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Tesi sul tema "Personality and creative ability"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 30 luglio 2024

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1

Nelson, Christopher Barnaby. "The Creative process : a phenomenological and psychometric investigation of artistic creativity /". Connect to thesis, 2005. http://eprints.unimelb.edu.au/archive/00001401.

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2

Geyser, Richard Conrad. "The relationship between personality type and creative preference". Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/52009.

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Thesis (MA) -- Stellenbosch University, 2000.
ENGLISH ABSTRACT: As the human race enters the new millennium it is challenged by factors such as continuos changed, demand for improved quality and increased competition of global proportions. This requires of organisations to be more responsive to change as well as that individuals will need to position themselves to meet the challenges of the knowledge era. These challenges demand creativity in order to meet the demands for value adding contributions to the organisation. The above mentioned situation gives rise to a number of questions: Firstly, how can the creative processes of an individual be assessed? Secondly, what role does personality play as an indicator of creativity? Lastly, can the knowledge concerning the relationship between creativity and personality be applied to enhance the expression of creativity in the working environment? This research is aimed at investigating the relationship between personality dimensions and creative thinking preferences. 305 managers from the 1st, 2nd and 3rd reporting levels of an organisation in the aviation maintenance and manufacturing industry took part in the study. Two instruments were used namely the Myers-Briggs Type Indicator Step II, to assess the personality dimensions and the Neethling Brain Instrument (NBI) to assess the subjects creative thinking preference. A Pearson Product Moment analysis was conducted to determine the correlation between the subscales of the MBTI Step II personality dimensions and the NBI. Next a Principal Component analysis was conducted to determine if any of the NBI thinking style preferences measure the same factor as the subscales of the MBTI Step II, as well as to reduce the number of variables used to determine if a significant relationship exists between the principle dimensions of the MBTI and thinking styles of the NBI. Finally, a regression analysis was performed to determine if the principle dimensions of the MBTI Step II are significantly related to the thinking style dimensions of the NBI. The results of the Pearson Product Moment correlation indicated that significant correlations exist between the sub-scales of the MBTI Step II and the NBI thinking preferences. However, the significance of these correlations range from weak to strong, posing a challenge with regard to determining which of these correlations have any practical value. The results of the Principle Component analysis indicated the existence of four distinct factors, which are common to both the MBTI Step II, and the NBI. However, it was of interest to note that two of the dimensions of the NBI each loaded on two of the factors leading to the conclusion that these two dimensions each measure two unique factors. The results of the Regression analysis provided evidence that the NBI measures two dimensions of the MBTI Step II. Firstly, a preference for thinking is measured by the L1, Upper Left quadrant scale of the NBI and a preference for feeling is measured by the R2, Right Lower quadrant scale of the NBI. Secondly, that a combination of the Judging/Perceiving and Sensing/Intuition preferences are related as follows. The R1, Right Upper quadrant preference scale measures a combination of Perceiving and Intuition. The L2, Left Lower quadrant scale appears to measure a combination of Judging and Sensing. An obvious question that arises is, which personality type is more creative? The process perspective on creativity would appear to indicate that certain personality types have a preference for contributing more effectively to specific parts of the creative process. Thus it can be concluded that no single personality type is more creative than the other is, but that creativity requires the use of all the functions of Personality Type. The key to creativity is the integration of all the Type functions both preferred and not preferred in a synergistic manner. This requires recognition that creativity will require the expenditure of significant amounts of psychic energy to apply non-preferred functions in the process of being creative.
AFRIKAANSE OPSOMMING: Organisasies wat die nuwe millenuim betree het, staar toenemende uitdagings in die gesig. Faktore soos konstante verandering, toenemende eise vir die verbetering van kwaliteit en die verhoging in kompetisie wereldwyd, stel aan organisasies hoer eise om vinniger te reageer op verandering. Dit verg ook van individue om hulself te posisioneer ten einde die uitdagings van die kennis-era aan te durf. Die uitdagings vereis kreatiwiteit om aan die eise van waarde-toevoeging in die organisasie by te dra. Die voorafgenoemde situasie laat 'n paar vrae ontstaan. Eerstens, hoe ‘n individu se kreatiewe prosesse geevalueer kan word, tweedens watter rol persoonlikheid speel as ‘n aanduider van kreatiwiteit en laastens of kennnis van die verband tussen kreatiwiteit en persoonlikheid prakties toegepas kan word om die uitdrukking van kreatiwiteit in die werksomgewing te verhoog. Hierdie navorsing is daarop gemik om die verband tussen persoonlikheidsdimensies en kreatiewe denk voorkeure te ondersoek. 305 bestuurders in die eerste, tweede en derde rapporteringsvlak van 'n lugvaart vervaardiging en onderhoud organisasie het aan die navorsing deelgeneem. Twee meetinstrumente is gebruik in die navorsing naamlik die Myers-Briggs Type Indicator Step II, om die persoonlikheidsdimensies te meet en die Neethling Brein Instrument (NBI) om die individue se kreatiewe denkvoorkeure te meet. Die Pearson Produk Moment ontleding is gebruik om die korrelasie tussen die persoonlikheidsdimensie sub-skale van die MBTI Step II en die NBI te bepaal. Daarna is 'n Hoofkomponent ontleding uitgevoer om te bepaai of enige van die NBI denk voorkeurstyle dieselfde faktor as die MBTI Step II subskale meet, asook om die aantal veranderlikes te verminder om sodoende te bepaai of daar ‘n betekenisvolle verband bestaan tussen die hoofdimensies van die MBTI Step II en die denkstyle van die NBI. Laastens is ‘n Regressie ontleding gebruik om te bepaai of die hoofdimensies van die MBTI Step II ‘n betekenisvolle verband toon met die denkstyl dimensies van die NBI. Die resultate van die Pearson Produk Moment ontleding het daarop gedui dat daar ‘n betekenisvolle korrelasie bestaan tussen die sub-skale van die MBTI Step II en die NBI denk voorkeure. Die betekenisvolheid van die korrelasies wissel egter van swak tot sterk korrelasies, wat ‘n uitdaging skep in terme van die bepaling van die korrelasies wat enige praktiese waarde inhou. Die resultate van die Hoofkomponent ontleding het die bestaan van vier kenmerkende faktore aangedui wat biede algemeen is in die MBTI Step II, en die NBI. Dit was egter interressant om te merk dat twee van die NBI se dimensies op twee verskillende faktore gelaai het. Die gevolgtrekking wat gemaak word is dat die twee dimensies elk twee afsonderlike faktore meet. Die resultate van die Regressie Ontleding het aangedui dat die NBI twee dimensies van die MBTI Step II meet. Eerstens, word ‘n voorkeur vir “Thinking” gemeet deur die L1, Linker Bokantste kwadrant op die NBI en 'n voorkeur vir “Feeling” word gemeet deur die R2, Regter Onderkantste kwadrant van die NBI. Tweedens, dat 'n kombinasie van “Judging/Perceiving” en "Sensing/Intuition” voorkeure die volgende verband toon. Die R1 Regter Bokantste kwardrant meet 'n voorkeur vir ‘n kombinasie van “Intuition” en “Perceiving”. Die L2 Linker Onderkantste kwadrant meet ‘n voorkeur vir 'n kombinasie van “Sensing" en “Judging”. ‘n Ooglopende vraag wat gevra word is die van watter persoonlikheidstipe meer kreatief is? Uit die prossess perspektief wat geneem is in die studie, wil dit voorkom dat sekere persoonlikheidstipes ‘n voorkeur het om meer effektief te kan bydra tot specifieke gedeeltes van die kreatiewe prosess. Die afleiding kan dus gevorm word dat geen enkele persoonlikeidstipe meer kreatief is as die ander nie, maar eerder dat die gebruik van al die funksies van persoonlikheidstipe nodig is om kreatiewiteit te ontsluit. Die sleutel tot kreatiewiteit is dus die sinergistiese integrasie van al die Tipe funksies, beide die waarvoor ‘n voorkeur bestaan en die waarvoor daar nie ‘n voorkeur is nie. Dit verg ook die besef dat kreatiwieteit die spandering van groot hoeveelhede psigiese energie benodig, om funksies waarvoor daar nie 'n voorkeur is nie, toe te pas om die kreatiewe process te volbring.

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3

Walker, Marie. "Creativity and depression : personality correlates of depression in autobiographies of creative versus non-creative achievers". Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=67522.

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This study focused on depression-proneness in the creative achiever compared to the eminent but non-creative achiever. Forty-eight subjects' (25 male, 23 female) autobiographies were assessed on personality using the California Q-Set (Block, 1961). Creative achievers were divided into visual and literary creators while the control group was made up of political, military and social leaders. The Q-Set items were divided into the five factors of personality (neuroticism, extraversion, openness, agreeableness and conscientiousness) according to McCrae, Costa and Busch (1986). Using factor analysis, neuroticism was further divided into 6 facets, two of which corresponded to Costa and McCrae's depression and impulsivity items. Results showed that creative achievers scored significantly higher than controls on neuroticism and openness, while controls scored significantly higher on conscientiousness. Creative achievers rated significantly higher than controls on depression-proneness and impulsivity, with literary artists scoring particularly high on depression-proneness. Creativity as a method for controlling depression is discussed.

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4

Naud, Talana. "The relationship between personality and creativity A psychometric study /". Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-05222007-124454.

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5

Morrison, John David. "Group composition and creative performance /". Access abstract and link to full text, 1993. http://0-wwwlib.umi.com.library.utulsa.edu/dissertations/fullcit/9315956.

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6

Malakate, Anna. "Assessing creative potential : recruitment and selection in creative SMEs in the UK". Thesis, University of Aberdeen, 2011. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=174685.

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This thesis tackles the assessment of job candidates‟ creative potential through the processes of recruitment and selection in UK creative SMEs. Literature on individual creativity (Rogers, 1954; Oldham and Cummings, 1996; Sternberg and Lubart, 1996; Sternberg, O‟Hara and Lubart, 1997; West, 1997; Simonton, 2000), has placed importance on the individual characteristics and personality traits that distinguish a creative individual from a non-creative. Lack of knowledge regarding creativity assessment through recruitment and selection in creative SMEs has triggered the author to investigate this area. The author has designed a theoretical framework which comprises three elements, namely personality traits, individual knowledge, skills and abilities (KSAs) and team KSAs, which, according to the literature review, need to be taken into account when assessing individuals‟ creative potential in creative SMEs. This framework was tested with the use of a mixed methodological approach. Firstly, the qualitative approach involved the performance of 17 interviews with the owners/managers and directors of creative SMEs in Scotland. The quantitative approach involved the design and distribution of a questionnaire to a larger sample of creative companies across the UK, which resulted in 140 answered questionnaires. From the analysis of these data, interesting findings arose which indicated that creative SMEs use a mix of criteria when assessing job candidates‟ creativity. Personality traits, individual and team KSAs were highlighted, as well as the importance of motivation, which influenced selection decisions. Variations on the importance of such criteria were evident when the researcher investigated the different creative sectors and the different positions the respondents held. The most commonly used recruitment and selection practices in creative SMEs were provided. Additionally, differences in the recruitment methods used between creative SMEs who have and have not won creative awards were highlighted.

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7

Blackmon, Kristen N. "Creative Self-Efficacy and Personality: From Imagination to Creativity". Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248380/.

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Imagination and creative self-efficacy are important components of the creative process and outcomes but are rarely investigated together. To explore the relationship between personality factors, imaginative thinking, and creative self-efficacy, survey responses were gathered from university students in a southwestern region in the United States (n = 1,731). Personality was measured using the International Personality Item Pool (IPIP), imagination was measured using the Imaginative Capability Scale (ICS), and creative self-efficacy was measured using items based on reliability in previous studies. Participants were asked to complete the three surveys along with demographic information through an online format. Confirmatory factor analysis (CFA) was conducted first to confirm measurements used. After fit indices confirmed measurement models used, subsequent analyses were conducted using structural equation modeling (SEM). The model of best fit supported creative self-efficacy as a strong predictor of all three factors of imagination. Additionally, the model indicated a strong relationship between conscientiousness and conceiving imagination as well as other notable relationships with personality factors.

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8

Sobhany, Maryam Saffaripour. "Creativity quotient: a statistical instrument for combining cognitive and personality components of creative thinking". Diss., Virginia Polytechnic Institute and State University, 1985. http://hdl.handle.net/10919/49843.

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Creative thinking is a multi-faceted trait. It encompasses a constellation of intellectual abilities and personality characteristics. In this study cognitive and personality components of creative thinking were included in an instrument. From the relevant literature the most important cognitive components in order of importance were problem finding, original problem solving, general problem solving, knowledge, and attentiveness to detail. Lack of conformity was suggested to be the most important personality component. Measures of these components of creative thinking were developed. Data were obtained by interviewing 110 third-grade children (M = 8.9 yrs), from which 80 sets were randomly selected to develop a scoring scheme. The scoring scheme was utilized to derive a statistical equation to quantify creative thinking for each individual. To ascertain the reliability and consistency of the developed scoring scheme, the author and two graduate students independently scored the remaining data (30 sets). The coefficient of variability for the three groups of scores were computed by means of pooled estimate of variance. This quantity was found to be .02 which is remarkably small. The relative contribution of each component to creative thinking and the interrelationship between them have been discussed. whether problem finding and problem solving are two separate cognitive processes was also discussed.
Ed. D.
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9

Weakland, Marie A. "Creativity, openness to experience, and environmental support in problem solving". Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1124872.

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The relationship between the personality trait of openness to experience and problem solving ability in environments offering various levels of informational support in the form of analogous problems was investigated using 173 participants. I suspected the strongest positive relationship in an environment offering moderate support and that individuals who were high on openness to experience would be likely to see that previous presented information was analogous in nature. There was no relationship between penness to experience and problem solving ability as a function of the environment or in general. However, students given a high level of support solved significantly more problems than those participants receiving no support. Also, more students solved the problems when they saw an analogous connection between the experimental and the demonstration problems. An implication may be that problem solving ability can be taught using analogies, if the information is complete and students are able to determine the relevance to future problems.
Department of Psychological Science

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10

Camfield, David Alan. "The biological basis of openness to experience". Swinburne Research Bank, 2008. http://hdl.handle.net/1959.3/49815.

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Thesis (PhD) - Swinburne University of Technology, Brain Sciences Institute, 2008.
[A thesis submitted for the degree of] Doctor of Philosophy, Brain Sciences Institute, Swinburne University of Technology - 2008. Typescript. Includes bibliographical references (p. 250-272) and index.

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11

Ferholt, Beth. "The development of cognition, emotion, imagination and creativity as made visible through adult-child joint play perezhivanie through playworlds /". Diss., [La Jolla] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3356247.

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Thesis (Ph. D.)--University of California, San Diego, 2009.
Title from first page of PDF file (viewed July 2, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 257-264).

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12

Bas, Selda. "The Contribution Of Personality, Motivation, Academic Risk-taking And Metacognition To The Creative Ability In Mathematics". Phd thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614451/index.pdf.

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Creative people are most valuable treasures of a nation. In order to cope with the complicated problems of the rapidly changing and developing modern life and to ensure that the society makes progress via new breakthroughs and inventions, we need creative individuals. Thus, the research on creativity in the school environment where creativity takes its roots from is crucial. The purpose of the present study is to investigate the extent to which personality traits, motivation, academic risk-taking and metacognition explain the mathematical creative ability of high school students. The study was carried out during the fall semester of 2011-2012 academic year at two science high schools and a private high school. A total of 217 preparatory and ninth grade students were involved in the study. The participants completed a set of measures about personality traits, motivation, academic risk-taking, metacognition and creative ability in mathematics. Standard multiple regression analysis was conducted to evaluate how well the independent variables predicted creative ability in mathematics. The results revealed that openness to experience and consciousness were significantly correlated with creative ability in mathematics. However, extraversion, agreeableness and neuroticism were not correlated with creativity scores. Moreover, intrinsic goal orientation followed by openness to experience was the most significant predictor of mathematical creative ability. Yet, academic risk-taking was not significantly correlated with creative ability. Although knowledge of cognition and regulation of cognition showed moderate correlations with creative ability in mathematics, they failed to predict creative ability in multiple regression equation.

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13

Bowers, Schoen Jeremy L. "Predicting individual creativity in organizations: why do adults engage in creative activities?" Diss., Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/42794.

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Amabile (1983a) presented the most prominent theory currently used for studying individual creativity in organizations, the componential model, over 25 years ago. This model moved the study of creativity away from an individual differences-based paradigm to one taking into account the situation. The centerpiece of this model, the intrinsic motivation principle, suggests that situational factors influence individual creativity via an individual's intrinsic motivation (Amabile, 1996: 115). My review identifies anomalies in current research using Amabile's model that I use for new theory development. I then test that theory in a laboratory study. New theory I developed and tested explores factors that affect individual creative performance at work. This theory focuses on the effects environmental variables, dispositional traits, and psychological mediators have on creative performance. The trait of achievement motivation is used to directly predict creative performance and also how individuals differentially react to environmental factors. The psychological mediator utilized here is regulatory focus, which is a concept related to the ways individuals frame and engage situations. I describe and test how the facets of regulatory focus (promotion and prevention) account for the ways that environmental factors, achievement motivation, and the interaction of environmental factors and achievement motivation affect creative performance of adults in work-like environments (e.g. behavioral laboratory with adults). Results from this study were significant. First, achievement motivation significantly predicted creative performance. Second, there were no significant effects for regulatory focus, although this was mostly likely a result of limited scale development. Third, achievement motivation interacted with the experimental manipulations (expectations of controlling or informational expected evaluations), as the environmental variable, to predict creativity. This suggests theories of creativity that do not consider personality (c.f. Amabile, 1983a, 1983b, 1996) leave out a potentially important and significant portion of what leads to differences in individual creative performance. Finally, many variables reported to predict creative performance in the literature were used as control variables. In no model tested did any of these control variables reach significance or moderate the effects of achievement motivation, as it was measured in this study, on creative performance. These results suggest the finding here for achievement motivation is robust.

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14

Gascón, Luis Daniel. "Artists and crooks: A correlational examination of creativity and criminal thinking". CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3298.

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This study explores some of the possible correlations between creativity and criminal thinking evident in the literature in an attempt to link the two forms of cognition. An understanding of the concept of Malevolent Creativity can serve the purpose of elucidating another component of the criminal personality.

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Puryear, Jeb S. "The Role of Chosen Creativity Measurements in Observed Relationships to Personality". Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849658/.

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Creativity is a complex construct that is conceptualized and measured in multiple ways. This study examined the relationship between creativity and personality taking this into account. It was hypothesized that applying different conceptions and measures would cause variation in the creativity-personality relationship. The participants (N = 224) were undergraduate students completed six creativity measures, a personality inventory, and a demographic questionnaire. Personality predicted more creative production (R2 = .277) than creative potential (R2 = .176) and more self-reported creativity (R2 = .348) than that which was externally-rated (R2 = .149). Personality predicted creativity beyond demographic and intellect variables, but the effects varied based on the creativity measure. Openness was most consistently and strongly related to creativity. Other personality factors demonstrated suppression effects in multiple models. Overall, the results suggest that despite relatively small effects of personality on creativity, it can help strengthen prediction in creativity models. Implications for educational settings and future research are discussed.

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16

Wood, James Michael. "Imaginativeness in dreams as related to the waking ability to create metaphors and form remote associates". Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/292063.

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The relationship of dream imaginativeness and dream implausibility to waking creativity and metaphorical ability was examined among 126 undergraduates using two-week dream diaries. A significant relationship was found between scores on the College Vocabulary Test and the Remote Associates Test on the one hand, and report length, implausibility and dream recall frequency on the other. A causal analysis suggested that verbal intelligence, rather than creativity or metaphorical ability, was the factor underlying the correlations.

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17

Naude, Talana. "The relationship between personality and creativity : a psychometric study". Diss., Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-05222007-124454.

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Uritescu, Ramona M. "The magician's modern avatars a study of the artist figure in the works of Marcel Proust, Thomas Mann and Franz Kafka /". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq30830.pdf.

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Ruddock, Eve. "Ballad of the never picked : a qualitative study of self-perceived non-musicians' perceptions of their musicality". University of Western Australia. School of Music, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0103.

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Humans are a musical species and every culture has its music. However, twenty individuals out of a cohort of twenty-nine participants in this study judged themselves to be 'not musical'. Through their words, silences and responses, the story of music in the lives of these self-perceived non-musicians uncovered a musical world where concepts of performance, judgment and talent dominate. My investigation into individuals' perceptions of their musicality revealed a pervasive societal belief that individuals were either born 'musical' or they were not; their everyday reality was one where music was perceived as a performance, an object, something that only talented people can 'do'. I planned conversations with participants that aimed to reveal clues that could help to unravel a paradox that lies within music in our Western culture: every young human is intrinsically musical but only some are born with a gift to be musical. Participant convictions that they were not musical deterred some individuals from active engagement in music making. They felt as if they had been left out of the 'musical ballpark'. Details from conversations illustrated a constricting cultural imposition on individuals; this was perpetuated in many schools and also in private music teaching. Data revealed that current educational practice contributed to a denial of a natural birthright and alienated some individuals from being part of a musical community. As their stories revealed failed attempts to engage in music making, iterative contacts created a daunting quantity of data. But there was poetry in participant data. These self-perceived non-musicians simultaneously demonstrated their musicality in the rhythms of their narrative as they denied that they were musical; this emerged as a means to report the research whereby participants' words combined to tell a non-musician's tale. Compelling narrative revealed a society where educational practice does little to address individual musical development. While each story alone was specific and complex, once the stories became woven together as a complex and contradictory whole, the ballad of the never picked captured the essence of a distanced musicality in our Western society. Narrative drove towards meaning. Through interpretation and detailed qualitative analysis, understandings began to emerge from depths of experience and from friction existing within contradictions. Deep within narrative which evolved over a period of five years were perceptions that led to understandings of our cultural reality. Active involvement in this research became part of an emancipatory process for several participants where mutually reflective acts exposed unnecessary impositions from societal expectations. Participant voices uncover a bifurcated reality wherein the musical development of many individuals is undermined through an ignorance of holistic human potential; this musical-unmusical divide is perpetuated in educational practice.

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Мосюренко, Анна Олексіївна. "Сімейна соціалізація як фактор креативного розвитку особистості". Master's thesis, КПІ ім. Ігоря Сікорського, 2019. https://ela.kpi.ua/handle/123456789/34007.

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Дипломна робота присвячена дослідженню сімейної соціалізації як умови креативного розвитку особистості. Розглядаються особливості сімейного середовища які впливають на високі показники креативного розвитку особистості: можливість самовираження дитини, позитивне відношення батьків до дослідницької активності дитини, можливість вибору у дитини, самостійне мислення, вплив сім’ї на формування позитивної самооцінки дитини, розвиток творчих вмінь. Крім того, у роботі розглянуто стан інституту сім’ї у сучасному українському суспільстві та визначено шляхи активізації креативного розвитку дитини в сім’ї. Наведено рекомендації щодо стимулювання розвитку креативних здібностей особистості.
Diplom work is devoted research of domestic socialization as terms of creative development of personality. The features of domestic environment are examined which influence on the high indexes of creative development of personality: possibility of self-expression of child, positive attitude of parents toward research activity of child, possibility of choice for a child, independent thought, influence of family, is on forming of positive self-appraisal of child, development of creative abilities. In addition, consisting of institute of family is in-process considered of modern Ukrainian society and certainly ways of activation of creative development of child in a family. Recommendations are resulted in relation to stimulation of development of creative capabilities of personality.

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Robins, Amanda School of Arts UNSW. "Slow art : meditative process in painting and drawing". Awarded by:University of New South Wales. School of Arts, 2006. http://handle.unsw.edu.au/1959.4/31214.

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This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called "meditations," which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).

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22

Wohl, Elizabeth C. "Creativity and Affective Traits Across the Life Span: Developmental Influences Among Adolescents and Older Adults". Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4279/.

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In recent years, empirical research has consistently supported an association between susceptibility to affective illness and creativity at the level of eminent achievement and at the non-eminent, or "everyday creativity" level. Although this research has provided greater evidence for the existence of this link, it has simultaneously unearthed more questions about how and why such an association exists. The purpose of this research was twofold: first, to provide further analysis of the nature of the relationship between hypomanic traits and creativity by employing a longitudinal study to determine the extent to which inter-individual differences over time in creativity are predicted by hypomanic traits. Second, the purpose of the cross-sectional analysis in the present study was to further determine how developmental components such as age and expertise may help unravel the ways in which hypomanic traits contribute to creativity and to further describe inter-individual differences among these variables. The first hypothesis, which proposed that the direction of the relationship between hypomanic traits and creativity could be predicted, was not supported by these results. The second research hypothesis was partially supported: hypomanic traits predict creativity in the combined adolescent and older adult samples. However, upon further examination of the regression analyses, the data indicate that the relationship between hypomanic traits and creativity is also influenced by age and developmental factors. Furthermore, the way in which the relationship is influenced by these other factors depends on the way in which the creativity construct is measured (e.g., process or personality. The findings suggest that the antecedents of creativity may differ between adolescents and older adults. In adolescents, the hypomanic traits measure is the only variable that predicts creative personality and creative process, while expertise is the only variable to predict creative personality and creative process among the older adults in this study. It appears expertise significantly and uniquely contributes to at least two areas of creativity in older adults, while hypomanic traits significantly and uniquely contributes to the same two areas of creativity in adolescents. Implications of these findings and limitations to this study are discussed.

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23

Smith, Jack. "Unleashing your creative potential". Theological Research Exchange Network (TREN), 1988. http://www.tren.com.

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24

Roberts, Ross. "Imagery perspectives, imagery ability, and personality". Thesis, Bangor University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.505955.

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25

Hetzel, Eugene David. "The mad rhetoric: Toward a rigor on radical creativity and its function in consciousness as a communicative principle". CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3293.

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Abstract (sommario):

This thesis explores three creative works, "The music of Erich Zann" by H.P. Lovecraft; the film "Eraserhead" by David Lynch; and the "Self-Portrait (blue)" by Vincent Van Gogh, as examples of different forms of mad rhetorics as a way in which to demonstrate the application of the theory of "mad rhetorics" and the role "radical creativity" plays in the construction of mad rhetorics by "mad rhetors" play in society.

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26

Mobley, Michele Ingram. "Exploration of processes essential to the production of major creative accomplishments". Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/29213.

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27

Breaban, Adriana, de Kuilen Gijs van e Charles N. Noussair. "Prudence, Emotional State, Personality, and Cognitive Ability". FRONTIERS MEDIA SA, 2016. http://hdl.handle.net/10150/621817.

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Abstract (sommario):

We report an experiment to consider the emotional correlates of prudent decision making. In the experiment, we present subjects with lotteries and measure their emotional response with facial recognition software. They then make binary choices between risky lotteries that distinguish prudent from imprudent individuals. They also perform tasks to measure their cognitive ability and a number of personality characteristics. We find that a more negative emotional state correlates with greater prudence. Higher cognitive ability and less conscientiousness is also associated with greater prudence.

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28

Fisher, Matt. "Mind as creative organization : the nature and development of human cognition as a creative process /". Title page, abstract and table of contents only, 2004. http://web4.library.adelaide.edu.au/theses/09ARM/09armf5331.pdf.

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29

Reilly, Rosemary. "Social creativity, values and shared expertise : the synergistic confluence of social creativity, values and the development of shared expertise". Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85200.

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The following is a report of a qualitative inquiry regarding a team of novices and their journey in developing shared expertise and social creativity in the domain of group facilitation and process consultation. Using the format of public reflection, the participants engaged in an intensive collaborative process of meaning making, along with the university instructor as expert, while being teaching assistants in a course about group dynamics. Using the framework of evolving systems, the methodology employed an instrumental case study approach, with the case defined as the group. Data sets included videotaped debriefing and planning sessions, individual and group interviews, and written reflection diaries, covering the entire lifespan of the team. These sets were transcribed and subjected to an examination of the unfolding cognitive and metacognitive, creative, value, and social processes embedded within the team interactions. The process patterns do demonstrate that under the conditions created within this context, novices can pool together expert thinking skills that can collectively compare favorably to those of an expert. Social creativity also emerged as a property of the system, and these processes seemed to piggyback onto the socially shared expert thinking skills. Values acted as tacit rules governing and shaping the social interactions. Ones that showed a strong association to the development of shared expertise were: supportiveness, care, listening/questioning for clarity, helpfulness, openness to disagreement/feedback, and plurality. Values that showed a strong association to the development of social creativity were: supportiveness, listening/questioning for clarity, helpfulness, and openness to disagreement/feedback. Humor was an ever present element to the system and acted as a lubricant producing social ease. The patterns that emanated from this inquiry were placed into two larger theoretical frameworks, socially shared cogni

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30

Vick, Erik. "IMPLEMENTING LEXICAL AND CREATIVE INTENTIONALITY IN SYNTHETIC PERSONALITY". Doctoral diss., University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3252.

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Abstract (sommario):

Creating engaging, interactive, and immersive synthetic characters is a difficult task and evaluating the success of a synthetic character is often even more difficult. The later problem is solved by extending Turing's Imitation Game thusly: computational construct should be evaluated based on the criteria of how well the character can mimic a human. In order to accomplish a successful evaluation of the proposed metric, synthetic characters must be consistently believable and capable of role-appropriate emotional expression. The author believes traditional synthetic characters must be improved to meet this goal. For a synthetic character to be believable, human users must be able to perceive a link between the mental state of the character and its behaviors. That is to say, synthetic characters must possess intentionality. In addition to intentionality, the mental state of the character must be human-like in order to provide an adequate frame of reference for the human users' internal simulations, to wit, the character's mental state must be comprised of a synthetic model of personality, of personality dynamics, and of cognition, each of which must be psychologically valid and of sufficient fidelity for the type of character represented. The author proposes that synthetic characters possessing these three models are more accurately described as synthetic personalities. The author proposes and implements computational models of personality, personality dynamics, and cognition in order to evaluate the psychological veracity of these models and computational equivalence between the models and the implementation as a first step in the process of creating believable synthetic personalities.
Ph.D.
Other
Arts and Sciences
Modeling and Simulation

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31

Colby, Kristen Marieta. "Creative Workers and County Earnings in the United States". Fogler Library, University of Maine, 2008. http://www.library.umaine.edu/theses/pdf/ColbyKM2008.pdf.

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32

Ashry, Rustom Ahmed Rennels Max R. "A comparison of creativity scores between beginning and advanced painting and graphic design students". Normal, Ill. Illinois State University, 1987. http://wwwlib.umi.com/cr/ilstu/fullcit?p8713210.

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Abstract (sommario):

Thesis (Ed. D.)--Illinois State University, 1987.
Title from title page screen, viewed July 25, 2005. Dissertation Committee: Max R. Rennels (chair), Marilyn P. Newby, E. Robert Stefl, Jack A. Hobbs, Robert C. Goodall, Eugene R. Irving. Includes bibliographical references (leaves 56-57) and abstract. Also available in print.

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33

Simon, Judit. "Kreativitetens kännetecken : en fenomenologisk studie /". Stockholm : Pedagogiska institutionen, Stockholms universitet, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-27392.

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34

Shaffer, Jonathan Andrew. "Controlling personality tendencies: predicting observer-rated personality from the interaction between general mental ability and self-rated personality". Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/737.

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Abstract (sommario):

Research has determined that measures of general mental ability (GMA) and personality are valid predictors of a wide range of work outcomes. Two of the most well established findings in the field of organizational psychology are that GMA and two of the Big Five personality traits, conscientiousness and emotional stability, predict overall job performance and training performance across all jobs. Though both GMA and personality are valid predictors of job performance, the validities of personality measures are much weaker than those observed for measures of GMA. Some argue that personality may play a larger role in predicting work outcomes than currently believed, but that current measures of personality do not capture the construct fully. Several researchers have attempted to increase the validity of personality measures by altering the items in the measures so that they refer specifically to work contexts, and others have examined the validity of observer ratings of personality. This study draws on the theory of cognitive buffering to test the possibility is that GMA itself that causes the impact of personality traits on real life performances to be limited. That is, that people may use their GMA to control the expression of their personality tendencies in their behavior. The results showed that GMA and personality interacted to predict peer ratings of personality, but not as initially hypothesized. Self-monitoring and personality also interacted to predict peer ratings of personality, but, again, not as hypothesized. Several possible explanations for the results of this study are discussed, including the notion that that individuals may make efforts to manage only those personality traits that are most relevant in given situations. Moreover, it may be the case that dispositions are less subject to the process of cognitive buffering than are emotions and affect. Limitations of this study and opportunities for future research are also discussed.

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35

Puskas, Marcia L. "Creative play and child development". CSUSB ScholarWorks, 1985. https://scholarworks.lib.csusb.edu/etd-project/185.

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36

Lucena, Nathaniel. "A Mediational Model of the Creative Process". W&M ScholarWorks, 2007. https://scholarworks.wm.edu/etd/1539626540.

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37

Prachumporn, Suwantra McCarthy John R. Mogilka Judith Ann. "Effects of the creativity training program on preschoolers". Normal, Ill. Illinois State University, 1994. http://wwwlib.umi.com/cr/ilstu/fullcit?p9521343.

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Abstract (sommario):

Thesis (Ph. D.)--Illinois State University, 1994.
Title from title page screen, viewed April 14, 2006. Dissertation Committee: John R. McCarthy, Judith A. Mogilka (co-chairs), David L. Tucker, James C. Palmer. Includes bibliographical references (leaves 118-121) and abstract. Also available in print.

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38

Kokotovich, Vasilije. "Creative mental synthesis in designers and non-designers : experimental examinations". Phd thesis, Department of Architectural and Design Science, 2002. http://hdl.handle.net/2123/8079.

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39

Kristiansen, Glenn. "Creative problem solving : the roles of moods and emotions". Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708122.

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40

Botch, Catherine F. "Creativity, the lateral path less taken lateral thinking in the art classroom /". Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only.xxx, 1997. http://www.kutztown.edu/library/services/remote_access.asp.

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Abstract (sommario):

Thesis (M. Ed.)--Kutztown University of Pennsylvania, 1997.
Source: Masters Abstracts International, Volume: 45-06, page: 2745. Typescript. Abstract precedes thesis as preliminary leaves iv-v. Includes bibliographical references (leaves 98-103).

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41

Fullerton, Tyler Barlow. "Creative forum at Montana State University". Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/fullerton/FullertonT0509.pdf.

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Abstract (sommario):

The creative process is a key element to generating great architecture, art and science. In order to best utilize this process one must understand different types of creativity, environments that inspire creativity, different processes and techniques and how the conscious and subconscious handle creative thought and creative production. To architecturally explore creative process and production I will design a structure on campus with the purpose of assisting creativity and creative production in the ways that I have come to understand them. Understanding the creative process as it applies to and/or derives from psychology, philosophy, art and/or design is essential to guide and increase creativity. Communicating what is found is equally as important as finding it. A structure with the primary purpose of communicating and allowing creative thought, an architectural muse to inspire creative production, is intended.

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42

Eastman, Jennifer A. "The effects of expected evaluation and reward on motivation and creativity in Turkish children". Waltham, Mass. : Brandeis University, 2009. http://dcoll.brandeis.edu/handle/10192/23322.

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43

Kwiatkowski, Jonna. "Individual Differences in the Neurophysiology of Creativity". Fogler Library, University of Maine, 2002. http://www.library.umaine.edu/theses/pdf/KwiatkowskiJ2002.pdf.

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44

Wood, Beulah. "A path to creativity in preaching". Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.

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45

Worth, Piers J. "Localised creativity : a life span perspective". Thesis, n.p, 2000. http://library7.open.ac.uk/abstracts/page.php?thesisid=82.

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46

Purdioux, Lee. "Predicting deception detection ability based on the concept of self-compassionate personality trait, openness personality structure, and agreeableness personality structure". Thesis, Capella University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10002509.

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Abstract (sommario):

Abstract Although the poor performance of most professionals who are trained and experienced in deception detection is inexplicable, research has been able to single out some professionals who have developed an exceptional understanding of the kind of knowledge it takes to deceive others. Individual differences in ability to detect deceit have rarely been approached in research designs where ability was broken down into personality traits. This was a non-experimental correlational study, which sought to examine the degree to which elements or facets of personality dimensions self-compassion, agreeableness, and openness could predict the ability to detect deception. A sample of convenience comprised of student participants (N=201) was drawn from a local community college. It used a regression model to examine the maximum likelihood that deception detection ability can be predicted. This was accomplished though specific measurements derived from three paper-and-pencil questionnaires, the deception detection ability scores obtained from the BBC survey, “Spot the Fake Smile,” the self-compassion values obtained from the Neff self-compassion scale (2003), and the agreeableness and openness values obtained from the NEO-PI-R personality inventory (Costa & McCrae, 2010). The self-compassion subscales and the agreeableness and openness subscales were combined totaling 18 predictor variables where 17 of the 18 predictor variables retained the null hypothesis. Although hypothesis testing provided a meager beginning for bridging the gap between personality domains and deception detection ability, practical significance precludes the transferability of the results without further investigation.

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47

BOWERS, ROBERT SIDNEY EARL. "MANAGING CREATIVITY FOR PRODUCTIVITY: RATIONALE, DESIGN AND PROGRAMS (INNOVATION, CREATIVE, INVENTION, INNOVATE, CREATION)". Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/188177.

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Abstract (sommario):

This study presents an operational definition of creativity within the contexts of business, school and community. A design for the strategic management of creativity is developed. Suggestions are made for programs to increase effectiveness in the use of creative skills. Creativity has been viewed in the past as something that happens rather than deliberate activity directed to specific goals. Numerous studies have failed to find a significant relationship between measurements of creative skills and intelligence as delimited by IQ tests and other measures of performance. Creativity can be distinguished as a category, process and quality of intelligence, and both can be defined in qualitative and theoretical terms. Models are constructed in the study to classify creativity. The components of the creative act can be tracked. A model sets parameters and categories for investigations to permit variation of content in a relatively stable sequence of steps. The sequence can be extracted as a method to process ideas from any discourse.

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48

Beier, Margaret E. "Ability, personality, interests, and experience determinants of domain knowledge acquisition". Diss., Georgia Institute of Technology, 2003. http://hdl.handle.net/1853/5323.

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49

Gardner, Kathryn Jane. "Ability emotional intelligence, trait emotional intelligence and borderline personality disorder". Thesis, University of Central Lancashire, 2008. http://clok.uclan.ac.uk/21832/.

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Abstract (sommario):

This thesis explored convergent, discriminant, concurrent and incremental validity of four Emotional Intelligence (EI) measures examined were one ability EI measure (Mayer-Salovey-Caruso Emotional Intelligence Test [MSCEIT]); and three self-report/trait EI measures (Schutte Emotional Intelligence Scale [SEIS], Multidimensional Emotional Intelligence Assessment [MEIA] and Trait Emotional Intelligence Questionnaire [TEIQue]). Participants (N = 307) were drawn predominantly from community and student populations. The MSCEIT showed reasonably good validity, although there were only small amounts of incremental validity in predicting psychologica flunctioning of the trait EI measures the SEIS and MEIA performed similarly well, although the former was more distinctive from personality. The TEIQue produced mixed findings: the factors tructurew as inconsistent with the theoreticals tructure (preliminarya nalyses) but incremental validity was favourable. Placed within a theoretical context, results confin-n the distinctiveness of ability andt rait El. In addition, the trait EI measures appear to be assessing the same latent variable, although some small subscale level correlations question this conclusion. Findings also question whether a ll components of ability EI are assessing a type of intelligence, but suggest that trait EI has utility as a personality measure beyond the Big Five. Based on Study 1, the MSCEIT and SEIS were selected for use in more explanatory research. Study 2 (N = 523) examined the role of ability and trait EI in Borderline Personality Disorder (BPD), a disorder that may be attributable to emotion dysregulation. Consistent with this, poor emotion regulation (ability and trait EI) was especially characteristic of non-clinical BPD adults, as were poor emotional understanding and trait emotion perception. Strong evidence was lacking for a differential role of ability El in the disparate BPD feature/criteria, whilst trait EI was most related to 'affective and self dysregulation'. Findings also suggest that low trait emotion regulation is a possible contributing factor to BPD and eating disorder. These findings extend past work regarding the emotional skills and traits of non-clinical persons with BPD features. The greater role of ability and trait emotion manage menitn BPD is consistent with Linehan's (1993a, 1993b) emotion dysregulation theory of the disorder.

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50

Beier, Margaret E. "Ability, personality, interests, and experience determinants of domain knowloege acquisition". Available online, Georgia Institute of Technology, 2004:, 2003. http://etd.gatech.edu/theses/available/etd-04052004-180015/unrestricted/beier%5Fmargaret%5Fe%5F200312%5Fphd.pdf.

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