

A, Winer Marc S., a cura di. Drawing: The creative process. New York: Simon & Schuster, 1992.

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7

1937-, Tzonis Alexander, a cura di. Santiago Calatrava's creative process. Basel: Birkhaüser, 2001.

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8

Liane, Lefaivre, e Tzonis Alexander 1937-, a cura di. Santiago Calatrava's creative process. Basel: Birkhauser Verlag, 2001.

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9

Simmons, Seymour. Drawing: The creative process. New York: Prentice-Hall, 1986.

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10

Alexander, Tzonis, Lefaivre Liane e Calatrava Santiago 1951-, a cura di. Santiago Calatrava's creative process. Basel: Birkhäuser, 2001.

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Capitoli di libri sul tema "Creative process"

1

Jackson, Brian M. "Creative Process". In The Music Producer’s Survival Guide, 239–90. Second edition. | New York, NY : Routledge, 2018. | Series: Sound on sound presents: Routledge, 2018. http://dx.doi.org/10.4324/9781315519777-8.

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Hambly, Liane, e Ciara Bomford. "Process models". In Creative Career Coaching, 59–69. Abingdon, Oxon ; New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781351006422-5.

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3

Kim, Kyung Hee, e Robert Pierce. "Creative Process: The Apple-Tree Creative Process (ACP)". In Encyclopedia of Creativity, Invention, Innovation and Entrepreneurship, 502–5. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-15347-6_200067.

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Kim, Kyung Hee, e Robert Pierce. "Creative Process: The Apple-Tree Creative Process (ACP)". In Encyclopedia of Creativity, Invention, Innovation and Entrepreneurship, 1–4. New York, NY: Springer New York, 2017. http://dx.doi.org/10.1007/978-1-4614-6616-1_200067-1.

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Strong, Trevor. "A Creative Process". In Creative Dimensions of Teaching and Learning in the 21st Century, 307–14. Rotterdam: SensePublishers, 2017. http://dx.doi.org/10.1007/978-94-6351-047-9_32.

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Thea, Mikkelsen. "The creative process". In Coaching the Creative Impulse, 39–58. 1 Edition. | New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429280368-4.

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Hageback, Niklas. "The Creative Process". In AI for Creativity, 5–17. Boca Raton: CRC Press, 2021. http://dx.doi.org/10.1201/9781003194941-2.

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Lampl, Kenneth. "The Creative Process". In Film Music, 70–81. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003289722-6.

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Lubart, Todd. "Introduction". In The Creative Process, 1–18. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-50563-7_1.

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Barbot, Baptiste, e Peter R. Webster. "Creative Thinking in Music". In The Creative Process, 255–73. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-50563-7_10.

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Atti di convegni sul tema "Creative process"

1

Wolf, Mario, Oliver Vogt e Detlef Gerhard. "Asset Administration Shell Integration for Iot Sensors: An Automated Process for Precast Concrete Elements". In Creative Construction Conference 2024, null. Online: Budapest University of Technology and Economics, 2024. http://dx.doi.org/10.3311/ccc2024-055.

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Hermanto, Yon Ade Lose. "Creative Process in Creating Letters Design". In International Seminar on Language, Education, and Culture (ISoLEC 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.211212.060.

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3

Silvia Barros De Held, Maria, Carlos Alho e Vanda Matos. "The Process of Creation: Artistic Creation and Creative Processes." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001393.

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Abstract (sommario):

This research is built upon the search for the understanding of today's status of the process of creation, and how it has been considered through time, first through an philosophical approach, then through psychological aesthetics and finally, more recently, through psychology. If all construction of reality are built upon the interaction between physical world, the psychological or subjective world and the world of human creation, it seems to be clear that the creative process is, by excellency, a paradigm of the human experimental or experiential phenomena. Assuming a descriptive case study approach, Boa Nova Tea House of Siza Viera is analyzed. In Siza Vieira´s creative process, the drawing constantly validates his work. Architecture balances between art and technique as a creative act resulting from the artist mental reflective and experimental construction.

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Sriyanti, Mas Galih, e Juju Masunah. "The Creative Process of Creating Ringkang Haleuang Barudak Dance". In 3rd International Conference on Arts and Design Education (ICADE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210203.014.

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Atout, Mamoon Mousa. "Monitoring and Control Process of Construction Projects". In Creative Construction Conference 2019. Budapest University of Technology and Economics, 2019. http://dx.doi.org/10.3311/ccc2019-080.

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Atout, Mamoon Mousa. "Effective process of project monitoring and control". In Creative Construction Conference 2018. Budapest University of Technology and Economics, 2018. http://dx.doi.org/10.3311/ccc2018-059.

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Terzidis, Kostas. "Computers and the Creative Process". In eCAADe 1999: Architectural Computing: From Turing to 2000. eCAADe, 1999. http://dx.doi.org/10.52842/conf.ecaade.1999.043.

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Ferrar, Steve. "Computers and the Creative Process". In eCAADe 1997: Challenges of the Future. eCAADe, 1997. http://dx.doi.org/10.52842/conf.ecaade.1997.x.t8c.

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Ferrar, Steve. "Computers and the Creative Process". In eCAADe 1997: Challenges of the Future. eCAADe, 1997. http://dx.doi.org/10.52842/conf.ecaade.1997.x.t8c.

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Pan, Wen, Bahriye Ilhan e Thomas Bock. "Process information modelling for public housing construction project in Hong Kong". In Creative Construction Conference 2018. Budapest University of Technology and Economics, 2018. http://dx.doi.org/10.3311/ccc2018-011.

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Rapporti di organizzazioni sul tema "Creative process"

1

Bogdan, Tricia. Interpreting Bartok: A Creative Process. Portland State University Library, gennaio 2016. http://dx.doi.org/10.15760/honors.231.

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shah, Sikandar. Rick Rubin: Protocols to Access Creative Energy and Process. ResearchHub Technologies, Inc., dicembre 2023. http://dx.doi.org/10.55277/researchhub.vtt1ga3v.

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Cho, Seunghye. Creative Design Thinking Process: Fashion Is Cyclical Then, Now, and Future. Ames (Iowa): Iowa State University. Library, gennaio 2019. http://dx.doi.org/10.31274/itaa.8310.

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Mamp, Michael, e Eulanda A. Sanders. Teaching Creative Design Process: Grey Gardens Documentary as a Source of Inspiration. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-767.

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Kolev, Julian, Alexis Haughey, Fiona Murray e Scott Stern. Of Academics and Creative Destruction: Startup Advantage in the Process of Innovation. Cambridge, MA: National Bureau of Economic Research, agosto 2022. http://dx.doi.org/10.3386/w30362.

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Пахомова, О. В. Using Scaffolding Strategy for Teaching Creative Writing. Маріупольський державний університет, 2018. http://dx.doi.org/10.31812/0564/2145.

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Abstract (sommario):

The article deals with scaffolding strategy for teaching creative writing in the English classroom. The importance of using the creative writing technique, which is an effective means of optimization and intensification of the process of foreign language study, for forming students' communicative competence in writing is highlighted. It is supposed that an elaborated scaffolding strategy might help lecturers to organize the educational process with maximum capacity and successful results. A variety of techniques such as intensive usage of graphic organizers ("Plan Think Sheet", "Mind-map", "Concept Map", "Clustering", "Spider Map", "Cycle", "Chain of Events", "Web"), "Teaching by Example", "Sentence Stem Completion" / "Close procedures", “Stream of Consciousness”, Genre scaffolding techniques are recommended to empower learners' creative abilities to write and express themselves on any topic using the wide range of writing techniques with the relevant structure and vocabulary.

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Blyde, Juan S., e José Pineda. Microeconomic Flexibility, Creative Destruction and Trade. Inter-American Development Bank, dicembre 2009. http://dx.doi.org/10.18235/0011076.

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We investigate whether greater microeconomic flexibility facilitates the process of creative destruction in the context of new trade models with heterogeneous firms (Bernard et al., 2003 and Melitz, 2003). In these models, freer trade increases aggregate productivity because high-efficiency firms expand through exporting and low-efficiency firms exit the market. However, factor reallocation could be negatively affected by the presence of microeconomic frictions. We use these insights of the theory to analyze whether a reduction in trade costs increases the probability of becoming an exporter relatively more in industries with greater microeconomic flexibility and whether plant exit driven by trade costs declines is more likely in industries with lower frictions. Using plant level data from Venezuela, we report results supporting these predictions.

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Berlin, Noémie, Jan Dul, Marco Gazel, Louis Lévy-Garboua e Todd Lubart. Creative Cognition as a Bandit Problem. CIRANO, maggio 2023. http://dx.doi.org/10.54932/anre7929.

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This paper characterizes creative cognition as a multi-armed bandit problem involving a trade-off between exploration and exploitation in sequential decisions from experience taking place in novel uncertain environments. Creative cognition implements an efficient learning process in this kind of dynamic decision. Special emphasis is put on the optimal sequencing of divergent and convergent behavior by showing that divergence must be inhibited at one point to converge toward creative behavior so that excessive divergence is counterproductive. We test this hypothesis in two behavioral experiments, using both novel and well-known tasks and precise measures of individual differences in creative potential in middle and high school students. Results in both studies confirmed that a task-dependent mix of divergence and convergence predicted high performance in a production task and better satisfaction in a consumption task, but exclusively in novel uncertain environments. These predictions were maintained after controlling for gender, personality, incentives, and other factors. As hypothesized, creative cognition was shown to be necessary for high performance under the appropriate conditions. However, it was not necessary for getting high grades in a traditional school system.

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Hwang, Ja-young, Eulanda A. Sanders e Mary Lynn Damhorst. South Korean Fashion designers’ decision-making process: The influence of cultural values and personal experience in the creative process. Ames: Iowa State University, Digital Repository, 2014. http://dx.doi.org/10.31274/itaa_proceedings-180814-897.

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Totorice, Cara, Elizabeth Davelaar e Kelly Cobb. A Braided Approach to Framing Creative Process. Articulating Design Research Through Disciplinary Collaborative Practice. Ames: Iowa State University, Digital Repository, novembre 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1691.

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