Artykuły w czasopismach na temat „Centre for Creativity”
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M. Zaqin. "MENGEMBANGKAN INTELIGENSI DAN KREATIVITAS ANAK USIA DINI". Tadris : Jurnal Penelitian dan Pemikiran Pendidikan Islam 9, nr 1 (18.11.2019): 39–57. http://dx.doi.org/10.51675/jt.v9i1.31.
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There are two reasons why intellegence and creativity of pre school children need to be developed? First of all, it is related to the development and the growth of children. Secondly, it is related to the demand of society development. Learning has important role in developing intellegence and creativity of pre school children. Learning which is considered able to develop intellegence and creativity and to develop children’s right and left brain is the learning suitable to the principle of pre school children education. Centre is one of the ways to manage class whose teaching-learning process consists of related and integrated centres based on fully and appropriately need of children. Centre can be developed by institution in accordance with the competence of educators, staffs of education and the facilities. In general, there are at least four centres Pre school (PAUD) institutions must develop. They are; Balok centre, role play (main peran) centre, natural things (bahan alam) centre and preparation centre.
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Berthelsen, Chris. "Distributed Resource Centre: A Soft Infrastructure for Neighbourhood Creativity". Asylum 1 (22.11.2023): 3–12. http://dx.doi.org/10.34074/aslm.2023102.
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This article presents the Distributed Resource Centre as a soft, low-cost, generative, and fun decentralised infrastructure for neighbourhood creativity. The article defines the concept (as flow vs stock), outlines some broad benefits (increased interfaces and resource availability, fostering of creative capability, and cost reductions), discusses the pilot and development projects which were involved in the development of the concept, and presents tentative findings for further exploration and discussion (making friends, porous, asynchronous and uncertain activity, neighbourhood = resource centre, berm = interface, multidimensional art centre). The submission ends with a coda and an invitation.
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Bisadi, Mona, Farhang Mozaffar i Seyed Bagher Hosseini. "Appropriate Architecture and Urban Design Research Centre for Creative Thinking and Communication". Asian Journal of Environment-Behaviour Studies 3, nr 7 (14.03.2018): 1–10. http://dx.doi.org/10.21834/aje-bs.v3i7.253.
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Progressive research activities, assess entail factors in future societies, are strongly dependent on the creativity and innovation. This paper considers the built environment as one of the influential aspect in creativity and innovation and seeks its appropriate features. Among various choices, we adopt academic research centers of architecture and urban design for the sake of this study. At first, we identify four effective spatial characteristics, including privacy, beauty, spatial diversity, and proximity. Then, we conduct the analysis based on the survey method and, ultimately, we propose some design patterns in order to enhance the researchers’ creativity and innovation.
Keywords: Architecture and urban design research center; creativity; innovation; spatial characteristics.
eISSN 2514-751X © 2018. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia.
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Santos, Manuel, i Kevin Morgan. "Developing creative team games players: From jazz to sport coaching". International Journal of Sports Science & Coaching 14, nr 2 (kwiecień 2019): 117–25. http://dx.doi.org/10.1177/1747954119834397.
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Traditional coaching methods position coaches at the centre of the learning process and do not encourage players to think creatively. This study challenged this assertion, through the application of pedagogical principles reported in jazz-related literature, which argue that creativity is best developed through collaboration. As such, the study aimed to develop players’ creativity, through the application of pedagogical principles reported in jazz-related literature. An action research design was implemented, during a 14-weeks period, with a youth volleyball squad. Results demonstrated an impact upon match play; players showed their enhanced appreciation of the game’s complexity, by experimenting, collaborating, and generating creative solutions to challenges emerging within matches. In addition, the implementation of collaborative practices positively impacted upon the players’ communication habits, which were both more frequent and effective. Although players demonstrated a similar modus operandi to jazz musicians, this study represents the first step in what coaches can learn from jazz creativity, and therefore further research is required to corroborate or challenge the results attained.
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Bramness, Jørgen G., Thomas Clausen, Fanny Duckert, Edle Ravndal i Helge Waal. "Addiction Research Centres and the Nurturing of Creativity The Norwegian Centre for Addiction Research (SERAF)". Addiction 106, nr 8 (24.08.2010): 1381–85. http://dx.doi.org/10.1111/j.1360-0443.2010.03086.x.
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Mendel, Tessa. "Home at Last: Nova Scotia, 1996". Canadian Theatre Review 90 (marzec 1997): 32–35. http://dx.doi.org/10.3138/ctr.90.006.
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The Women’s Theatre and Creativity Centre was founded in 1995 to re-connect art and community with a women-centred focus. We do developmental workshop programs, projects in partnership with community organizations, and performance projects which demonstrate our belief that theatre and other art expressions need to be based in community in order to be an integral part of our lives.
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Lecercle, Jean-Jacques. "Linguistic Creativity : Rule-Governed or Rule-Breaking ?" Recherches anglaises et nord-américaines 50, nr 1 (2017): 69–80. http://dx.doi.org/10.3406/ranam.2017.1549.
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The essay starts from a proposition taken as an axiom : the centre of the practice of language is the dialectic of rule-governed and rule-breaking creativity. The dialectic is introduced at the levels of the sentence, of a natural language, of discourse and of literary genres. It is observed, through a consideration of linguistic change, formulaic language and a number of “grammatical errors.” Lastly, it is explained by recourse to Norbert Elias’s symbol theory.
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Kelbert, Eugenia, Vesna Goldsworthy, Matthew Reynolds i Douglas Robinson. "Roundtable Discussion: Translation in Creativity". Journal of Literary Multilingualism 2, nr 1 (23.04.2024): 149–60. http://dx.doi.org/10.1163/2667324x-20240111.
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This Forum, appearing in each issue of the Journal of Literary Multilingualism, aims to continue the conversation started in the very first issue, where we collected articles which assessed and debated the field of literary multilingualism studies. The Forum is a space for shorter, more informal reflections on the field and its future: position papers, dialogues between scholars, roundtable discussions, responses to articles within the journal, and responses to recent multilingualism conferences or events. We welcome proposals for contributions, particularly from marginalized perspectives or on neglected aspects of literary multilingualism. Please contact us directly to discuss ideas. For this Forum, we present a roundtable discussion, organized and moderated by Eugenia Kelbert, in which Vesna Goldsworthy, Matthew Reynolds, and Douglas Robinson share some of their ideas around the relationship between translation and multilingual writing, particularly in relation to their intersecting roles as writers, translators, and academics. The study of literary multilingualism exists within the context of recent attempts, by several scholars in comparative literature, to make sense of multilingual and/or global literary practices. From the translation zone (Apter) to born-translated (Walkowitz) or untranslatable fiction, these attempts have almost invariably involved translation, as a concept if not as a practice. What is, then, the place of translation when it comes to understanding multilingual and translingual writing? How does this theoretical debate relate to the actual practice of literary translation? And what happens to literary style when theorists of translation and translators experiment with multilingual writing or when translingual writers translate? The present discussion explores the hitherto undefined zone of creative interaction between translation and multilingual writing in the hope of contributing to the more conceptual debates from a hands-on perspective. It is based on the roundtable entitled “Stylistic Border Crossings in Multilingual and Translated (Con)texts” that was part of the Stylistic Border Crossings In and Beyond Translation conference held on March 9–10, 2023.1 The conference and the roundtable were organized by Eugenia Kelbert with the British Centre for Literary Translation and the East Centre, University of East Anglia. Each of the three guests wears a combination of multiple hats that bridge theory and practice and include “translingual writer,” “literary translator,” “translation studies scholar,” “writer,” and “literary scholar.” Eugenia Kelbert
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Ray, Rajat, Anju Dhawan i Anita Chopra. "Addiction Research Centres and the Nurturing of Creativity: National Drug Dependence Treatment Centre, India-a profile". Addiction 108, nr 10 (17.10.2012): 1705–10. http://dx.doi.org/10.1111/j.1360-0443.2012.04046.x.
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Do, Hoa, i Helen Shipton. "High-performance work systems and innovation in Vietnamese small firms". International Small Business Journal: Researching Entrepreneurship 37, nr 7 (24.07.2019): 732–53. http://dx.doi.org/10.1177/0266242619863572.
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This article examines the interplay between high-performance work systems (HPWS) and the innovation of Vietnamese small and medium sized enterprises (SMEs). Our conceptual model relies on the componential theory of creativity along with HPWS, learning goal orientation (LGO), and creativity and innovation to hypothesise both mediation and moderation mechanisms linking such a relationship. Using a sample of 133 SMEs, we find that (a) employee creativity mediates the pathway between HPWS and firm innovation and (b) LGO moderates the HPWS–employee creativity relationship. This article casts new light on the theoretical mechanism through which HPWS influence firm innovation and add to the understanding of HPWS within SMEs placing employees at the centre of debate.
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Koch, Jochen, Matthias Wenzel, Ninja Natalie Senf i Corinna Maibier. "Organizational Creativity as an Attributional Process: The Case of Haute Cuisine". Organization Studies 39, nr 2-3 (1.11.2017): 251–70. http://dx.doi.org/10.1177/0170840617727779.
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In this paper, we develop a framework that conceptualizes organizational creativity as an attributional process in which organizational creativity is constantly negotiated between an organization and its environment through ‘entre-relating activities’. Based on an empirical analysis of this process in the haute-cuisine restaurant Rutz in Berlin, we explore four entre-relating activities – surprising, satisfying, stimulating and savouring – through which ‘being creative’ and ‘being considered creative’ are set in relation to negotiate the attribution of organizational creativity. Our findings demonstrate how the sequential performance of these entre-relating activities is consequential for the gradual transition of external evaluations of an organization’s outcomes, from being considered ‘different’ to ‘one of a kind’, and thus the increasing attribution of organizational creativity over time. Our study contributes to the literature on organizational creativity by exploring the interplay between ‘being creative’ and ‘being considered creative’ through entre-relating activities, which is foundational for understanding organizational creativity. Furthermore, our findings put aesthetic responses at the centre of organizational creativity and demonstrate the playfulness of the process through which the attribution of organizational creativity is produced.
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Platt, Louise C. "Crafting place: Women’s everyday creativity in placemaking processes". European Journal of Cultural Studies 22, nr 3 (8.09.2017): 362–77. http://dx.doi.org/10.1177/1367549417722090.
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Amid a resurgence of domestic craft, this article contends that everyday creative practices of women are part of placemaking processes in the creative city. Specifically, the research focuses on Liverpool in the Northwest of England, the so-called (and self-proclaimed) ‘centre of the creative universe’. This article utilized in-depth semi-structured interviews with members of knitting groups and the city centre Women’s Institute to explore how women use craft practice to create a sense of self and attachment to place. The idea of women gathering to craft is enduring, and is examined here to understand affective labour and the role that creativity plays in the urban experience of women. It is argued that the groups demonstrate a lack of engagement with the wider market and official placemaking processes, but instead demonstrate an element of self-valorization. The article challenges thinking around culture-led placemaking in cities like Liverpool, where discourses of creativity have been used as a driver for regeneration by shifting the emphasis onto seemingly banal settings on the edges of the so-called creative city. While urban placemakers have been more recently concerned with developing hubs of creative industries, the role of these groups that are not producing a profitable ‘product’ should not be underestimated or exploited.
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Mazur, Piotr Stanislaw, i Piotr Duchlinski. "CREDIBILITY AND CREATIVITY IN NETWORK SOCIETY". Creativity Studies 13, nr 1 (13.01.2020): 53–63. http://dx.doi.org/10.3846/cs.2020.6585.
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The authors of this article claim that the network society is organised around such flow of information in which each entity constitutes its specific centre. Through the network entities obtain information from other entities. The amount of information and the fact that it is difficult to verify it are the reasons why the issue of credibility plays the key role in such a society. Aiming at being credible within the network society involves various methods and techniques of making other entities acknowledge one’s credibility. In result credibility is strongly related to creativity. In the pragmatic sense, credibility becomes the objective of creativity. In the moral aspect creativity assumes credibility due to the need to shape a person (education and upbringing) in and by the society in such a way that they may become a creative entity, stimulate their creativity and use it through the interaction with other entities.
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Kukavica, Edin. "Razmišljanja o kreativnom obrazovanju u 21. stoljeću". Obrazovanje odraslih/Adult Education, nr 1 2019 (2019): 41–52. http://dx.doi.org/10.53617/issn2744-2047.2019.19.1.41.
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In this paper the author presents his reflections on education in the 21st century and the necessity to adapt the education process (from education plans and programmes to transfer and testing of knowledge) to requirements of time and space, possible future needs and professions for which we have not invented a name yet. In other words, this work represents a reflection on creativity in education, based on a fact that creativity in formal education system is no longer a luxury but desperately needed.Tese reflectionsshall highlight the importance of pushing the creativity from the margins of formal education to its very centre. In that regard, the author directs his attention towards clarifcation of several elements and segments of education process, aimed at defning of the concept of creativity, moving it from the area of mystery, coincidences and individual genius to the defnitional feld that is subject to scientifc analysis. Furthermore, he analyses to which extent a creative capacity can be considered as an economic driver, and not as art or hobby, and examines a new theory of learning and its implications for formal education, pointing out both possibilities and traps in the preparation of young people for the future.
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Power, Dominic, i Daniel Hallencreutz. "Profiting from Creativity? The Music Industry in Stockholm, Sweden and Kingston, Jamaica". Environment and Planning A: Economy and Space 34, nr 10 (październik 2002): 1833–54. http://dx.doi.org/10.1068/a3529.
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In this paper we present the results of detailed case-study work on two important music production centres: Stockholm (Sweden) and Kingston (Jamaica). It is shown that both are dynamic innovation and production centres for populate music. In both cases local characteristics of the organisational and firm structure in the industry are claimed to be crucial for understanding innovation processes and the competitiveness of the resulting products. However, it is shown that considerable differences exist between the two centres in terms of the profits and returns (both monetary and otherwise) on global competitiveness and success made both by local actors and by the local production system. It is suggested that two crucial areas explain these unequal returns to commercially successful creativity: interfirm and intrafirm links between the local and global; and the effectiveness of intellectual property regimes. It is suggested that work on cultural-products industries must attempt to understand not only the processes from which commercial innovation arises and in which it is embedded, but also the processes and mechanisms by which appropriate levels of returns on creativity can be secured by the local production centre.
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Stockwell, Tim, Dan Reist, Scott Macdonald, Cecilia Benoit i Mikael Jansson. "Addiction research centres and the nurturing of creativity: The Centre for Addictions Research of British Columbia, Canada". Addiction 105, nr 2 (luty 2010): 207–15. http://dx.doi.org/10.1111/j.1360-0443.2009.02789.x.
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McLean, Heather. "Regulating and resisting queer creativity: Community-engaged arts practice in the neoliberal city". Urban Studies 55, nr 16 (5.03.2018): 3563–78. http://dx.doi.org/10.1177/0042098018755066.
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This article draws from and advances urban studies literature on ‘creative city’ policies by exploring the contradictory role of queer arts practice in contemporary placemarketing strategies. Here I reflect on the fraught politics surrounding Radiodress’s each hand as they are called project, a deeply personal exploration of radical Jewish history programmed within Luminato, a Toronto-based international festival of creativity. Specifically, I explore how Luminato and the Koffler Centre, a Jewish organisation promoting contemporary art, regulated Radiodress’s work in order to stage marketable notions of ethnic and queer diversity. I also examine how and why the Koffler Centre eventually blacklisted Radiodress and her project. However, I also consider the ways Radiodress and Toronto artists creatively and collectively responded to these tensions. I maintain that bringing queer arts practice into discussions about contemporary creative city policies uncovers sites of queer arts activism that scale up to shape broader policies and debates. Such disidentificatory interventions, acts of co-opting and re-working discourses which exclude minoritarian subjects, challenge violent processes of colonisation and commodification on multiple fronts, as well as fostering more collective and relational ways of being.
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Faizi, Mohsen, Amirreza Karimi Azari i Saeid Norouzian Maleki. "Design Guidelines of Residential Environments to Stimulate Children’s Creativity". Journal of ASIAN Behavioural Studies 3, nr 6 (4.01.2018): 65. http://dx.doi.org/10.21834/jabs.v3i6.238.
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Because of age growth, activation, promotion of creativity in children is extremely valuable. In order to improving creativity, there are some methods to encourage children’s mind to new thinking and develop the creativity. One of these methods is the impact of natural or artificial environment to increase children’s creativity. Because children spend a lot of their time with family at home, physical environment of house, effects on the children talent development and creativity. In the present study, based on combining analysis of the survey, we proposed some design principles of residential spaces to enhance children’s creativity.
Keywords: Children creativity; quality of life; residential spaces; design principles
eISSN 2514-7528 © 2018. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia.
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Parker, Kathryn, Jill Shaver i Brian Hodges. "Intersections of creativity in the evaluation of the Wilson Centre Fellowship Programme". Medical Education 44, nr 11 (15.10.2010): 1095–104. http://dx.doi.org/10.1111/j.1365-2923.2010.03745.x.
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Hughes, Sarah M. "Beyond intentionality: exploring creativity and resistance within a UK Immigration Removal Centre". Citizenship Studies 20, nr 3-4 (15.02.2016): 427–43. http://dx.doi.org/10.1080/13621025.2016.1142936.
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Bieńkowska, Małgorzata. "THE DETERMINANTS OF POSITIVE CREATIVE ADAPTATION OF YOUTH IN THE POLISH-CZECH BORDERLAND". Creativity Studies 14, nr 2 (16.11.2021): 506–20. http://dx.doi.org/10.3846/cs.2021.13898.
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The purpose of this text is to showcase creativity in action, creativity that has been directed to fostering mutual understanding and cooperation in a culturally diverse environment – in a region that has seen ethnic conflict. The text is devoted to the analysis of the work of two interrelated organisations – the Borderland Foundation, Poland and the Center for Borderland Arts, Cultures and Nations, Poland – which for decades have been working innovatively on a complex history, together with the local community. This is a history that includes nationally and religiously diverse groups. Experiences with the local community have provided the inspiration for the Borderland Foundation and the Centre for Borderland Arts, Cultures and Nations for further creative work in art, education and history focussed on the phenomenon of borderland identity. The text is based on an analysis of both institutions’ websites, as well as interviews with their team members and project participants.
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Hart, Karen. "Creating a buzz". Early Years Educator 21, nr 10 (2.02.2020): 50. http://dx.doi.org/10.12968/eyed.2020.21.10.50.
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Greg Lane's practice as senior nursery manager at the London Early Year's Foundation (LEYF) nursery in Soho is fizzing with a creativity that befits its unique, city centre location. Karen Hart discovers how his children benefit.
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Taymanov, Roald Ye, Kseniia V. Sapozhnikova i Aleksey S. Ignatkovich. "MEASURING AND DEVELOPING CREATIVE ABILITIES ARE CURRENT CHALLENGES OF THE 21ST CENTURY". SOFT MEASUREMENTS AND COMPUTING 9, nr 70 (2023): 5–20. http://dx.doi.org/10.36871/2618-9976.2023.09.001.
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In the 21st century, the challenges associated with measurements of multidimensional quantities, including measurements of human properties, are of particular importance. Measurement results must be characterised by the metrological traceability. To ensure the formation of metrologists capable of solving such problems, is necessary. The need arises to strengthen the competitiveness of researchers with robots by enhancing human creativity. The development of methods for measuring creativity is becoming increasingly relevant. A brief overview of the main methods for measuring creativity has been given. The review made it possible to outline a programme of work to develop a methodology for measuring scientific creativity. Its experimental testing and improving will be carried out with the help of organisations that are members of the Metrology Education Cluster. The Cluster is based on the State Research Centre of Russia «D.I. Mendeleyev Institute for Metrology». The aims and features of its work are described in the paper.
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Samuel, Robin, i Shireen Kanji. "Valuing creativity, feeling overworked and working hours: Male workers and the New Spirit of Capitalism". Time & Society 29, nr 1 (15.01.2019): 51–73. http://dx.doi.org/10.1177/0961463x18820730.
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Boltanski and Chiapello argued that creativity is a required attribute of managers emanating from the ideology of the ‘New Spirit of Capitalism’. Ideology provides the justification for work practices and brings material consequences in relation to the experience of time. This article explores both the ideology and the links between the ideological and the experience of time by assessing whether male managers prioritise creativity and whether this is related to their working hours, driving them to work longer hours than other workers and longer hours than they actually want. Men’s dominant position in work organisations puts them at the centre of this exploration. Using multilevel linear and logistic models on 2010 data from the European Social Survey ( N = 7049), we show that male managers prioritise creativity more than other workers do. There are consequences for the experience of time as valuing creativity in combination with being a manager increases working hours above the large and significant effect of being a manager. The feeling of overwork is raised independently for those who value creativity and for those who are managers.
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Sukristin, Sukristin. "DAMPAK COVID-19 TERHADAP KREATIVITAS GURU DALAM PEMBELAJARAN LURING DI PAUD ISLAMIC CENTER AL-HAZZA SEKAYAM". Bestari: Jurnal Pendidikan dan Kebudayaan 2, nr 1 (26.04.2021): 29–37. http://dx.doi.org/10.46368/bjpd.v2i1.434.
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Abstrak: Tujuan penelitian ini adalah untuk mengetahui Kreativitas Guru dalam Pembelajaran Luring di PAUD Islamic Center Al-Hazza’ Sekayam.Penelitian ini menggunakan metode penelitian kualitatif dengan pendekatan studi kasus yaitu berawal dari data dan bermuara pada kesimpulan. Analisis data mengunakan reduksi data, display data dan verifikasi data. Berdasarkan hasil penelitian menunjukan bahwa guru-guru PAUD Islamic Center Al-Hazza’Sekayam cukup Kreatif dalam menerapkan sistem pembelajaran Luring. Hal tersebut dapat dilihat bahwa guru-guru menggunakan media gambar, LKS, kartu huruf dan HP dalam pembelajaran. Sumber media yang digunakan dari internet,buku paket, sesama guru dan lingkungan Sekitar. Sistem pembelajaran luring dianggap lebih efektif bagi anak usia dini karena ada pertemuan tatap muka tiga kali dalam sepekan.Berdasarkan hasil penelitian ini, peneliti menyimpulkan bahwa guru PAUD Islamic Center cukup kreatif dalam membuat media, memilih sumber media, dan menerapakan pembelajaran serta berpegang pada kompetensi guru. Kata kunci: Covid-19, Kreativitas guru, Pembelajaran Luring. Abstract: the purpose of this research is to find out the teacher’s creativity in Luring learning in Islamic Centre Early childhood school Al-Hazza’ Sekayam. The method of this research is qualitative learning used case study approach, that is beginning from the data and ending in the conclusion. The data analysis used data reduction, data display, and data verifying. Based on the result shows that the teachers in the early childhood school Islamic Centre Al-Hazza’ sekayam is creative enough in applying Luring learning system. It can be seen by the using of learning media (picture), student work sheet, alphabet card, and handphone in the learning. The media sources were internet, book, other teachers and circumstance. Luring learning system is more effective for the early childhood student because there were three meetings in a week. Based on the result of this research, the researcher concludes that the teachers in the Islamic Centre early childhood school are creative enough in making media, choosing the media source, and applying learning media, that based on the teacher competence. Keywords: Covid-19, teacher creativity, Luring Learning.
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Baltaziuk, Iryna. "DEVELOPMENT OF CREATIVITY WITHIN THE CONDITIONS OF CONTEMPORARY ARTMARKET". Research and methodological works of the National Academy of Visual Arts and Architecture, nr 28 (15.12.2019): 83–89. http://dx.doi.org/10.33838/naoma.28.2019.83-89.
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Article is dedicated to the research of creativity within the conditions of contemporary Ukraine art market. Author have discovered factors, that improve development of current art practice in academic and non academic artistic education. The article explores contemporary education centers, that forms connection between emergency artists and established artmarket, topical Ukraine art, contemporary art galleries and education institutions. As important element of contemporary art, academic education forms process of it’s development in quality, innovative and actual aspects. Such factors as creativity, “unconventional thinking”, intuition, esthetic competence, self development, emotional intellect, idea thinking and project vision improve development of current art practice in academic and non academic artistic education.Contemporary art requires from artist to develop deep vision on period, time and actuality of current events. This means that artist should be active in artistic and social sphere. New art stands for culture as phenomenon.Development of project approach in contemporary art effect appearance of new communication — network communication, when occurs partners and sponsors support. In this context started to develop national and international grant programs, residencies, educational centers, art institutions forming path for emergency artists to contemporary art field.The most popular educational centers in Kyiv, Ukraine: Modern art research institute, Art Arsenal, Pinchuk Art Centre, Kyiv academy of media arts, Art Ukraine Gallery, Port creative hub, Shcherbenko art center etc. The main feature that combine well known educational centers with several years of practice, and those that just opened is openness to the public. No matter of education, social status, or belonging to art school, everyone can gain experience from professionals.
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Ristanto, Ristanto. "The Effect of the Work-Based Learning Training Model on the Creativity of Training Participants at Job Training Center Bojonegoro". Sukma: Jurnal Pendidikan 6, nr 2 (14.11.2022): 165–79. http://dx.doi.org/10.32533/06203.2022.
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The importance of human resources is based on the fact that human resources are the essential elements of every company. Human resources can determine the advantages of a company because human resources are goal makers, innovators, communication, creativity, and strategy for the company. This study aimed to determine the effect of the Work Based Learning training model on trainees’ creativity at the Job training centre (Balai Latihan Kerja, BLK) Bojonegoro. This research is qualitative, categorized explicitly as a qualitative program evaluation. The sample in this study amounted to 100 trainees at BLK Bojonegoro. The results showed a high scale of creativity (85.5%), the tasks of the training participants (83.4%), support for learning (78.8%), and clear goals (76%). In training models where exposure to real-world constraints, opportunities, policies, and regulations is mandatory, work-based learning occupies an essential niche in participants’ experiences.
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Grabić, Brigita. "AKTIVNO PROVOĐENJE SLOBODNOG VREMENA U CENTRU ZA PRUŽANJE USLUGA U ZAJEDNICI KLASJE OSIJEK: PRIMJER IZ PRAKSE". Annual of Social Work 29, nr 1 (23.05.2022): 149–62. http://dx.doi.org/10.3935/ljsr.v29i1.473.
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ACTIVE LEISURE TIME IN THE CENTER FOR PROVISION OF SERVICES IN THE OSIJEK „KLASJE“ COMMUNITY: EXPERIENCE FROM PRACTICE ABSTRACT Organized leisure time after the planned time in school can increase the amount of children’s physical activity, help them stay fit and maintain healthy body weight, so that they may achieve their planned life goals. Leisure time activities provide the educator with the opportunity to allow, introduce and encourage the search for various solutions and different ways of expression. This paper aims to describe the personal experience of managing the actively spent leisure time of the users of the Centre for Providing Services in the Community Klasje in Osijek. It deals with the activities that were conducted as a part of the domestic science group, creative workshops, and the botanic group. The users took part in the activities based on their abilities and interests, choosing the activities that would help them relax. After the activity, they would feel well because they had had fun and seen the results of their work. One of the most popular activities was the preparation of desserts. Self-expression and creativity are crucial for mental health, and if the children are not allowed to express their creativity, they will find destructive and negative ways to express it. Key words: activities; creativity; self-confidence; leisure time
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BALAKIREVA, Ekaterina Igorevna. "DISCOVERING AND SUPPORTING GIFTED STUDENTS IN CONDITIONS OF UNIVERSITY EDUCATIONAL ENVIRONMENT". Tambov University Review. Series: Humanities, nr 177 (2018): 145–50. http://dx.doi.org/10.20310/1810-0201-2018-23-177-145-150.
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We analyze the approaches to the study of giftedness in modern reality. The author’s project “Centre for Gifted Children Support” of Saratov State University is presented. We describe the system approach to the organization of work with gifted students in conditions of university educational environment. We also consider the problem of complex identification of giftedness in schoolchildren. The results of the empirical study of the relationship of creativity self-assessment with its actual manifestation, obtained by means of sample tests, correlation analysis of the results of tests of creativity and intelligence are analyzed. The possibilities of multiple regression analysis for the contribution of intelligence parameters to the formation of the level of creativity are shown. We present the analyses of the pedagogical possibilities of the developed technologies to support students with motivation and certain achievements. The emphasis is placed on the selection and training of mentors working with gifted students.
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Rizzo, Alessandra, i Cinzia Giacinta Spinzi. "Authorial (audio) description". Translation and Translanguaging in Multilingual Contexts 9, nr 3 (9.11.2023): 419–49. http://dx.doi.org/10.1075/ttmc.00121.riz.
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Abstract The unprecedented growth of audiovisual translation practices in the creative industries has boosted the role of creativity which has taken centre stage and become the emblem of global cultural policies. The study addresses the role of creativity in the digital space of Netflix as a means of cross-cultural mediation and communication, and as a multidimensional tool in audio description (AD), in order to provide the end-users (the blind and visually impaired audiences) of digital audiovisual products with participatory and engaging forms of access to the audiovisual ‘planet’. The aim is to investigate whether and how creativity is used to transmit culture-specific references (CSRs) from a translation perspective within a highly discussed TV series streamed on Netflix. To do so, the rendering of the most significant CSRs in the Korean Netflix series Squid Game (SG) as transferred into the English and Italian ADs will be examined.
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Rehm, Jürgen, Norman Giesbrecht, Louis Gliksman, Kathryn Graham, Anh D. Le, Robert E. Mann, Robin Room, Brian Rush, Rachel F. Tyndale i Samantha Wells. "Addiction Research Centres and the Nurturing of Creativity. Substance abuse research in a modern health care centre: the case of the Centre for Addiction and Mental Health". Addiction 106, nr 4 (3.03.2011): 689–97. http://dx.doi.org/10.1111/j.1360-0443.2010.02955.x.
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Ahmetova, A., V. Shtepa, D. Yaminsky i I. Yaminsky. "3D nanotechnology in youth innovation creativity centre of Faculty of Chemistry of Lomonosov MSU". Nanoindustry Russia, nr 2 (2016): 92–94. http://dx.doi.org/10.22184/1993-8578.2016.64.2.92.94.
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Akhmetova, A., A. Fedoseev, I. Yaminsky i Yu Belov. "Nanotechnology youth innovation creativity centre at Faculty of Physics of Lomonosov Moscow State University". Nanoindustry Russia, nr 3 (2018): 274–77. http://dx.doi.org/10.22184/1993-8578.2018.83.3.274.277.
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Huang, Yi‐Fen, Chung‐Jen Chen i Hsui‐Hui Chang. "A multiple criteria evaluation of creative industries for the cultural creativity centre in Taiwan". International Journal of Entrepreneurial Behavior & Research 15, nr 5 (7.08.2009): 473–96. http://dx.doi.org/10.1108/13552550910983031.
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Ross, Wendy, i Frédéric Vallée-Tourangeau. "For a Good Poet's Made, as Well as Born: The Relational Ontology of Shakespeare’s Genius". Creativity. Theories – Research - Applications 5, nr 1 (1.09.2018): 26–40. http://dx.doi.org/10.1515/ctra-2018-0002.
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AbstractFolk and scholarly conjectures on the nature of creative genius often focus on intrapsychic processes: The explanations centre on the person, the creator, transcending the more prosaic forces that shape everyday, routine cognition. Focusing on the alleged extraordinary character of a creator deflects attention from the emergent, distributed and relational nature of creativity. A more productive research agenda considers a range of factors, operating at different time scales, that guide and constrain the manufacture of creativity. We argue that a transactional perspective is particularly fruitful for the analysis of the dramatic work of William Shakespeare. Drama is an inherently relational art form created by the writer, the director, actors and audience. Further, Shakespeare’s output is a palimpsest of classical texts and writers contemporary to him, and was shaped by practical constraints. Viewing his work as situated in a historical time period and in a dialogue with other voices gives us a fuller account of the ontological locus of his creativity.
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Stenius, Kerstin, Mats Ramstedt i Börje Olsson. "Addiction research centres and the nurturing of creativity: Centre for Social Research on Alcohol and Drugs (SoRAD), Stockholm University, Sweden". Addiction 105, nr 3 (marzec 2010): 402–7. http://dx.doi.org/10.1111/j.1360-0443.2009.02838.x.
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Pont-Niclòs, Isabel, Yolanda Echegoyen-Sanz i Antonio Martín-Ezpeleta. "Creative Self-Perception of Spanish Secondary Teachers". Journal of Education Culture and Society 15, nr 1 (13.06.2024): 231–46. http://dx.doi.org/10.15503/jecs2024.1.231.246.
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Aim. The aim of this research is to analyse the creative self-perception of Spanish secondary teachers in different domains considering that creativity is increasingly being considered a key educational objective by organisations such as the Organisation for Economic Co-operation and Development (OECD) or educational laws, such as the recent Spanish one (Ministerio de Educación, Formación Profesional y Deportes Español, 2020). Methods. Participants were 100 Spanish in-service teachers at the level of secondary education. They completed the K-DOCS questionnaire (Kaufman, 2012), in which the self-perception of creativity in different domains (Self/Everyday, Scholarly, Performance, Scientific/Mechanic and Artistic) is assessed. The influence of variables such as gender, age, years of experience and area of teaching are analysed. Results. The analysis shows that Spanish secondary teachers have moderate-to-high perception of their own creativity. Although no statistically significant differences were found according to age or years of expertise, the scores in the Scientific/Mechanic domain were found to be significantly different according to gender. Separate creativity profiles were found for teachers with unrelated areas of expertise. Conclusion. This study aims to enhance understanding into the role of teachers in the promotion/hindering of creativity in classrooms. Results show a moderate creative self-perception with differences across domains, which logically conditions their conceptualisation of creativity and the importance given to it in classrooms. The importance of teacher training contributing to improve it is valued and key aspects are pointed out, such as the relevance of promoting a Centre Creative Plan with specific actions of a transdisciplinary nature in schools.
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Siregar, Nadiyah Marhani, i Firman Eddy. "Nadiyah Marhani Siregar, Firman Eddy Design Of Childern’s Creativity Center In Medan City With Green Architecture Concept". International Journal of Architecture and Urbanism 8, nr 1 (31.03.2024): 101–7. http://dx.doi.org/10.32734/ijau.v8i1.15757.
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This journal is made for us to know how important a place is for our future kids to find knowledge easily.Therefore, the children who are still hesitant to know where to go can find the place convenient. The large number of children within Medan city for the availability of facilities that the development of children's creativity not directly proportional shows that this needs to be considered, especially since curious is a period of growth stimulation that can affect future growth and development. To resuscitate and tell other people how important for us to know, that future kids will suffer for knowledge. The main problem for them is the ignorance of themself to find out where they can find the receptacle to head to. Therefore, it is necessary to design facilities for a Children’s Creativity Centre in Medan City that can meet the needs of conditions and can accommodate recreational and educational activities for children that can affect children's development with a Green Architecture approach. This research uses qualitative descriptive methods through field information and literature studies. This building applies the Green Architecture concept in the form of saving energy, being way more flexible with climate, keeping it safe for the site, and respecting the people nearby. So that this design can be a forum for children's creativity, which is expected to respond to the condition of children both physically and psychically, which can improve children's creativity.
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Herman, M., i J. F. Bobby Saragih. "Spatial Acoustic Approach: Sustainable Design Methods in Creative Centre Building". IOP Conference Series: Earth and Environmental Science 1324, nr 1 (1.04.2024): 012048. http://dx.doi.org/10.1088/1755-1315/1324/1/012048.
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Abstract The creative center is a place for the creativity of creative economy actors in the form of physical infrastructure, the development of a creative center will be more than just a community gathering place but as an intermediary in one strategic sector, namely the creative and digital economy. In the creative center, of course, every main room has activities that produce sound, basically not only do certain rooms have audio requirements, but even simple rooms require acoustic handling. Noise will occur in every activity; therefore, the acoustic space will answer to support the activities. users, the research uses qualitative methods and there is data analysis through precedents, The sustainability that will be achieved by implementing acoustics in this creative center building is not only the comfort of building users but also the materials for the surrounding environment.
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Oliveira, Gilvando Inácio de, i José Paulo Gomes Brazão. "Education in times of change: the contributions of the laboratory project for the new times (PLNT)". Revista Tempos e Espaços em Educação 15, nr 34 (8.05.2022): e17503. http://dx.doi.org/10.20952/revtee.v15i34.17503.
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This article aims to report the possibilities of change in school practices of the Project Laboratory of New Times - (PLNT), linked to the formative actions of the NGO - CEAP (Centre for Studies and Pedagogical Advice), based in Salvador da Bahia. The Laboratory is dedicated to the construction of innovative methodologies, appropriating itself to a pedagogical practice centred on creativity, protagonism, self-didacticism, problem-solving capacity and autonomy in students' learning. We used a qualitative methodology. It was found that the project's formative actions broke the traditional practices and played an active role in the socio-political reality of the students, connecting all pedagogical actions with global events. The pedagogical action of learning with technological mediation, valued the students' socio-educational context and their possibilities of emancipation.
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Schiavio, Andrea, Nikki Moran, Mihailo Antović i Dylan van der Schyff. "Grounding Creativity in Music Perception? A Multidisciplinary Conceptual Analysis". Music & Science 5 (styczeń 2022): 205920432211229. http://dx.doi.org/10.1177/20592043221122949.
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To what extent can we understand and account for music perception as a creative process? In this paper we draw on recent work in music, creativity, and the cognitive humanities to suggest that the fundamentally creative aspect of music perception is not yet satisfactorily examined in existing research. We briefly review the state of scholarship into both creativity and music perception, and identify key points of convergence, which are prominent in work that investigates the mutuality of action and perception, and the exploratory bases of the latter, among others. Inspired by a growing number of contributions in 4E music cognition research, we argue that listening to music can involve mechanisms of active bodily engagement, along with the imaginative exploration of novel possibilities for thought and action. We put forward the view that this approach is important because of the way in which it can bring to the analytical centre stage a creative dimension that may not otherwise be apparent. The contribution of this paper involves this presentation of a multidisciplinary framework for the study of music perception, highlighting the integration of perception and action, and foregrounding this conception of creative cognition as a central aspect of music perception.
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Andriani, Yuli, i Rusky I. Pratama. "Pengembangan Literasi di Taman Bacaan Masyarakat (TBM) Sangkuriang, Kelurahan Rancaekek, Kabupaten Bandung". Jurnal Gema Ngabdi 5, nr 2 (31.07.2023): 185–93. http://dx.doi.org/10.29303/jgn.v5i2.330.
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Introduction to literacy for children will impact the improvement of creativity, quality of life, competitiveness, and good thinking skills. Sangkuriang Reading Centre is a reading park located in Rancaekek Village, Bandung Regency. The existing book collection is not attractive enough to encourage children to engage in literacy activities. This community service activity aims to help provide information, knowledge, and facilities that can support the improvement of children's literacy interest in Sangkuriang Reading Centre. This community service activity is carried out offline. The team directly visited the location and conducted several stages of activities there. Some of the program activities carried out in this activity are book donation, book inventory, numbering, installation of bookshelves, banners, posters, and literacy and games to support the improvement of children's reading interest. After all community service activities were carried out at Sangkuriang Reading Centre, several changes were observed, including changes in knowledge, attitudes, and skills
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Otero, Nuno, i Rui José. "Worth and Human Values at the Centre of Designing Situated Digital Public Displays". International Journal of Advanced Pervasive and Ubiquitous Computing 1, nr 4 (październik 2009): 1–13. http://dx.doi.org/10.4018/japuc.2009100101.
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The development and design of computational artefacts and their widespread use in diverse contexts must take into account end-users needs, likes/dislikes and broader societal issues, including human values. However, the fast pace of technological developments highlight that the process of defining computational artefacts must incorporate not only the user but also the engineers and designers’ creativity. Considering these issues, in this article, the authors explore the adoption of the Worth-Centred Design framework to develop efforts regarding situated digital public displays. The authors discuss current efforts to extend the adoption of this framework, focus on enriching the understanding of potential places for situated digital displays and stakeholders’ views, and encourage open participation and co-creation.
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Le Baillif, Anne-Marie. "Paris, « un lieu centre de tous les centres ». Est-ce toujours d’actualité ?" Interlitteraria 25, nr 2 (31.12.2020): 435–42. http://dx.doi.org/10.12697/il.2020.25.2.14.
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Paris, “The Centre of All Centres”. Is It Still the Case? In La République Mondiale des Lettres published in 1999 and 2008, Ms. Casanova wrote: “Paris is the Greenwich meridian for literature” for the 19th and 20th centuries. Writers and artists have come to the city in the past because it was extremely attractive for creative and economic reasons. But at the beginning of the 21st century, with the rise of the New Media for writing, publishing and diffusing, is it correct to say that Paris is still supreme? Is location more important than the time devoted to writing and reading?
The claims on which Ms. Casanova builds her assertions are not supported by the facts of recent history and geography. She refers to “La belle santé économique et la liberté” in Paris but she forgot to mention why artists came from central Europe. It was just because the life was cheaper in Paris than in Berlin, as Walter Benjamin observed in 1926. She notes that Paris was the world centre for high fashion and that writers came together there to be inspired by the place and each other. But these things are no longer true: Paris is one of the most unaffordable cities in the world. Fashion in clothes is determined in many centres, with fashion weeks held in New York, Milan and China; aesthetics no longer depend on a single country. Literary creativity has spread across many continents and the internet and social media provide access to millions of people around the globe. Globalisation has unified the world, note Jean-Philippe Toussaint and Sylvain Tesson, and brought the standardization of cultures.
There is also the matter of the dominant language today. The French language has not changed since Ms. Casanova was doing her research, but French writers now dream of being translated into English to reach the largest audience around the world. Publishers also favour English to make the most profit because literature and art are now worldwide commodities. Writers and researchers use the Internet, which connects them with documents, libraries and people all over the world. Newspapers such as Le Monde and Le Figaro in France provide literary reviews from around the world; for example, Histoire de la Traduction Littéraire en Europe Médiane, compiled by Antoine Chalvin, Marie Vrinat-Nikolov, Jean-Léon Muller and Katre Talviste, was written up in Cahiers Littéraires du Monde. What about the readership? If publishing and merchandizing are accelerating and globalizing because of how the Internet changes time and distance, the writer still has to follow the rhythm of the subject.
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Le Baillif, Anne-Marie. "Paris, « un lieu centre de tous les centres ». Est-ce toujours d’actualité ?" Interlitteraria 25, nr 2 (31.12.2020): 435–42. http://dx.doi.org/10.12697/il.2020.25.2.14.
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Paris, “The Centre of All Centres”. Is It Still the Case? In La République Mondiale des Lettres published in 1999 and 2008, Ms. Casanova wrote: “Paris is the Greenwich meridian for literature” for the 19th and 20th centuries. Writers and artists have come to the city in the past because it was extremely attractive for creative and economic reasons. But at the beginning of the 21st century, with the rise of the New Media for writing, publishing and diffusing, is it correct to say that Paris is still supreme? Is location more important than the time devoted to writing and reading?
The claims on which Ms. Casanova builds her assertions are not supported by the facts of recent history and geography. She refers to “La belle santé économique et la liberté” in Paris but she forgot to mention why artists came from central Europe. It was just because the life was cheaper in Paris than in Berlin, as Walter Benjamin observed in 1926. She notes that Paris was the world centre for high fashion and that writers came together there to be inspired by the place and each other. But these things are no longer true: Paris is one of the most unaffordable cities in the world. Fashion in clothes is determined in many centres, with fashion weeks held in New York, Milan and China; aesthetics no longer depend on a single country. Literary creativity has spread across many continents and the internet and social media provide access to millions of people around the globe. Globalisation has unified the world, note Jean-Philippe Toussaint and Sylvain Tesson, and brought the standardization of cultures.
There is also the matter of the dominant language today. The French language has not changed since Ms. Casanova was doing her research, but French writers now dream of being translated into English to reach the largest audience around the world. Publishers also favour English to make the most profit because literature and art are now worldwide commodities. Writers and researchers use the Internet, which connects them with documents, libraries and people all over the world. Newspapers such as Le Monde and Le Figaro in France provide literary reviews from around the world; for example, Histoire de la Traduction Littéraire en Europe Médiane, compiled by Antoine Chalvin, Marie Vrinat-Nikolov, Jean-Léon Muller and Katre Talviste, was written up in Cahiers Littéraires du Monde. What about the readership? If publishing and merchandizing are accelerating and globalizing because of how the Internet changes time and distance, the writer still has to follow the rhythm of the subject.
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Mester, Béla. "CITIES AS CENTRES OF CREATIVITY IN THE EAST-CENTRAL EUROPEAN NATION BUILDING". Creativity Studies 11, nr 1 (26.09.2018): 129–41. http://dx.doi.org/10.3846/cs.2018.5513.
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This paper offers an overview of the philosophical reflections for the change of structure of the scholar public sphere in the 18th and 19th centuries, focussed on the Hungarian examples, with the idea of urbanity in the centre. After the overview of the Scottish Enlightenment, and the Kantian and Herderian approaches, it will be discussed the Hungarian case, within and after the controversy on Immanuel Kant (1792–1822). The topic of urbanitas was often touched both as an ideal-typical environment of the philosophical activity, and the real environment of the authors under conditions of an industrialised machinery of the cultural production. The next topic is the specific features of the same turn of the structure of the scholar communication in East-Central Europe, where the change of the languages of the publications has characteristic consequences and the gap between the spheres of the school philosophy and the public philosophy was deeper. The features of the specialities of the philosophies of East-Central Europe in their self-understanding within the new context after the communicational turn is the last topic, focussed on the Hungarian case, especially on the usage of the concept of urbanity in the Hungarian creative discourse about the public philosophy, and national philosophy.
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G, Urmila. "A writer’s suicide: On creativity, mental health, gender and ethics". Indian Journal of Medical Ethics 7, nr 2 (7.05.2022): 133–37. http://dx.doi.org/10.20529/ijme.2021.066.
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The correlation between creativity and mental illness has been at the centre of ongoing debates for quite some time. This has its roots in the Romantic era (late 18th to mid-19th century), when melancholia and madness were considered to be the signs of creativity and genius. Because of this, writers like Virginia Woolf, Sylvia Plath, Anne Sexton, Charlotte Perkins Gilman, and many other prominent creative minds have been represented in popular narratives as having reached the heights of their creative careers while struggling with their mental health. This paper addresses the need for moving away from Romantic era notions of the relationship between madness, genius, and melancholia that reinforce the inseparability of the writer and the text, thereby trivialising the real causes and effects of mental illness. The paper also addresses the need for a health humanities intervention within the Indian literary public, using examples from the existing narratives on the late Malayalam writer Rajelakshmy ‒ an established woman writer in the 1960s ‒ who died by suicide in her mid-thirties. This paper will also reflect on the author’s own experience of reading and working with Rajelakshmy’s writings over the years.
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Ahmetoglu, Gorkan, Stacey Dobbs, Adrian Furnham, John Crump, Tomas Chamorro-Premuzic i Elmira Bakhshalian. "Dark side of personality, intelligence, creativity, and managerial level". Journal of Managerial Psychology 31, nr 2 (14.03.2016): 391–404. http://dx.doi.org/10.1108/jmp-03-2013-0096.
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Purpose – The purpose of this paper is to examine the relationship of the Five-Factor Model Personality Disorder (FFM PD) count technique to industrial, work, and organizational (IWO) criteria. In this vein, the present research sought to extend previous studies (e.g. De Fruyt et al., 2009) by eliminating common method variance, and by including several objectively assessed IWO criteria, namely, managerial level, intelligence, and creativity. Design/methodology/approach – In total, 1,659 working adults reported their managerial level in their organization, and completed two intelligence tests, a measure of creativity, and a measure of the Big Five personality traits in an assessment centre. The data were analyzed using structural equation modeling. Findings – Results showed that the FFM PD counts were significantly associated with each IWO criteria. Results also show that specific linear combinations of Five-Factor Model facets can explain a larger proportion of the variance in these criteria. Finally, normative benchmark values are provided and validated for personnel development contexts in the UK. Research limitations/implications – Because the FFM PD score-distributions were limited to one assessment setting (medium stakes) only, the use of proposed benchmarks may not be appropriate for other contexts. Practical implications – Considering the mounting evidence in the area, assessing dark side traits is likely to be desirable for organizations – particularly in selection and development settings. Originality/value – This study is the first to demonstrate the validity of the FFM PD count technique in relation to objectively measured IWO criteria.
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Žukauskienė, Lilia, Ilona Klanienė i Rasa Skališienė. "Encouraging Responsibility of Teenage Girls in Online Social Networks Through Changes in the Activities of Children's Day Centre Specialists". Pedagogika 143, nr 3 (29.10.2021): 157–75. http://dx.doi.org/10.15823/p.2021.143.8.
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The article presents the results of research on the changes in the activities of specialists from the Children’s Day Centre (CDC) in order to achieve the responsibility of teenage girls in online social networks. The qualitative research is based on the methodology of the grounded theory, A. Strauss & J. Corbin (1990) version. The research highlighted the following changes in the activities of professionals: support and involvement of girls’ parents in CDC activities, its activity reflection, creativity in activating girls’ responsible participation in OSN, and lifelong learning.
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Sujana, Ketut, Luh Putu Artini i Ni Nyoman Padmadewi. "DISCREPANCY BETWEEN PERCEIVED AND OBSERVED TEACHING CREATIVITY OF ENGLISH TEACHERS". Acitya: Journal of Teaching and Education 3, nr 1 (30.01.2021): 34–43. http://dx.doi.org/10.30650/ajte.v3i1.1410.
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This study was aimed to investigate the discrepancy that occurred between the teachers’ perception and the observed implementation in teaching creativity in the classroom. Embedded mixed method QUAL (quan) was used as the design of the study. The data corpus comprises primary and supportive data, in which the first refers to qualitative data and the later were the supportive data. SMA Negeri 1 Melaya was selected as the research setting and two English teachers were selected as the research subject. The questionnaires and in-depth interview were used as the instrument to collect the data. The data from the questionnaires were analysed quantitatively and qualitatively. Then, data reduction was used to analyse the data from in-depth interview. The result demonstrates that the discrepancy occur between teachers’ perception and the observed implementation in the classroom. The teachers perceive themselves as creative, however the observational set data indicate that their teaching mostly focus on using conventional media, deductive learning, teacher centre technique, monotonous teaching activity, using same media in every meeting, rarely conducting innovative activity and integrating the contextual problem as learning material in the class. Their teaching also mainly focused on offline learning and printed media. In addition, they were also hardly found to show effort to redesign old media to be unique and creating attractive activities in the class.