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1

Aukštuolis, Teodoras. "Darbuotojų kūrybiškumą skatinančių veiksnių Ukmergės sporto centre vertinimas". Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140620_110848-53752.

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Informacinių technologijų, rinkos ekonomikos, globalizacijos amžiaus pamatas - žmogaus kūrybiškumas, tai jis lemia mokslo, verslo, technologijų, menų - visų žmogaus siekių - pažangą. Sportas nėra didžiausia, tačiau sparčiausiai auganti laisvalaikio industrijos sudedamoji dalis, todėl kūrybiškas, rezultatyvus sporto darbuotojų darbas įvardijamas kaip vienas svarbiausių šiandieninės sporto rinkos uždavinių. Čia išryškėja analizuotina problema – kokie veiksniai skatina sporto centro darbuotojų kūrybiškumą. Todėl šio darbo tikslas yra ištirti veiksnius, skatinančius Ukmergės sporto centro darbuotojų kūrybiškumą. Tyrimo uždaviniai: 1. Atskleisti teorinę kūrybiškumą skatinančių veiksnių sampratą. 2. Pristatyti patį Ukmergės sporto centrą ir veiklos organizavimą. 3. Ištirti darbuotojų kūrybiškumo ir naujovių taikymo situaciją Ukmergės sporto centre. Išvados. Sporto srityje dirbančiųjų kūrybiškumo pagrindinės raiškos sritys yra sporto paslaugų teikimas bendruomenės nariams ir individuali veikla. Kūrybiškumo raišką skatina aukšta darbuotojų profesinė savimonė ir aktyvi sąveika bendrakultūriniu požiūriu. Tirtų Ukmergės sporto centro darbuotojų kūrybiškumą skatina didžiąja dalimi vidiniai veiksniai (asmenybiniai ir motyvaciniai): bendruomenės nuomonė apie sporto centro darbuotojus, konkurencija darbe, kolegų pripažinimas, įvertinimas, skatinimo sistema - administracijos įvertinimas, skatinimas ir palaikymas. Daugeliui, ypač moterims, patinka ieškoti naujų idėjų (iššūkių) ir jas... [toliau žr. visą tekstą]
Information technology, innovation, market economy, globalization old foundation - human creativity, it is determined by science, business, technology, the arts - all human aspirations - progress. Sport is not the largest, but the fastest growing leisure industry ingredient, so creative, efficient sports staff work named as one of the most important challenges of today's sports market. Scientific problem - what are the main factors which are driving a sports center employees creativity in their performance Research aim: to explore main factors which are stimulating Ukmergės sports center staff creativity. The tasks of the research: 1st - Reveal the theoretical concept of creativity . 2nd - to introduce the Ukmergės sports center and organization . 3rd - to investigate staff creativity and inventory innovation at Ukmerges sports center. Conclusions. People who work in sports area main creativity expressions are rendering services to community members and individual activity. High proffesional self-consciousness of emlpoyees and active interaction in multicultural view encourages creativity expression. The bigger part of Ukmerge sports center staff creativity stimulates inner factors (personal and motivational): community opinion about the Ukmerges sports centre employees, competition at workplace, appreciation of collegues, rating, encouragement system - evaluation of administration, encouragement and support. Majority, especially women, likes to search new ideas... [to full text]
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Jacobson, Micaela. "Weathering Architecture - a saline centre for research and creativity at the old salt river mouth". Master's thesis, Faculty of Engineering and the Built Environment, 2019. http://hdl.handle.net/11427/32106.

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The focus of this dissertation is on the ephemeral qualities in architecture, with an interest in the concept of weathering and the natural condition of the eroded Salt River estuarial landscape. The dissertation proposes a Saline Centre for research and creativity, combining the arts and sciences on a site of the confluence of the Old Salt River canal and Salt River power station. The chosen site, which holds the last visible traces of the Salt River estuary, is located on the periphery of both Cape Town and industrial Paarden Eiland. Although this site holds visible traces of the estuary, the water is formed by a man-made canal. The once flourishing and ecologically significant Salt River estuary has dissolved into industry as a result of the construction of the N1 highway among other forms of city development leaving it stagnant as a piece of infrastructure rather than landscape. The programme proposed is a combination of a saline crop research centre and multi-purpose event space, which are meshed together with overlapping programs such as a test kitchen, workshop-studio, salt harvesting roofscape and estuarine landscape. The salt-forming architecture, resurfacing the saline marsh landscape through erosion and the notion of temporal event is a return to the fluid and ephemeral. Both programme and form are transient and embody weathering by evolving and devolving. The Salt River power station water inlets as vessels for event and for producing knowledge for a sustainable future is a re-imagination and inversion of their purpose. Along with this , the combination of programme is to create a poetic relationship between the architecture and the site’s past, present and possible future.
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3

Pyle, David N. "Frameworks for engaging creative practice in bureaucratised project environments". Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/87268/15/David%20Pyle%20-%20Guide%20to%20Materials.pdf.

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This project examines procurement of creative services in a bureaucratic setting and proposes alternative procedures that better negotiate the tensions between creative and bureaucratised ways of working. The outcome is a project procurement strategy called 'Creative Practice Enabled Procurement' and a prototype industry toolkit 'It's Not Shopping! A Guide to Purchasing Innovation and Creativity'. The research is of benefit to managers and creative practitioners, especially those working in interpretive settings. The goal is to propagate better forms of creative procurement across government and private sectors by providing an evidence-based case for improved, practical alternatives.
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4

Benedico, Martínez Inmaculada. "La consciència de la identitat corporeïtzada: Una experiència creativa i transdisciplinària amb adolescents en un centre d’educació secundària obligatòria". Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/460806.

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L’adolescència és una etapa de la vida en què els nois i les noies viuen canvis relacionats amb la seva corporeïtat i necessiten redefinir-se. Per tal de garantir un desenvolupament saludable i autèntic de la identitat corporeïtzada, cal que els adolescents i les adolescents tinguin una actitud crítica i creativa davant dels models corporis de referència cultural. En un moment en què emergeix un paradigma educatiu que considera la necessitat d’orientar l’educació cap a l’estudi de la condició humana i la configuració d’una identitat planetària, així com la necessitat d’orientar les ciències de la motricitat humana cap a accions i principis pedagògics que afavoreixin la cerca de sentit en una societat de canvis constants, la recerca planteja l’objectiu de caracteritzar com les estratègies de creativitat expressiva susciten la consciència de la identitat corporeïtzada en l’alumnat adolescent de 14 a 15 anys en un centre d’educació secundària obligatòria. L’enfocament metodològic de la recerca ha estat de tall qualitatiu fenomenològic. Hi han participat 6 professors i 55 alumnes de 14 a 15 anys de l’Institut Lluís Domènech i Montaner de Canet de Mar, Barcelona, Espanya. La recerca conclou que, en aquest context, les estratègies de creativitat expressiva susciten la consciència de la identitat corporeïtzada en l’alumnat d’aquesta edat. Es conclou que l’alumnat descriu la identitat corporeïtzada com un fenomen complex, que no només depèn de la interconnexió de diferents aspectes –físics, pensaments, emocions, sentiments, accions i valors–, sinó que es configura a partir de la relació amb el proïsme. Al mateix temps, es conclou que les estratègies de creativitat expressiva estimulen la fluïdesa i la flexibilitat del pensament creatiu de l’alumnat respecte al significat de la identitat corporeïtzada, i que susciten una evolució de la vivència emocional cap a més positiva, en el cas de l’alumnat que partia d’una experiència prèvia menys positiva, i que és més positiva en el cas de l’alumnat que mostrava a l’aula més iniciativa i imaginació. Es conclou que les activitats en què estan més implicats els sentits afavoreixen la consciència de la identitat corporeïtzada i que les estratègies de creativitat expressiva fan possible que l’alumnat relacioni les dimensions de la corporeïtat amb els trets d’identitat que són més originals i significatius. Es conclou que les estratègies de creativitat expressiva susciten la consciència del significat que, per a l’alumnat, tenen els sentits (mirar i veure l’altre), l’espai (relacionar, adquirir), la introspecció (pensar, reflexionar, adonar-se, veure’s, descobrir, conèixer) i el temps (canviar, no canviar, créixer, madurar, saber), en referència a la seva identitat.
Adolescence is a stage of life when boys and girls go through physical changes and feel the need to redefine themselves physically. An educational paradigm is emerging that accepts the need to focus on investigating the human condition, and developing a planetary identity. This is found alongside the need for motor skill and movement sciences to take pedagogical principles and actions that promote the search for meaning - in a society of constant change - into account. The aim of the research study was to analyse the ways in which strategies of creative expression raise awareness of body identity/image in secondary school students aged between 14 and 15 years of age. The methodological approach of the qualitative research study was phenomenological. It involved six teachers and 55 students aged between 14 and 15 from the Institute Lluís Domènech i Montaner, a secondary school based in Canet de Mar, Barcelona, Spain. The research found that (in this context) strategies of creative expression raise awareness of body identity/image in students of this age. The students perceived their bodies through a complex phenomenon whereby various individual aspects –physical senses and sensations, thoughts, emotions, feelings, actions and values– interconnected with their relationship with others. At the same time, it can be seen that strategies which stimulate creative expression increased both the flow and the flexibility of each student´s creative thinking about the meaning of his or her physical identity. Those students who had previously gone through less than positive emotional experiences tended to develop in a more positive direction, while the students who showed the greatest initiative and imagination in the classroom had even more positive outcomes. The research also found that the more the senses were involved in a particular activity, the greater the awareness of body identity in the student. It concluded that strategies of creative expression awaken teenage students´ awareness of the true significance of the senses (looking at and seeing the other person); space (relating, acquiring); introspection (thinking, reflection, insight; and seeing, discovering and getting to know oneself); and time (change vs things staying the same, growth, maturity, knowledge) with regards to their own identities.
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5

Thorén, Mia. ""Och väggarna förvandlades till världen runtomkring" : pedagogers röster och praktiker kring att främja elevers fantasi och kreativitet i och genom fritidshemmets inomhusmiljö". Thesis, Högskolan Kristianstad, Fakulteten för lärarutbildning, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-20270.

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Betoningen i fritidshemmets och dess pedagogers uppdrag ligger på det som många gånger är oförutsägbart – lek, utforskande och kreativa arbetssätt samt att främja elevers fantasi och kreativitet. Fritidshemmet är även en fysisk plats – en komplex miljö där förväntningar om informellt lärande och omsorg ska iscensättas och ta plats. Den fysiska inomhusmiljön i fritidshemmet och pedagogernas roll i att använda den som en del av det pedagogiska uppdraget finns inte i detalj specificerat i styrdokumenten och är ett område som inte tidigare prioriterats högt i akademisk forskning, men kan ses vara på tydlig uppgång. Studien, som genomförts i form av samtalspromenader tillsammans med pedagoger på fyra fritidshem i Skåne syftar till att – genom ett designteoretiskt och sociokulturellt perspektiv – belysa pedagogers intentioner och praktiker kring att främja elevers kreativitet och fantasi i och genom den fysiska inomhusmiljön på fritidshemmet. Den ställer även frågan kring vilka artefakter som används för detta syfte och på vilket sätt de presenteras för eleverna. Studiens resultat visar en samstämmig bild av både det utbud av artefakter som presenteras för elever i syfte att främja kreativitet och fantasi, och ett ospecificerat uppdrag som i högsta grad är levande för pedagogerna men många gånger är marginaliserat.
The emphasis of Swedish leisure-time teachers assignment lies in the unpredictable characteristics of play, explorative and creative ways of working and encouraging child fantasy and creativity. The leisure time centre is also a physical space where a complex mix of expectations of informal learning and care takes place.   The physical learning environment of Swedish leisure-time centres, and the teacher’s assignment concerning it, is neither in detail regulated in steering documents nor well documented in academic research but seems to be an upcoming subject of attention.   This study, which has been executed as walking interviews with teachers in four Swedish leisure-time centres, aims to – through a sociocultural and multimodal theoretical perspective – illustrate the intention and applied practices concerning the encouraging of child fantasy and creativity in and through physical learning environment. It also aims to explore the use and range of artifacts and how they are presented to children.   The results of this study present a unanimous picture of the range of artifacts used and an assignment highly vivid to the teachers but still unspecified as well as marginalized.
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Macková, Eliška. "Multifunkční kulturní centrum "Creative City" Brno". Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2015. http://www.nusl.cz/ntk/nusl-394017.

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The diploma thesis Multifunctional Culture Centre ‘Creative City’ Brno deals with the architectural study of rebuilding and extension of the former prison building in Bratislavská and Soudní street in Brno for cultural, social and commercial purposes. The project includes a new use of the existing building for creative industries, commercial activities and services. There are apartments in the new extension. The parking places are situated below the ground level in the northern part of the complex. The building complex creates a pleasant environment contributing the creativity.
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Zomrawy, Elrashid. "Relaxation creativity". This title; PDF viewer required Home page for entire collection, 2007. http://archives.udmercy.edu:8080/dspace/handle/10429/9.

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Kärklkäinen, Jimmy. "Creativity and Craft Center : Bringing the Making to the City". Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-135593.

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Pieratos, Denise (Denise Rose) 1958. "Implicit ordering : a tribal center to connect land, community and creativity". Thesis, Massachusetts Institute of Technology, 1998. http://hdl.handle.net/1721.1/69403.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1998.
Includes bibliographical references (p. 37-43).
A design proposal was developed for a new tribal center to meet the current and future needs of the Anishinabe community on the Lake Vermilion Reservation, Bois Forte Band of Minnesota Chippewa, in northern Minnesota. At issue in the development of the design were issues of cultural usage of space, cold climate design imperatives, its selection, and programming considerations. Several considerations in the design of the center itself were site specific: a limited building footprint, primacy of view within the center versus climactic considerations, and the provision of access to the center given the steep topography of the land adjacent to the peninsula. Others were less easy defined, but imposed quite specific obligations. Anishinabe, for example, need to have a building in which they are spatially aware of their connection to the greater environment. The final design was sited on a peninsula set aside by the Band for community development and not built upon to date. The peninsula is located within easy walking distance of the public housing area and near to the reservation's best swimming beach. The new tribal center will integrate its future parking facilities with those of a proposed beach park. In addition to the main road, a walking trail will connect the beach and tribal center to the housing area. A secondary ceremonial road will preserve the established ritual of burial by connecting the new center to the tribal gravesites. The center itself houses a community hall for festival gathering and dancing, an auditorium for town meetings, a medical clinic for visiting physicians, a small library and student study space, a communal kitchen and dining area, and tribal offices.
by Denise Pieratos.
M.Arch.
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Lobbe, Justine. "Pour une conception de produits pour tous et par tous, co-créer la situation de vie". Thesis, Bourgogne Franche-Comté, 2018. http://www.theses.fr/2018UBFCA040/document.

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La conception de produits évoluant, il est aujourd’hui nécessaire pour les entreprises de proposer une réelle expérience pour l’utilisateur en accord avec ses besoins, ses caractéristiques et ses souhaits qui repose notamment sur l’intégration de l’ergonome, du designer produit et de l’utilisateur aux équipes de conception. Cet enjeu est démultiplié, dès lors que nous parlons de conception pour tous. Cependant, si l’utilisateur est souvent acteur des étapes d’analyse du besoin et d’évaluation de la solution finale dans les modèles de conception centrée sur l’utilisateur actuels, il est rarement sollicité au cours des phases de recherche de solutions et de créativité. C’est dans cette perspective que se situent nos travaux de recherche, en s’inspirant de la philosophie du « Faire » et des pratiques issues des Fablabs où les utilisateurs sont d’ores et déjà acteurs à part entière du projet de conception de produits. Ainsi, nous cherchons à mettre en place une conception de produits pour tous et par tous dans le but de répondre à notre problématique de recherche : « Comment favoriser en conception centrée utilisateur, l’intégration de l’utilisateur spécifique comme expert du quotidien aux côtés des experts de la conception, à travers des phases de co-créativité orientées sur la situation de vie ? ». Ainsi au cours de notre recherche, nous répondons à trois objectifs principaux. Tout d’abord, nous cherchons à identifier les méthodes et outils de co-créativité existants autour de la notion de situation de vie. Dans ce but, nous nous intéressons aux pratiques de co-créativité dans le cadre de projets industriels ainsi que dans l’univers spécifique du « Faire ». Nous réalisons ces différentes études à travers notamment la mise en place d’observation participantes, d’entretiens semis dirigés et de l’analyse qualitative des traces recueillies sur plus de 130 projets industriels. A la suite de cela, nous proposons un outil sur la situation de vie permettant d’intégrer l’utilisateur aux phases de co-créativité aux côtés des experts de la conception. Cet outil est proposé à l’issue d’expérimentations réalisées dans l’univers du « Faire ». Enfin nous validons expérimentalement par une analyse qualitative et quantitative cet outil de co-créativité sur la situation de vie auprès d’une équipe de conception interdisciplinaire intégrant l’utilisateur spécifique dans le cadre d’un projet industriel relevant de la conception pour tous
Product design is evolving. It is now necessary for companies to offer a real experience to the user regarding its needs, characteristics and desires. For this purpose, design teams gather the ergonomist, the product designer and the user. Thus, the many issues of what we called “design for all” are multiplied. Whereas the user is often involved all along the analysis of the needs and during the evaluation of the solution in the current user-centred design models, he is rarely integrated to the creativity phases. Inspired by the philosophy of “Make” and by the practices of the “Fablabs”, our researches are driven by the hypothesis that users should already be considered as full participants in the product design process. From this point, we want to set up a product design for all and by all, following our main research question: "How to promote, in user-centred design, the integration of the specific user as an everyday expert alongside classical design experts through the phases of co-creativity and framed by life situation? ". To achieve this goal, we answer three main objectives. First, we seek to identify existing co-creativity methods and tools around the notion of life situation. More precisely, we are interested in co-creativity practices in the context of both industrial projects and Fablabs ecosystem. We carry out these various studies through the implementation of participant observations, interviews and qualitative analysis of traces collected among more than 130 industrial projects. Following this, we propose a tool applied to life situation that allows us to integrate the user in the phases of co-creativity alongside design experts. This tool is built on top of experiments conducted in the universe of the "Make". Finally, we validate qualitatively and quantitatively our tool with an interdisciplinary design team that integrates the specific user into an industrial project of design for all
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Zara, Cecilia <1992&gt. "Cultura e resistenza tra tradizione e creatività. Il caso del Jenin Creative Cultural Centre". Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/16239.

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La tesi tratta del rapporto tra cultura e resistenza nei Territori Palestinesi occupati. Il primo capitolo prende in esame quanto le identità collettive cambino in base alle narrazioni dominanti, al contesto sociale ed alle esigenze contingenti. A causa del conflitto israelo-palestinese tali narrazioni tracciano dei confini tra sé e l’altro, e in questi processi un ruolo decisivo viene assunto anche dall’istruzione e dalle rappresentazioni identitarie portate avanti nelle scuole e nei libri di testo. Nelle fonti, viene contestato al sistema scolastico palestinese di accontentarsi di fornire nozioni che, anche se aiutano lo sviluppo di un orgoglio nazionale e a tramandare la memoria collettiva palestinese, lasciano poco spazio alla formazione di un pensiero critico e creativo. Nel secondo capitolo vengono analizzate diverse forme artistiche e culturali adottate nei Territori occupati per conservare e tramandare le proprie tradizioni ed il proprio patrimonio culturale, sia attraverso forme che rimandano a metodi, contenuti e simboli più tradizionali, sia che si ricerchino nuove tecniche espressive. Il terzo capitolo si concentra sul contesto geografico, storico, e culturale di Jenin con particolare riferimento all’invasione del campo rifugiati della città nell’aprile 2002. Il quarto capitolo racconta la realtà del Jenin Creative Cultural Centre: attraverso l’analisi di documenti rinvenuti sul luogo ed interviste personalmente condotte viene a delinearsi il profilo di un Centro culturale che per mezzo delle proprie attività diventa promotore di una resistenza non armata, bensì culturale. Le conclusioni indagano il rapporto tra cultura, resistenza e politica con una particolare attenzione al ruolo della creatività.
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Štefková, Barbora. "Kreativní centrum v bývalé káznici?" Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2012. http://www.nusl.cz/ntk/nusl-215922.

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Creative center in the former penitentiary? The diploma work should answer these questions: Does Brno have a potential for a creative center? What do creative people in Brno need? How could the creative center work? Is the object of the former penitentiary a suitable place for this center? And if not, what could by an alternative? The aim of the work will be to infer a strategy from the collected information for the establishment of this center in Brno and its architectural proposal.
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Persson, Zandra. "Socially engaged art in Rwanda: A case study of the Inema Art Center in Kigali". Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21884.

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The degree project explores how artists can contribute to social change processes in the contemporary Rwandan context. The general aim is to put light on the new Rwandan art scene and the actors involved in it. The study searches to understand how these artists perceive their role as actors for social change and the possibilities of art in Rwanda today. The Inema Art Center in the Rwandan capital Kigali serves as a case study for this purpose. The study is guided by the following two key research questions: 1. How does the Inema Art Center perceive its role as an actor for social change in contemporary Rwanda? 2. How does the Inema Art Center use art to fuel development? In order to respond to these questions, the study applies a combination of methodological approaches. The primary approach includes the conduction of interviews with six artists at the Inema Art Center. The interviews are analyzed from a critical discursive perspective. The narratives from the artists reveal how the artists talk about art and see their role as actors for social change. This approach focus is on language use as an indicator of social change. The secondary approach comprises the conduction of a visual analysis of the Inema Art Center’s promotion video. The video is analyzed from a mainstream semiotic perspective. The aim of this approach is to conduct a detailed analysis of the meanings the video is communicating in relation to art and social change. Whereas the first approach explores the personal and individual perspectives of the art activities at Inema, the second approach explores rather the institutional perspective, i.e. how Inema through social media presents itself to the public. The main conclusions of the study can be summarized as follows: Inema uses art to improve livelihood at different levels: individual, family, community and national. Inema is a homegrown initiative addressing development issues, but has not the ambition to become a subversive political movement. Hence, Inema refrains from addressing politically sensitive issues and prefers to remain in the politically accepted ―comfort zone‖. My research suggests however that artists such as at Inema are forerunners of the creation of a new innovative cultural discourse that is changing the cultural landscape in contemporary Rwanda. Inema sees its role in educating people allowing them to see things differently. Inema’s mission is to communicate the role and potential of art as an income generating activity to the community, but also as a contributor to the productive means to the wider Rwandan society. This is how artists can contribute to social change processes in contemporary Rwanda and help building up the country.
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Montgomery, Susannah Patton. "The Playful Art Museum: Employing Creativity as a Tool for Visitor Engagement". The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492031264532918.

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Earl, Emily Charlotte. "I Still Play: Exploring Play and Creativity in Early Adulthood Amongst Science, Technology, Engineering, Arts, and Mathematics Professionals". Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/594957.

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Play is acknowledged as a fundamental need and right of the human experience. However, across the human lifespan is not always valued. Research on play has traditionally been on children, and while some attention is now being paid to older adults, there is little scholarship regarding play in adulthood. This exploratory study examined how early adulthood (25-40 years old) play, the influence playing has on creativity and career performance, and implications for future research on play. The study was completed utilizing traditional and non-traditional research methods with the intent to incorporate the participants' voice and perspectives into a human-centered research design. The end results of this study, demonstrated that early adults engage in a number of play experiences that shape their development and learning as well as influence their creativity and work performance. The use of human-centered research provided participants with the opportunity to individualize data collection, analyze results, and have a voice in the final product.
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16

Kehler, Charlotte. "Stressa-Mindre - En studie om offentlig amning". Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22970.

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I denna studien undersöktes det om det går att använda produktdesign för att minska stressen för mammor vid offentlig amning. Syftet med studien var att hjälpa mammor att stressa ned och målet var att ta fram ett designförslag i form av en produkt för att uppfylla syftet.För att kunna lyckas med detta har användarcentrerad design legat till grund. Metoderna som använts är intervju, observation och enkät, och dessa gjordes på målgruppen nyblivna mammor. Vidare har studien krävt en marknadsundersökning för att se vilka produkter som redan existerar på marknaden. Även normkreativ design har använts för dels att uppmärksamma vilka problem som kan uppstå vid offentlig amning och samtidigt rikta kritik mot samhället för de alltför utbredda attityder om amning och dels för att föra studien framåt med hjälp av idégenereringar. Slutsatsen är, att det att behöva visa sig inför andra är den största orsaken till stress för mammorna vid amning. Självklart känner inte alla mammor så, men enligt flertalet av respondenterna i denna studien var detta deras största bekymmer när de vistades i andra miljöer än hemmet. Slutprodukten är ett designförslag på hur detta problemet skulle kunna lösas. Då alla individer är olika och har olika krav och åsikter kan inte en produkt behövas till alla, men enligt studien finns det en målgrupp för produkten.
This study examines whether product design can be used to reduce the stress for mothers during public breastfeeding. The purpose of the study was to help mothers to stress down, and the goal was to produce a design proposal in the form of a product with the purpose to succeed in this.In order to succeed, user-centered design has been the basis for the used methods, utilizing interviews, observations and questionnaires. this have been performed on the target group consisting of new mothers. Furthermore, the study has required a market research to see which products already exist on the market. Norm creativity design has also been used to pay attention to the problem of public breast-feeding and to criticize the society regarding the current attitudes on this, but also to help progression of the study by creation of ideas.In conclusion the biggest cause of stress for the mothers during public breastfeeding is having to bare yourself in the company of others. Of course, it is not a problem for all mothers, but in this study the majority of the respondents on whom the study is based, had dread of this. The end product is a design proposal on how this problem could be solved. Since all individuals are different, have different requirements and opinions, not all are in need of such a product, but according to the study there is a target group needing such help.
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17

Moratal, Ferrando Núria. "The role of large research infrastructures in scientifics creativity : a user-level analysis in the cases of a biological database platform and a synchrotron". Thesis, Strasbourg, 2019. http://www.theses.fr/2019STRAB003/document.

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A l'origine de cette thèse il y a le constat d’une science en changement. Ce changement se caractérise par deux grandes tendances globales : la dépendance croissante à des grands équipements coûteux et partagés et la production de données de masse qui sont également très coûteuses à stocker et gérer. Dans les deux cas ces ressources sont financées par des programmes publics et proposés à la communauté scientifique selon un principe d’ouverture à des utilisateurs extérieurs sous forme de Infrastructures de recherche (IR). Plusieurs facteurs peuvent nous amener à penser que les IR sont des lieux favorables à la créativité. Cependant les moyens par lesquels les IR favorisent la créativité n’ont pas été étudiés. L’objectif de cette thèse est de répondre à cette question. La problématique se décline en deux sous-questions de recherche. D’abord nous nous demandons, comment les IR peuvent-elles contribuer à la créativité scientifique de leurs utilisateurs ? Puis nous nous interrogeons sur : comment mesurer cet impact ?
At the origin of this thesis there is the observation of a changing science. This change is characterized by two major global trends: the growing reliance on large expensive and shared equipment and the production of mass data which are also very expensive to store and manage. In both cases these resources are financed by public programs and proposed to the scientific community according to a principle of openness to external users in the form of Research Infrastructures (RIs). Several factors may lead us to believe that RIs are favourable places for creativity. However, the means by which RIs promote creativity have not been studied. The purpose of this thesis is to answer this question. The research question is divided into two sub-questions of research. First, we wonder how IRs can contribute to the scientific creativity of their users. Then we ask ourselves: how to measure this impact
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18

Sekaninová, Jitka. "Multifunkční kulturní centrum "Creative City" Brno". Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2015. http://www.nusl.cz/ntk/nusl-394025.

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The thesis is a radical reconstruction and completion of a unique brownfield for cultural purposes, incubator of creativity, business and housing. The building is a former penitentiary near the city center between streets Bratislavská, Soudní and Cejl. It is a historical building which is currently unused. The complex for starting young entrepreneurs in a field of culture is supposed to serve as a center for a general public of art, particularly for the areas of so called industry of creativity such as architects, designers, painters, sculptors and also musicians, designers and developers of computer games. The building is historically valuable, especially due to the original vaults in the old part of the building which remain preserverd as much as possible. Only a part of a west wing has been demolished in order to construct a new expressive form as a shape of crystal which attracts the public from the Cejl street as it could be easily overlooked otherwise. The crystal has become a dominant part of the building and servers as a main entrance. A newer, less valuable part of the complex from the Bratislavská street, has been razed so there could be an underground parking and new extensions built serving the commercial and administrative purposes. The extenstions are the two operationally and structurally separated buildings allowing opening the entire area. A coridor which these two extensions create in between expands in a direction towards the legacy parts of the complex, thus the passers-by from a general public are pulled into the creative center through an attractive front-place. The original layou of each wing is retained what influenced their functional use decently. There are studios and workshops for artists located in the existing two floors along with multi-purpose hall, design market and theater hall with a trial rooms. There are additional studios, school of art with drawing and reading rooms and commercial areas situated in the extended floors.
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19

Kelly, Fiona. "Well-being and expression of self in dementia : interactions in long-term wards and creative sessions". Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/207.

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This is a multi-method ethnographic study, grounded in symbolic interactionism and social constructionism, which seeks to explore the social worlds of people with dementia in institutional long-term care. Carried out over six months, it uses non-participant observation, Dementia Care Mapping, video-recording, focused conversations and extensive fieldnotes to document types of interactions that fourteen people with dementia received in everyday ward life and during weekly creative sessions facilitated by occupational therapy (OT) staff. Using Kitwood’s (1997) work on person-centred care and Sabat’s (2001) work on selfhood (Selfs 1-3) it identifies their responses to such interactions in terms of their well or ill-being and expressions of Self. The study shows that everyday staff interactions with participants, while sometimes positive, were more often limited in their potential for maintaining or increasing well-being. Sometimes staff interactions were abusive; causing participant ill-being. Participants expressed Selfs 1-3 verbally and visually, although some of these expressions were subtle, fleeting and fragile. During creative sessions, OT staff engaged in sustained positive interactions, raising participant well-being and facilitating Self-expression; a fragile expression of Self could become a robust expression of Self, a past Self could be reclaimed and a desired Self co-constructed. My findings suggest that, in their interactions during creative sessions, OT staff generally recognised and supported Self of participants, raising well-being. However, ward staff did not fully recognise and therefore could not support Self in their interactions with participants, resulting in participant ill-being. This is a crucial finding, which could partially explain the differences in interaction types I observed, and the corresponding differences in participant well-being and Self-expression. This thesis argues for integrating the selfhood and person-centred approaches into an innovative staff-training programme, in order to bring about transformational change in practice. This might encourage care staff to reach out, recognise and respond to aspects of Self as they carry out care; promoting more positive ways of interacting with their patients, increasing patient well-being and fostering staff satisfaction.
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20

Hahne, Linda. "Askfat och galna gorillor : En essä om det Levande Verkstadspedagogiska förhållningssättet inom skapande verksamhet på fritidshemmet". Thesis, Södertörns högskola, Lärarutbildningen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-43641.

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In this scientific essay, I reflect on children's free creation within the creative activities in Swedish school and at leisure time centers based on my experiences as a Living Workshop pedagogue. I start from an event where a student expresses that during our creative sessions we "only make feelings" when the child and another pedagogue were allowed to create exactly what the child wanted. It made me think about how much I, as an educator control the students in their creation and what free creation really means. The purpose of this thesis is to investigate what my role as a Living Workshop pedagogue and leisure time center pedagogue is in the creative activity. My reflections are based on Vygotsky and May's theories of creativity and imagination and examine how the view of creative activity within the school can look like based on a dissertation on how teachers in aesthetic subjects and principals legitimize aesthetic activity. I present the current theories in Living Workshop pedagogy and reflect on the concept of free creation based on different theories. Furthermore, I reflect on what restrictions in relation to children's free creation there may be within Living Workshop pedagogy, as well as what restrictions there may be within the school and the leisure time center's activities linked to the current governing documents.
I denna vetenskapliga essä reflekterar jag över barns fria skapande inom den skapande verksamheten i skola och på fritidshem från mina erfarenheter som Levande Verkstadspedagog. Jag utgår ifrån en händelse där en elev uttrycker att vi under våra skapandepass ”bara gör känslor” när hen tillsammans med en annan pedagog fick skapa precis vad hen ville. Det fick mig att börja fundera över hur mycket jag som pedagog styr eleverna i deras skapande och vad ett fritt skapande egentligen innebär. Syftet med uppsatsen är att undersöka vilken min roll som Levande Verkstadspedagog och fritidshemslärare är inom den skapande verksamheten. Mina reflektioner tar sin utgångspunkt i Vygotskij och Mays teorier om kreativitet och fantasi samt undersöker hur synen på skapande verksamhet inom skolan kan se ut utifrån en avhandling kring hur lärare inom estetiska ämnen och rektorer legitimerar estetisk verksamhet. Jag presenterar de teorier som är rådande inom Levande Verkstadspedagogiken och reflekterar över begreppet fritt skapande utifrån olika teorier. Vidare reflekterar jag över vilka begränsningar i förhållande till barns fria skapande det kan finnas inom Levande Verkstadspedagogiken men även vilka begränsningar det kan finnas inom skolan och fritidshemmets verksamhet kopplat till de rådande styrdokumenten.
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21

Maul, Ludwig [Verfasser], i A. [Akademischer Betreuer] Albers. "Vernetzte Kreativität - Menschzentrierte Gestaltung und Integration einer Community-Plattform für Innovationsimpulse = Connected Creativity - Human Centred Design and Integration of a Community Platform for Innovation Impulses [[Elektronische Ressource]] / Ludwig Maul. Betreuer: A. Albers". Karlsruhe : KIT-Bibliothek, 2015. http://d-nb.info/1077251203/34.

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22

Decotter, Dominique Marie-Désiré. "L’analyse des besoins latents dans la conception de technologies émergentes : apports de la probe technologique". Thesis, Paris 5, 2013. http://www.theses.fr/2013PA05H131/document.

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Enrichie par les théories et les recherches provenant de plusieurs disciplines, l'ergonomie a développé des outils, des modèles et des méthodes centrés sur les utilisateurs dans le but de construire des systèmes utilisables et désirables. Aujourd'hui, de plus en plus d'entreprises investissent dans les technologies émergentes avec la perspective de créer des produits innovants pour atteindre un nouveau marché et/ou pour rester compétitif. Le défi, pour l'ergonomie et pour ces entreprises, est de mettre en oeuvre des outils ou des méthodes efficaces pour analyser et anticiper des besoins originaux et adaptés de manière à assister le développement de ces technologies. Cette thèse se focalise sur les besoins latents, en particulier pour les technologies émergentes, qui sont considérés comme essentiels dans la conception de futures innovations. Au cours de nos études, les besoins exprimés sont analysés avec des méthodes d’évaluations utilisées en créativité pour identifier les besoins latents. Nous étudions l’apport de la probe technologique en situation de co-conception pour comprendre comment cet outil facilite la construction sociale des besoins humains en mettant l’accent sur les situations réelles d’usages et les processus créatifs. Les résultats montrent qu’une temporalité longue, induite par l’utilisation de la probe, favorise l’élaboration d’idée comparée à l’utilisation de prototypes pendant une durée courte. Alors que les participants produisent plus d’idées dans la condition individuellement, les idées produites collectivement sont perçues comme étant plus créatives
Enriched by theories and research from several disciplines, ergonomics has developed tools, models and methods centred on users with the aim of building usable and desirable systems. Today, more and more companies invest in emerging technologies with the perspective of creating innovative products to reach a new market and/or to stay competitive. The challenge, for ergonomics and such industries, is to set up effective tools or methods to analyze and anticipate original and adapted requirements so as to frame the development of such technologies. This thesis focuses on latent needs, in particular for emerging technologies, which are considered essential in the design of future innovations. In our studies, expressed needs are analyzed with creativity evaluation methods to identify latent needs. We analyze the technology probe in a co-design context to describe how this tool facilitates social construction of human needs putting emphasise on real life settings and creative processes. Our results suggest that a long use, characterized by the probe, enhances ideation compared to the use of prototypes during a short period of time. Moreover, while the participants elaborate more ideas in the individual setting, ideas generated collectively are perceived as being more creative
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Walker, Mary H. Molly Giles. "Challenges and Choices -- Four Single Donor Museums (the Isabella Stewart Gardner Museum, the McNay Museum of Art, the Walker Art Center and The Barnes Foundation) -- Creatively Adapt to Change". Thesis, The University of the Arts, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1553850.

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Single donor museums like the Isabella Stewart Gardner in Boston, the McNay Museum of Art in San Antonio, the Walker Art Center in Minneapolis and The Barnes Foundation in Merion and Philadelphia, provide an intimate experience for their visitors, donors, supporters and staff members. They must compete with larger, more encyclopedic museums, with larger budgets and more resources. Like all museums, they hold art in the public trust and are responsible to the public. Contemporary museology asks not only that all museums protect their collections and educate the public, but that they also engage with their communities. None of the single donors highlighted had to donate their art, their money or their homes, but all chose to. Each museum chose to expand or relocate in response to difficult problems, whether financial, logistical (need for more space) or legal. Each engages new publics in creative ways. Certain predictable problems arose for each and they creatively resolved (and continue to resolve) those problems. Lessons learned from the experience of four single donor museums may suggest new thinking for those anticipating similar expansions or moves.

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24

Nebesářová, Jana. "Kulturní centrum Kopřivnice". Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2013. http://www.nusl.cz/ntk/nusl-215971.

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Main goal of this work is architectural and urban solution of cultural center at Kopřivnice. Design is working with partial demolition of original structure, which brings four separated buildings and creates new public space in the city center.
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Lokon, Elizabeth J. "OPENING MINDS THROUGH ART (OMA): AN ART PROGRAM FOR PEOPLE WITH DEMENTIA". Oxford, Ohio : Miami University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1229536912.

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26

Garcia, Jérémie. "Supporting music composition with interactive paper". Phd thesis, Université Paris Sud - Paris XI, 2014. http://tel.archives-ouvertes.fr/tel-01056992.

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This thesis focuses on the design of interactive paper interfaces for supporting musical creation. Music composition has been deeply influenced by the computational power brought by computers but despite the use of software to create new sounds or work with symbolic notation, composers still use paper in their creative process. Interactive paper creates new opportunities for combining expression on paper and computation. However, designing for highly individual creative practitioners who use personal musical representations is challenging. In this thesis, I argue that composers need personal and adaptable structures on paper in which they can express and explore musical ideas. I first present three field studies (Chapter 3) with contemporary composers that examined the use of paper and the computer during the composition process and how linking the two media supports exploration of musical ideas. I then describe a participatory design study that investigates the use of formal musical representations (Chapter 4) for creating new paper interfaces that extend computer-aided composition tools. I introduce Paper Substrates (Chapter 5), interactive paper components that provide modular structures for interacting with personal representations of computer-based musical data. I detail tools that we created to develop paper applications with the Paper Substrates approach. Several examples illustrate the creation of personal structures and musical content that can still be interpreted by computer-aided composition software. I then describe a structured observation study with 12 composers who used Polyphony to compose a short electroacoustic piece (Chapter 6). Polyphony is a unified user interface that integrates interactive paper and electronic user interfaces for composing music. The study allowed us to systematically observe and compare their compositional processes. Finally, I report on a research and creation project with the composer Philippe Leroux during the composition of his piece Quid sit musicus (Chapter 7). Several work sessions with the composer and a musical assistant lead to the design of new paper- based interfaces for generating composition material, synthesizing sounds and controlling the spatialization from handwritten gestures from calligraphic gestures over an old manuscript.
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Fleming, Bronwyn Wendy. "The imagination station : a centre to inspire & promote creativity in Newtown, Johannesburg, South Africa". Diss., 2013. http://hdl.handle.net/2263/32772.

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As with the majority of Johannesburg areas, the Newtown Electric Power Station Heritage Precinct does not fully realise its potential for spatial relations facilitating creative means of living. Creativity is a powerful tool to engage present and future possibilities. A Centre to stimulate creativity will benefit the direct area users, as well as contribute to the prominence of the historical and cultural richness of Newtown. The vacant site adjacent to the Sci-Bono Discovery Centre provides an apt location for the Creativity Centre as the intervening programme will activate, strengthen and define the presently underutilised street corner edges. The proposed architectural spaces aim to direct the site’s current movement routes created by pedestrian commuters, in order for creativity to become more ingrained in daily life. The proposed architectural elements aim to facilitate creative activities - both curatorial and organically inspired through community appropriation of specifically designed open, or adaptable, spaces. The Centre aims to become a creative community gathering hub: becoming integral to the existing creative individuals currently pursuing artistic practices in Newtown. Gesamtkunstwerk theoretically guides the project: in terms of the architectural intervention being comprised of singular elements all contributing to a greater whole. Gesamtkunstwerk also programmatically unites the entire Electric Power Station city block, through promoting the unification of art forms with life, as a holistic, creative entity. The Centre acts as a crucial beacon highlighting the importance of creativity in the contemporary South African situation where it is undervalued and underutilised. It also articulates that as a directorial element of societal authorisations and processes, architectural design should articulate the value of creativity through facilitating and inspiring creative modes of living.
Dissertation MArch(Prof)--University of Pretoria, 2014.
Architecture
MArch(Prof)
Unrestricted
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28

Pimentel, Diogo Silva Carvalho. "Momentum : Centro cultural e criativo". Master's thesis, 2019. http://hdl.handle.net/10400.26/32698.

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O presente plano de negócio visa definir e apresentar uma estratégia para a criação, implementação e gestão de um centro cultural e criativo na Grande Lisboa. Para além de toda a parte teórica que faz referência ao crescimento da economia e das indústrias culturais e criativas por todo o mundo e, com especial foco, em Lisboa, este plano consiste em apresentar detalhadamente todas as etapas necessárias para a implementação do centro, descrevendo não só uma proposta de um conceito, os seus valores, a visão e a missão, assim como o mercado que abrange, o seu público-alvo, os recursos humanos, os equipamentos, fornecedores, parceiros, operações, estratégias e ainda o plano de investimento que o projeto necessita para colocar em prática as atividades propostas, tendo como intuito, viabilizar a implementação de um centro criativo que responda às exigências, necessidades, interesses e desejos associados às tendências emergentes. Este documento apresenta por escrito uma proposta que, através da dinamização de diversas atividades de valor cultural e criativo, tem como objectivo, solucionar necessidades e interesses crescentes nas sociedades desenvolvidas quer por consequência da emergência de novos estilos e culturas de vida, quer devido a inúmeros outros factores, sendo que, com base em pressupostos próximos da realidade foi possível projetar resultados financeiros credíveis e, desta maneira, testar e analisar a viabilidade do negócio em estudo. Este plano, tal como as conclusões e recomendações retiradas do trabalho indicam, o projeto vai ao encontro das informações e ideias apresentadas no desenvolvimento teórico, sendo que, para isso, foi essencial recorrer a métodos de pesquisa apropriados à consistência do plano e, tendo como objectivo, agregar valor e eliminar riscos, adequando o projeto ao território envolvente da melhor forma e, assim, tirar o máximo proveito possível, numa primeira fase é apresentada a fundamentação teórica fazendo referência às sociedades e às tendências emergentes, apresentando as dinâmicas de sucesso que as cidades devem adoptar para enfrentar o futuro com base no uso da criatividade e da inovação, bem como, os atores e os instrumentos deste novo sistema. Após esta análise, com vista a clarificar o conceito do centro e a sua influência, o plano apresenta uma breve análise à expansão e desenvolvimento da economia criativa e das indústrias e atividades presentes na Europa e, particularmente, em Portugal, bem como, o estado do sector cultural em Lisboa e ainda os fatores de atratividade que têm contribuído para o desenvolvimento exponencial da região em questão. Para concluir, com base na problemática identificada, foi necessário desenvolver o plano em concreto, tendo em consideração, todas as exigências necessárias e obrigações legais para implementar e garantir o bom funcionamento do centro. Neste sentido, o plano de negócio que se segue é então uma ferramenta essencial quer para analisar com maior detalhe todas as atividades, processos e etapas que devem ser executados para garantir o bom funcionamento do centro, quer para elucidar as etapas de implementação e expansão do negócio, contribuindo para a geração de conteúdos e demonstrações de resultados com o intuito de seduzir ora investidores, ora parcerias estratégicas e, assim, solicitar empréstimos, apoios, financiamentos ou incentivos com maior probabilidade de sucesso.
This business plan aims to present a strategy for the implementation and management of a cultural and creative centre in Great Lisbon. In addition to the theoretical section, which refers to the growth of the economy and cultural and creative industries around the world and, with particular focus on Lisbon state, this plan consists in presenting all the steps needed to implement a cultural and creative centre, describing not only a proposal concept and its values, its vision and its mission, as well as providing an idea about the amplitude of the respective market and defining its target audience and the human resources, the equipment, the suppliers, the partners, the strategies and the investment required to build a creative centre and put into practice the proposed activities to respond to the demands, needs, interests and desires of the emerging trends. In this way, this document presents a proposal that, through the promotion of different activities with cultural and creative value, aims to solve the evolving needs and interests of the societies, either as a result of the emergence of new cultures and new lifestyles, or due to uncountable other factors base on the new generations and on the new economy that will drive the societies in the future, exploring credible financial indicators to analyse the viability of the business under study. This plan, as the conclusions drawn, meets the information and ideas presented in the theoretical segment about the creative economy and the dynamics of success that cities must adopt to face the future, providing brief studies about the expansion and the development of the creative economy and their industries in Europe, as well as the state of the cultural sector in Lisbon and also the factors of attractiveness that have contributed for the exponential improvement of the entire region covered by the Lisbon Metropolitan Area. Following this analysis, in order to clarify the concept and solve the problem identified, this plan is an essential tool which its intention aims to ensure that the centre operates as it must according to the needs, desires and interest of the new societies, as well as according to the requirements and legal obligations to implement the centre. In this sense, the following business plan is a tool which analyse in greater detail the activities, the processes and the steps that must be achieved to ensure that the centre is workable and profitable in order to generate contents and seduce investors to, therefore, request financial support with greater probability of success.
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Huei-Lu, Yin, i 尹蕙露. "A creativity study on infrastructures of center for disease control, DOH Taiwan". Thesis, 2006. http://ndltd.ncl.edu.tw/handle/69194829360989626509.

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碩士
國立政治大學
行政管理碩士學程
94
In the era of knowledge economy, the knowledge creation/innovation and management have become the social mainstream, and the most pivotal human resources are the development of creativity. An organization can continue its management forever only by ceaseless development of creativity. The organization creativity also is an incentive to keep organization expanding and growing, has the crucial impact on organization's competitive superiority. Building up a stable infrastructure within an organization favor creativity may assist touching down the final goal of an institute. This research project has mainly adopted different approaches including literature review, case study and in-depth interview. Important theories, especially in the field of the meaning of creativity, creativity characteristic, job environment for creativity and organization creativity were brought together for comparison and discussion. Based on analysis the factors for organizational creativity, four key categories, job environment for creativity, creativity behavior, creativity skill and capability for organizational creativity were chosen as the topics for in-depth interview. Taiwan Center for Disease Control was the subject for this case study. Therefore all the previous General Directors of Taiwan CDC were the candidates for the interview to get insight the organizational creativity since CDC founded in July of 1999. This research project has several findings. 1. Institute leader is the key person to initiate the establishment of creative environment. 2.Middle class managers are responsible for maintaining the unimpeded communication channel for the establishment of creative environment. 3.Incentive measures mush be considered for the establishment of creative environment. 4.Fair promotion is important within an institute for the establishment of creative environment. 5.Organization must provide resources for the establishment of creative environment. 6.Good training programs are necessary for the establishment of creative environment. 7.Goals should be achievable and crystal clear for the establishment of creative environment. 8. Internationalization is vital for the establishment of creative environment. 9.Organization overall creativity is not equal to the sum of all individual creativity. According to the literature review and in-depth interview in this study, following suggestions were proposed: First, broad recruitment of elites into institute should be taken for development of organizational creativity. Second, concept of teamwork should be established as the basic foundation for development of organizational creativity. Third, support systems should be built for development of organizational creativity. Key Words：Creativity、Creative Personality、 Organizational Creativity
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30

Silva, Tiago Filipe Pereira da. "Innovation, creativity and new product development: a human central design case study". Master's thesis, 2020. http://hdl.handle.net/10400.26/31944.

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Innovation as been changing through the years and companies are continuously seeking for enhanced processes to achieve competitive advantage. Innovation is now seen as an open and collaborative process with the entering of different players in the ecosystem. Universities are relevant candidates to change innovation landscape and contribute to the reality of a learning economy. The present work explores a university-industry collaboration based on a case study of an innovation project under the ME310 program. Porto Design Factory (P.Porto) and IKEA Industry joined forces to tackle a problem using the Human-Centred Design (HCD) approach. The case study methodology provides an understanding the outcomes that revealed the potential of the HCD to solve a technical problem while enhancing the customer experience. Also, it’s possible to recognize the benefits that each institution had by collaborating. Research, prototypes and comprehensive documentation with all the knowledge generated through the process, were some of the results that contributed to the company’s innovation effort. PDF also benefited by providing differentiating learning conditions and employment opportunities to its students. The outcomes show that companies do benefit from building interfaces with external partners and that universities are relevant players in the innovation ecosystem satisfying its third mission. Further investigation may look for the level of implementation of the concepts coming from this kind of partnerships as well as it impacts in company’s culture and work process in the long term.
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Kam, Shau Wan Sanly. "An examination of the creativity of young children in four child care centres in Hong Kong". 2009. http://arrow.unisa.edu.au:8081/1959.8/82969.

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In Hong Kong, there is a growing awareness in early childhood centres that young children's learning is enhanced where they are encouraged to express and develop their creativity during the learning process. This study was principally concerned with examining (a) how young children expressed their creativity and (b) factors that contributed to their creative products and creative performances in child care centre settings in Hong Kong. This study investigated young children both individually and as a group, and it examined the approaches and teaching strategies that tended to nurture children's creative potential.
Thesis (PhD)--University of South Australia, 2009
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32

Abdel, Kader Shereen. "Enhancing creative behavioral expressions in school systems the need for educational reform and a center for creativity /". 2008. http://www.etda.libraries.psu.edu/theses/approved/WorldWideIndex/ETD-2658/index.html.

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33

Pei-ChiaCHiang i 江珮嘉. "The Network Relationship between University Incubation Center and Student Start Up- A Perspective from the Culture and Creativity Incubation and R&D Center and Hsiu". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/pa684j.

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碩士
國立成功大學
創意產業設計研究所
103
This research is a combination of technical research and research thesis which topic on an empirical student start-up business, Hsiu. Hsiu is a new footwear brand producing creative handmade embroidered shoes in Taiwan. This start-up business has operated for 2 years (since 2012) by the researcher. Through practical experience and by documenting the incubating networks to see the relationship between incubating networks and student entrepreneurship, it was discovered that in this new venture, in addition to personal networks, the incubation center (Culture and Creativity Incubation and R＆D Center) provided many opportunities for new ventures to link with external networks. This study draws on the entrepreneurial network literature to study the relationship between incubating networks and the Hsiu venture development. The entrepreneurial network is analyzed as the content is exchanged between actors, governance mechanisms in relationships, and the network structure. Four network development phases are also examined in order to explore the building process of a start-up business from its internal networks to its external networks. The basic methodologies used to achieve the research objectives are content analysis and participant observation analysis. Finally, the anticipated result provides a strategic action plan for Hsiu’s future network development.
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34

WU, Chin-Mei, i 吳靜美. "A Study on Visual Art Experience of the Visually-impaired:The Practice of Feltwork Course in Pu-Yu Culture Creativity Center". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/huf453.

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碩士
國立臺北藝術大學
藝術與人文教育研究所
100
Sensory perception is the foundation of all kinds of mental activities. It is the sense of sight that people mainly use to experience surroundings and obtain information. For those suffering from visual disability, they have to use the sense of touch, hearing, smell, and motion to replace their own sense of sight. As a general rule, people find it hard to relate “the visually disabled” with “visual arts” and even assume that visual arts exclusively belong to those who have no trouble seeing. However, after I knew the wool felt artworks made by the visually disabled are so unbelievably well done in aspects of colors, shapes, and texture, I started to wonder the significance of visual art to the visually disabled when they can be engaged in the making of visual arts. I worked on the study with the Visually-impaired Service and Development Division under the Taipei-based Eden Social Welfare Foundation. Through participating and observing as well as interviewing and data analyzing, this study focuses on how the visually disabled understand and practice visual arts. In addition, it covers the sensual and practice experience of the visually disabled and the medium of art education for them. Also, the study includes documents on how the visually disabled perceive the world and their learning behavior analyses which focus on the differences, advantages, limits and the resolution. With the discussion of the practice and the case I worked with, hopefully this study can draw more public attention to the art education for the visually disabled and to the fact that visually disabled people are able to create art through senses other than sight, which thus encourages them to develop a more meaningful value of life beyond physical boundary.
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35

Lima, Fernando Afonso Carrapatoso. "A process centred perspective of the creative industries : an analytical model for management". Master's thesis, 2014. http://hdl.handle.net/10400.14/28098.

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This dissertation adopts a process-centred perspective of understanding the economic model of the creative industries, so as to explore how can one build an analytical model that can be useful for improving management practices in those industries. The point of departure to address the research question was to review the debate around the definition of creative industries; then followed a discussion on the development of a framework for the understanding of the creative industries process-centred perspective; finally an assessment of the creative industries’ economic model from the management perspective was done via a value-chain analysis, in order to discuss the implications of the process-centred perspective for management and for public policy design. The research developed allowed the proposal of an analytical model that revealed the importance of operationalizing the understanding of value-creation through creativity in management practices. It also emphasized the challenge in balancing open-ended processes with the firm’s commercial purposes, by managing intangible aspects of the creative process and the engagement of the creative workers into the creative process. The analytical model developed may be helpful for managers insofar as it offers a disaggregation of the companies’ activities by focusing on the assessment of how the creative process can recursively occur in the company as a production process. Moreover it may help on the identification of the core-activities and the assessment of the main components of those activities. The research done intends to contribute to the understanding of how the creative industries work and to the development of good management practices in the sector. Thus, it also suggests that it would be interesting to develop research on a theoretical revision of the components of the creative industries’ economic model and on a proper comparative analysis of the model delivered at an inter-sector, an inter-temporal and at a subsector level. By advancing an analytical model for creative industries that is focused on its usefulness for management, it indicates areas of interest for empirical research.
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36

Pinto, Miguel Faria Rocha. "Bridging the divide: a creativity hub in Alexandra’s Marlboro Gautrain precinct". Thesis, 2014. http://hdl.handle.net/10210/9684.

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M.Tech. (Architectural Technology)
Alexandra's Far East Bank, formerly an apartheid buffer zone, is caught up in a reactive process by government to provide both housing and public transport. This process has resulted in a segregated relationship between the Marlboro Gautrain Station and the adjacent Reconstruction and Development Programme (RDP) housing scheme. The station is completely cut off from the immediate community by a perimeter fence with 24-hour security. This further entrenches the division between the Gautrain commuters and surrounding community. This forced physical relationship sets up an opportunity to design and create a space that aims to straddle the current socioeconomic gap. After on-site investigation and research, a This project would be the first catalytic response to the City of Johannesburg’s Regional Spatial Development Framework (RSDF) for Region E (CoJ 2009/10: 149). The
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37

Hsu, Ju-Ching, i 徐如菁. "The Relationship Between Language Learning and Creativity Development of Decedents of overseas Chinese In Thailand ~A Chinese Language Center In Bangkok As An Example". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/h87kh6.

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碩士
國立中山大學
教育研究所
104
The purpose of the study was to investigate relationships between Chinese capacity, English capacity and Thai capacity of language and creativity performance as predicted by Threshold theory. The study also examined how gender, age and different types of schools affects children''s language development and creativity performance. Research participants were 149 decedents of overseas Chinese in Thailand. Two measures were employed, including Peabody Picture Vocabulary Test-Revised and Torrance’ s Tests of Creative Thinking, Figural B. ANOVA, Scheffe comparison and Pearson correlation were conducted for data analysis. The major findings were：(1)Students with trilingual superiority group and trilingual weak group had significant differences of the creativity performance scores. (2)Students with trilingual superiority group and monolingual superiority group had significant differences of the creativity performance scores. (3)Gender was a significant differences of English version of Peabody Picture Vocabulary Test. However, no significant differences of other performance scores. (4)Students with international School and Thai local schools had significant differences in performance scores of language and creativity. (5)Age was a significant differences in performance scores of language test. However, no significant differences in performance scores of the creativity. Researcher suggested that can add the test of speaking and writing. And use the more appropriate research tools for language test, so as to measure the close ability of students. In addition, the family background of students can analysis and discussion in further research.
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Abrunhosa, Nuno Brás Sequeira. "As indústrias criativas como regeneração urbana : a Rua João Mendes e o Centro de Estudos das Bocas, em Viseu". Master's thesis, 2013. http://hdl.handle.net/10400.14/23895.

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A cidade é por excelência o espaço de actividade do ser humano. Este trabalho incide sobre estes dois intervenientes, num processo cumulativo, de adição. Um processo histórico. Defende-se que a cidade é o reflexo do homem e da sua capacidade de responder a situações adversas, a obstáculos. Mas, como fruto da invenção humana, a cidade não é perfeita. Encerra em si múltiplas contrariedades. Tenta-se perceber, através da análise histórica, quais os pressupostos que dão origem às dificuldades do meio urbano, sobretudo à decadência dos seus tecidos. Procura-se entender esse processo de declínio em que estão mergulhados os seus centros históricos, plenos de identidade e memória. E, seguidamente, encontrar estratégias para os regenerar. Aponta-se a criatividade como modelo que pode participar nesse processo. A exploração da capacidade de conhecimento e criatividade humanas ao serviço da alteração do tecido físico e social. Parte-se dessa premissa na tentativa de conceber uma estratégia transversal, que potencie os centros históricos na dinâmica urbana e que consequentemente crie coesão entre as partes. A aposta nas indústrias criativas como veículo para operar a regeneração urbana visa combater o envelhecimento da população que ocupa os centros históricos (atraindo camadas mais jovens), mas, também pretende contribuir para a melhoria da mobilidade. O idoso e a pessoa portadora de deficiência (motora ou cognitiva) são aqui retratados como elementos impedidos de viver a cidade na sua plenitude. Como arte técnica que trata a cidade, a arquitectura participa dessas contrariedades. A questão espacial e o modo como esta se relaciona com o indivíduo estão no centro da sua razão de existir. Este trabalho tem como princípio a regeneração de um tecido em decadência, em que apoiado pela arquitectura, visa contrariar essa tendência.
The city is the quintessential space of human activity. This paper focuses on these two players, in a cumulative process of addition. An historical process. It is argued that the city is a reflection of man and his ability to respond to adverse situations and obstacles. But as a result of human invention, the city is not perfect. It encloses many setbacks. One tries to understand, through historical analysis, what are the assumptions that give rise to the difficulties of the urban environment, most particularly the decay of its fabric. One attempts to perceive this process of decline in which their historical town centers, full of identity and memory, are immersed and, then, find strategies to regenerate them. Creativity appears as the model that may participate in this process: the exploration of the capacity of human knowledge and creativity at the service of the physical and social fabric changing. It starts with this premise in an attempt to develop a cross-cutting strategy that maximizes historical city centers into an urban dynamics and consequently creates cohesion between the parts. The investment in the creative industries as a vehicle to operate the urban regeneration aims to combat the ageing population that lives in the historical city centers (attracting the youngest) but also aims to contribute to improve mobility. Elderly people and disabled people (with motor or mental deficiency) are here portrayed as unable to experience the city in its fullness . As an art technique that treats the city, the architecture takes part in these setbacks. The space issue and thow it relates to the individual are at the center of its raison d’être. The principle of this work is the regeneration of the urban fabric decay that, supported by architecture, aims to counter this tendency.
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Chieh-Ju, Lin, i 林潔如. "The study of creativity of daren product, the marketing and the management strategy the central ─National Taiwan Normal University, Industries Innovation Incubation Center as an Example". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/83355544926517513548.

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碩士
國立臺灣師範大學
創造力發展碩士在職專班
100
This research is for the purpose of discussing research of product, the marketing and the management strategy the creativity Daren, and six group of creativity Daren who nurtures in the center by of the Taiwan normal university innovation for selection for object of study. The research material uses the archery target research, and discusses its product, the marketing and the management strategy aspect by the depth interview. The research material is transfers the interview content the writing manuscript, by way of reads, the analysis, the overlapping ratio repeatedly to, the induction, the synthesis, understood that these creativity Daren in the product, the marketing and the management strategy aspect, inspires the junior because of theirs life story. Some participant's parents educate the manner at the right moment to provide the support or the assistance. Some participants study the process to be very smooth, depth teacher's influence and inspiration. Some participants based on cause opportune moment, own interest and road of the ability then investment undertaking. Some participants do not satisfy as well as in the hope work change to the work urge them to hope to ask in the undertaking to strive for change newly and happily in which. This research will aim finally further at product, the marketing and the management strategy and the futurology the creativity Daren proposed separately the suggestion will supply the reference.
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40

Chang, Hui-Shai, i 張蕙曬. "The Critical Factor in Impetusing the Ideas of Innovation, Creativity &; Imbark Curriculum and the Stimulation of the Innovative Thinking Integration Center to the Universities (Special)and Colleges". Thesis, 2014. http://ndltd.ncl.edu.tw/handle/36725135296079681262.

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碩士
中華大學
企業管理學系碩士班
102
The main purpose of the research is to discuss the key to impetus Innovation ,Creativity and Imbark courses(Shorten as: TRI ) into the post-secondary and to show the possible way lead to the seamless trail connection between the production mission, the government and the education institutions. The different ministries in our government(Ministry of Education、Ministry of Science and Technology、Youth Development Administration, Ministry of Education、Small and Medium Enterprise Administration、Workforce Development Agency..etc) have been promoting plans such as Innovative Imbark rooted and encouraged projects which are impetused to the Universities (Special)and Colleges、The project of Graduated-student Imbark 、the seminar courses of Innovative Imbark Business and the promotion and encouragement of the policy about the Innovative thinking integration centre. It allows the Innovative Imbark Business, which has always been thought of as the fresh current of Economic in the country to enter the Universities (Special)and Colleges systems, and then further seriously stimulate the Innovative thinking integration center. In this research, the preliminary assessment is to establish a hierarchical structure through the literature review and the collection of related information , using the level analysis procedural law (Preference Relation Analytic Hierarchy Process, PR AHP) to carry on the analysis. The object groups to the research are the school decision-making managers, the correlation power and the commanders of concerned agencies, teachers, serial entrepreneurs, Administration staffs and the official policy-executed commanders ; After arranging the related information that are used and found during the research, the results point out the weights ranking order in the overall assessment listed as followed: "The dimension of building TRI system and execute it into educational services "、" The dimension of resources in the industries"、" The dimension of resources in the government "、" The dimension of putting TRI education into educational services". Anticipating to know whether there's possibility that the research could have provided some information to the government and the commanders would take it as reference. What's more, we look forward to seeing the government using the research findings to actively promote the competitive in Imbark Business among the new and youth generation ,impetus the international competitive of employment, and the capable of having strict connection to the world.
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Kuo, Yu-Ting, i 郭瑜婷. "A STUDT OF THE IMPROVEMENT OF THE CREATIVITY ABILTIES OF CHILDERN THROUGH CREATIVE DANCE PROGRAM AND TEACHING----A CASE OF THE SUN-TSAI DANCE ART CENTER IN TAICHUNG CITY". Thesis, 2005. http://ndltd.ncl.edu.tw/handle/95511824261942470845.

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碩士
國立臺灣體育學院
體育研究所
93
Abstract 　　The aim of the study is discussing how the creative dance teachings influence the children’s creativity. By the putting into practice of creative dance teaching to cultivate the creativity of children. Supervise the adaption of the curriculum when the researching progress is run. Discusing the base ability of creation in the masterworks and design the creative dance curriculum according to the source of dance. By the active research to put the creative thinking teaching into practice and into dance curriculum. The researcher group includes teachers, curriculum designer observation and parents. The aim includes eight seven to nine years old children who already learn dancing for four years. The results of the studying are as follow: 　　First, Creative dance teaching can increase and promote the children’s five powers and four hearts by the designed of dance sources. 　　Second, Focus on the five key points of creativity of conscious: sense, fluency, application, creativity, improve, and the four key points of adventure, imagination, challenge, curious, I analyze and count to analyze then fount that: children’s creativity improved and the countable ending “P” is .000. It’s obviously changed. 　　Third, Teacher take good use of creative teaching policy and creative dance teaching three active rules then play the important director role in class help the creations of learners. 　　According to the results of the study: through the creative dancing teaching can not only improve the creation of children but also increase the interests of students by the teacher’s direct and the putting into practice of the course. The researches suggest the result for the future creative dance teaching to apply and research.
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Lohse, Aline, i Jacob Strobel. "Ingenieure und Holzgestalter - Innovation engineering für gestaltungsorientierte Berufsbilder". 2018. https://ul.qucosa.de/id/qucosa%3A33236.

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Ziel des Institutionen übergreifenden Praxisprojektes war die Verbindung von Theorie und Praxis in der Lehre für die Disziplinen Arbeitswissenschaft, Innovationsmanagement und Holzgestaltung. Es wurden selbstproduzierte Lehr-Lernvideos nutzerzentriert entwickelt, auf ihre Usability und User Experience hin geprüft und zur Ideenfindung im Innovationsprozess eingesetzt. Forschungsseitiger Fokus war die Evaluation zur orts- und zeitunabhängigen Zusammenarbeit im Kreativitätsprozess. Das Projekt wurde von der TU Chemnitz – Professur Arbeitswissenschaft und Innovationsmanagement und der Angewandten Kunst Schneeberg Abteilung Holzgestaltung realisiert.
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Жидченко, Юлія Олександрівна, i Yuliia Oleksandrivna Zhydchenko. "Формування креативності дітей старшого дошкільного віку в центрах розвитку дитини". Master's thesis, 2021. http://repository.sspu.edu.ua/handle/123456789/11864.

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У кваліфікаційній магістерській роботі теоретично обґрунтовано сутнісну характеристику формування креативності дітей старшого дошкільного віку в центрах розвитку дитини, що викликає потребу актуалізувати прояв творчості та ініціативи кожного українця. Визначено і обґрунтовано педагогічні умови формування креативності. Розкрито критеріально-рівневе оцінювання сформованості креативності дітей старшого дошкільного віку. Встановлено, що старший дошкільний вік є одним із найбільш сприятливих для формування досліджуваної якості особистості. Серед особливостей прояву креативності дітей цього віку визначено такі: відмова від шаблону, оригінальність, ініціативність, наполегливість, висока самоорганізація, працездатність. З огляду на креативність як особистісну категорію, актуалізовано, що вона виникає і вдосконалюється через активну взаємодію дитини з навколишнім середовищем. Проведена експериментальна робота засвідчує ефективність розробленого комплексу педагогічних умов, що підтверджують отримані результати контрольного зрізу.
The qualifying master’s thesis theoretically substantiates the essential characteristics of creativity formation of senior preschool children in child development centers, which causes the need to update manifestation of creativity and initiative of every Ukrainian. The pedagogical conditions of creativity formation are determined and substantiated. The criterion-level assessment of creativity formation of senior preschool children is revealed. It is established that senior preschool age is one of the most favorable for the formation of the studied personality quality. Among the features of creativity manifestation in children of this age are identified as follows: rejection of the template, originality, initiative, perseverance, high self-organization, efficiency. Given the creativity as a personal category, it is relevant that it arises and improves through the active interaction of the child with the environment. The conducted experimental work testifies to the effectiveness of the developed set of pedagogical conditions, which confirms the obtained results of the control section.
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Potgieter, Eugené. "Innovative teaching strategies within a nursing education model". Thesis, 1996. http://hdl.handle.net/10500/15801.

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Recent nursing literature has repeatedly proclaimed the need for creativity in nursing. The complexity of contemporary nursing practice as a result of the explosion of knowledge and technology, changing human values and diverse health care systems, requires an innovative and creative nurse who can adapt to change and provide holistic, individualised, context-specific patient care. Higher levels of cognitive thought, creative thinking and problem-solving skills have been stressed as desirable qualities of student nurses. It is suggested in the literature that the evolution of innovative strategies and the ways to implement them into nursing curricula be explored in order to assist and encourage students to develop these higher cognitive skills. From an analytical study of the literature which was undertaken with the aim of exploring the nature of creativity and the processes involved in creative thinking and learning, and of identifying innovative strategies particularly relevant to the teaching of nursing, it became apparent that the most significant determinants in teaching for creativity, are the learning enviromnent, the educator-student relationship, and the provision of a variety of teaching strategies, which are student-centred with a problem-solving focus. It was established that stimulation of both the left and right hemispheres of the brain is essential for the development of creative thinking skills. Based on the insights and knowledge gained in the study, a nursing education model for the fostering of creativity was developed. This model encompasses a wide variety of didactic considerations and is designed to stimulate whole brain learning. It is hoped that its use will be of value in the production of innovative and courageous nurse practitioners who will be better equipped to cope with the changes and challenges of their working environment and be able to provide context-specific nursing care.
Health Studies
D. Litt. et Phil. (Nursing Science)
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45

Van, der Westhuizen Hedwig Ruth. "Die gebruik van kreatiwiteit in spelterapie met seksueel-misbruikte kinders". Thesis, 2010. http://hdl.handle.net/10500/4944.

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Afrikaans text
Kreatiwiteit is die sentrale tema van hierdie navorsing. Die doel van die navorsing was om die relevansie en waarde van kreatiwiteit in spelterapie met seksueel-misbruikte kinders in die multi-kulturele konteks van Suid-Afrika, te ondersoek en te beskryf. Die navorsing is vanuit „n konstruktivistiese epistemologiese fundering en „n eksistensieel-fenomologiese paradigma gedoen, deur uitgebreide teoretiese en empiriese navorsing. Die teoretiese navorsingproses het eerstens op die holistiese impak van seksuele misbruik op kinders, te midde van hul spesifieke verhoudings- en omgewingskonteks gefokus. Dit het duidelik geword dat seksuele misbruik ernstige trauma by kinders veroorsaak, wat alle modaliteite van die kinders affekteer. Die voorkoms van komplekse posttraumtiese stresversteuring, vanweë langdurige seksuele misbruik, is teoreties beskryf en ook empiries bevestig. „n Sintese van gestalt-, persoonsgesentreerde en logoterapeutiese teorieë, is deur die navorser ontwikkel om die traumatiese nagevolge van die seksuele misbruik kreatief aan te spreek in spelterapie. Die verband tussen en vervlegting van kreatiwiteit en spelterapie is ondersoek en beskryf. Ook die bemagtigende waarde van kreatiwiteit om die kompleksiteit van hierdie kinders se trauma te hanteer is teoreties én empiries nagevors. Die oënskynlik teenstrydige prosesse van kreatiwiteit as „n intuïtiewe, artisitieke, én logiese, kognitiewe proses is ondersoek, om die waarde daarvan vir die navorsingsdoel te bepaal. Die aard en waarde van kreatiewe aktiwiteite en die uitdagings wat gestel word aan die terapeute om kreatief te werk te gaan om die komplekse proses van seksueel-misbruikte kinders aan te spreek, is verder teoreties en empiries nagevors en beskryf. Die noodsaaklikheid van die ondersteunende sisteme vir die kind en terapeut, in belang van „n suksesvolle afloop van terapie, is ook ondersoek, beskryf en beklemtoon.In die empiriese navorsingsproses is veelvuldige gevallestudies, met behulp van vyf deelnemende veldnavorsers gedoen, waar elkeen „n terapeutiese proses gevolg het, volgens riglyne en onder leiding van die navorser, met „n seksueel-misbruikte kind. Die benutting en waarde van kreatiwiteit is ondersoek, beskryf en geëvalueer in die samelopende proses van die navorser met elke deelnemende navorser en kind binne die diverse kulturele konteks in Suid-Afrika. Die teoretiese raamwerk van die navorser en die riglyn vir kreatiewe spelterapie met seksueel-misbruikte kinders is sodoende getoets, verfyn en afgerond as hulpmiddel in die breër Suid-Afrikaanse konteks. Die navorsingsbevinding was dat kreatiwiteit onontbeerlik is in spelterapie met kinders wat seksueel misbruik is in „n multi-kulturele konteks soos Suid-Afrika.
Creativity is the central concept of this research. The goal of the research was to explore the value of creativity in play therapy with sexually abused children in the multi-cultural South-African context. The research was done from a constructivistic epistemological foundation and existential-phenomological paradigms. Extensive theoretical research was supported and substantiated by empirical research. The theoretical research process focused on the holistic impact of sexual abuse on children in and as part of their specific context (field). It became clear that sexual abuse implies severe trauma for the child, and affects all of their modalities, and their functioning in their field. The impact of severe and ongoing sexual abuse on children, as complex post-traumatic stress disorder, was described to clarify their therapeutic needs. A synthesis of gestalt-, person-centred- and logotherapy to address the traumatic after-effects of sexually abused children creatively in play therapy, was developed and described and motivated in the research paper. The concept of creativity was defined and extensively explored an applied in the context of therapy with sexually abused children. Creativity as a cognitive process, a problem solving process, and an artistic process is explored and applied in this context. The value of creative activities, the challenges of being a creative therapist, the supportive role of the supervisor and the systems in society, was explored and described. The empirical research process was done in a participatory way in the form of a multiple case study. Five therapists followed a therapeutic process, according to the guideline, guidance and supervision of the researcher, with a child who had been severely sexually abused. The results from the research confirmed the value and necessity of creativity in dealing with the severe trauma of sexually abused children and bridging gaps in a multi-cultural setting. The theoretical framework of the researcher and a guideline for creative therapy with sexually abused children was tested in the empirical research process, and could be refined and finalised. It was concluded that the use of creativity is crucial in play therapy with sexually abused children in a multi-cultural context, such as South Africa.
Social Work
D. Diac. (Spelterapie)
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46

Stasko, Carly. "A Pedagogy of Holistic Media Literacy: Reflections on Culture Jamming as Transformative Learning and Healing". Thesis, 2009. http://hdl.handle.net/1807/18109.

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This qualitative study uses narrative inquiry (Connelly & Clandinin, 1988, 1990, 2001) and self-study to investigate ways to further understand and facilitate the integration of holistic philosophies of education with media literacy pedagogies. As founder and director of the Youth Media Literacy Project and a self-titled Imagitator (one who agitates imagination), I have spent over 10 years teaching media literacy in various high schools, universities, and community centres across North America. This study will focus on my own personal practical knowledge (Connelly & Clandinin, 1982) as a culture jammer, educator and cancer survivor to illustrate my original vision of a ‘holistic media literacy pedagogy’. This research reflects on the emergence and impact of holistic media literacy in my personal and professional life and also draws from relevant interdisciplinary literature to challenge and synthesize current insights and theories of media literacy, holistic education and culture jamming.
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Dilrajh, Kamla Moonsamy. "Fasiliteringsvaardighede vir T2-Afrikaansonderrig". Thesis, 2002. http://hdl.handle.net/10500/2450.

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Text in Afrikaans
Summaries in Afrikaans and English
This study aims to investigate and explain how the L2 -facilitator can effectively employ the various facilitation skills of language teaching in Afrikaans Second Language within the Outcomes Based Education framework in the learner-centred classroom. The facilitator is critical in providing an opportunity for multicultural learners to develop the necessary language learning skills to enjoy Afrikaans Second Language/Additional Language learning as an interesting learning experience within a positive learning milieu. In the learner-centred U -classroom, learners too must accept responsibility for their own and their peers' learning within the co-operative learning group. This study reveals how the L2 -facilitator can develop the necessary knowledge and skills concerning groupwork, such as the strategies enhancing L 2 -learning, effective group facilitation skills, learner attitudes towards the facilitator, problem-solving skills, co-operative learning as a control technique, communication, learners' behaviour and the advantages of groupwork. Furthermore, elements of classroom negotiation and the facilitator's methods of working in this negotiated partnership are also discussed. Since language learning is integral to lifelong learning, multicultural learners must be motivated to learn Afrikaans Second/ Additional language with greater enthusiasm. This necessitates the L2 -facilitator creating an interesting, challenging and authentic language learning environment where mutual respect and trust are emphasised. This study reveals how the L2 -facilitator could develop his/her knowledge of task-based L2 -teaching and use it with the effective techniques of facilitation and negotiation skills in the taskorientated second language classroom to lead learners to effective Afrikaans L2 -learning. The new National Language Standardisation Policy 200112002 necessitates the facilitator of Afrikaans L 2 -teaching/learning within the Outcomes Based Education framework and the revised Curriculum 2005 to be aufait with assessment and his/her role in assessment. Being knowledgeable on the various criteria and strategies regarding assessment is therefore imperative. Finally, chapter five illustrates practically how the facilitator could plan, organise, base, integrate and present authentic Afrikaans L 2 -lessons/work based on the theoretical knowledge and aspects of facilitation skills, group-work, task-based learning and assessment discussed in chapters two to four.
Daar word in die studie gepoog om te ondersoek en te verduidelik hoe die T2-fasiliteerder die verskillende fasiliteringsvaardighede ten opsigte van T2 -Afrikaansonderrig binne die UGO -raamwerk in die leerdergesentreerde T2-klaskamer effektief kan gebruik. Die fasiliteerder behoort sy multikulturele leerders die geleentheid te gun om die nodige taalleervaardighede te ontwikkel sodat hulle Afrikaans Tweedetaalleer/ Addisionele Taalleer as 'n interessante leerervaring binne 'n positiewe leerklimaat kan geniet. In die leerdergesentreerde T2 -klaskamer moet die leerders ook die verantwoordelikheid vir bulle eie leer, en vir die leer van ander leerders binne kooperatiewe leergroepe kan aanvaar. Die wyse waarop die fasiliteerder van T2-leer die nodige kennis en vaardighede ten opsigte van groepwerk kan ontwikkel, word deur die studie aan die lig gebring. Die verskillende strategiee wat die aanleer van die tweedetaal binne groepwerk bevorder, effektiewe groepsfasiliteringsvaardighede, leerders se gesindhede teenoor die fasiliteerder, die probleemoplossingsvaardighede, kooperatiewe leer as beheertegniek, kommunikasie, leerdergedragswyses en die voordele van groepwerk kom aan bod. Elemente van klaskameronderhandeling en die fasiliteerder se werkswyse in die onderhandelingsvennootskap word ook bespreek. Aangesien taalleer 'n integrale faset van lewenslange leer vorm, moet multikulturele leerders gemotiveer word om Afrikaans Tweedetaal/ Addisionele Taal op 'n meer entoesiastiese wyse te kan leer. Die T2 -fasiliteerder moet 'n interessante, uitdagende, outentieke taalleeromgewing skep waarin wedersydse respek en vertroue beklemtoon word. Die studie toon die wyse aan waarop die T2 -fasiliteerder sylhaar kennis in verband met taakgerigte T2 -onderrig kan ontwikkel en dit met die effektiewe fasiliteringstegnieke en onderhandelingsvaardighede in die taakgeorienteerde T2-klaskamer kan kombineer en gebruik om leerders tot effektiewe T2 -Afrikaansleer/ Addisionele Taalleer te kan lei. Die nuwe Nasionale Taalstandaardiseringsbeleid 2001/2002 vereis dat die fasiliteerder van T2-Afrikaansonderrig/-leer binne die UGO -raamwerk en die hersiene Kurrikulum 2005 deeglike kennis moet dra van assessering en sylhaar rol in assessering. Deeglike kennis ten opsigte van die verskillende assesseringskriteria en assesseringstegnieke is dus noodsaaklik. Daar word in hoofstuk vyf aangetoon op watter wyse die fasiliteerder outentieke praktiese T2-Afrikaanslesse/-werk, kan beplan, organiseer en dit op die teoretiese kennis en aspekte ten opsigte van fasiliteringsvaardighede, groepwerk, taakgerigte leer en assessering wat in hoofstukke twee tot vier bespreek word, kan toepas en geintegreerd kan aanbied.
Afrikaans and Theory of Literature
D.Litt. et Phil. (Afrikaans)
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