Gotowe bibliografie tematyczne / Creative

Gotowa bibliografia na temat „Creative”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 27 lipca 2024

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Artykuły w czasopismach na temat "Creative"

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Mo, Aaron. "Creatives, creative production and the creative market". International Journal of Sustainable Development 12, nr 2/3/4 (2009): 134. http://dx.doi.org/10.1504/ijsd.2009.032774.

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Hagstrom, Fran. "Creating Creative Identity". Inquiry: Critical Thinking Across the Disciplines 24, nr 4 (2005): 19–28. http://dx.doi.org/10.5840/inquiryctnews20052442.

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Kremer, Joe. "Creating creative assignments". Physics Teacher 50, nr 4 (kwiecień 2012): 198. http://dx.doi.org/10.1119/1.3694060.

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Sugarman, Susan. "Creating the Creative". Contemporary Psychology: A Journal of Reviews 39, nr 10 (październik 1994): 943–44. http://dx.doi.org/10.1037/034155.

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Woolfson, T. "Creating creative careers". BMJ 293, nr 6549 (20.09.1986): 747–48. http://dx.doi.org/10.1136/bmj.293.6549.747.

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Carvalho, Rui, Carlos Costa i Ana Ferreira. "Creative Tourism Consumption: Framing the Creative Habitus through a Bourdieusian Lens". Sustainability 15, nr 3 (26.01.2023): 2281. http://dx.doi.org/10.3390/su15032281.

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Creative tourism studies remain a newly developed field, pointing to changes in the consumption of tourism and culture while influencing how creativity and co-creation differentiate tourism supply through exploring the existential dimensions of creative experiences, the latter remaining an under-researched theme in the creative tourism literature. In addition, this type of tourism is presented as more responsible and sustainable than other types of massified forms of tourism. Building on a Bourdieusian approach, an updated version of Bourdieu’s main sociological thinking tools was used to analyse the creative habitus of both the supply and demand involved in the co-creation of creative tourism experiences. The authors developed 42 semi-structured interviews with creatives and creative tourists using the Loulé Criativo network in Portugal as a case study and applied qualitative techniques for the data treatment. The results showed that the creative habitus could move successfully between fields, expressing a sustainable agency towards creative tourism consumption. Autodidactism is important for skill development and knowledge replication resulting from the co-creation of creative experiences. The creative habitus, endowed with intercultural and creative capital, is characterized by self-education and ecological awareness where co-creation and coexistence with other creative people enhance the development and replication of creative competencies outside the tourism field.
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Guzmán Urrego, Luna, i Astrid Ramírez Valencia Ramírez Valencia. "Creative writing: Creating self-confidence". Revista Boletín Redipe 10, nr 13 (7.04.2022): 112–19. http://dx.doi.org/10.36260/rbr.v10i13.1732.

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Developing teenage students’ self-confidence could be difficult. Their age, likes, beliefs, attitudes, and perceptions are constant obstacles to learning a new language, even more, if they do not feel comfortable in their classroom. This article reflects on the implementation of creative writing and how other aspects as critical thinking, development of language skills, motivation, among others, can be improved while focusing on writing in a “funny way” based on the information gathered through different researches and personal teaching experience.
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Guzmán Urrego, Luna, i Astrid Ramírez Valencia. "Creative writing: creating self-confidence." Revista Boletín Redipe 11, nr 1 (13.01.2022): 344–51. http://dx.doi.org/10.36260/rbr.v11i1.1646.

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El desarrollo de la autoconfianza en estudiantes adolescentes puede resultar difícil. Su edad, gustos, creencias, actitudes y percepciones son obstáculos constantes para aprender un nuevo idioma, más aún, si no se sienten cómodos en su salón de clases. Este artículo reflexiona sobre la implementación de la escritura creativa y cómo se pueden mejorar otros aspectos como el pensamiento crítico, el desarrollo de las habilidades lingüísticas, la motivación, entre otros, mientras se enfoca en escribir de manera “divertida” tomando como base información recopilada a través de diferentes investigaciones y la experiencia personal en el ámbito de la enseñanza.
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Ennis, Gretchen. "Creative Forms for Creating Community". International Journal of Community Diversity 13, nr 1 (2014): 13–26. http://dx.doi.org/10.18848/2327-0004/cgp/v13i01/39939.

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SAKAMOTO, Haruo. "Creative Trials for Creation Education". Proceedings of the JSME annual meeting 2002.1 (2002): 419–20. http://dx.doi.org/10.1299/jsmemecjo.2002.1.0_419.

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Rozprawy doktorskie na temat "Creative"

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Ely, Robert. "Creating a creative university". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/621.

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The research focuses on an auto-ethnographic case study of the creation of a new university specialising in creativity in Singapore between 2003 and 2005. The author is the President and CEO of that institution and the Vice Chancellor designate of the University of the Arts Singapore (UARTS@). Through the personal application of knowledge and documentary research, the context for the study is explored, together with the conceptual framework within which it will operate. Some of the social, economic and political issues are described, as they relate to the Singapore Education System, drawing direct comparison with the two systems from which that system originated: the United Kingdom and to some degree, Australia. The case study is centred on the evolution of a private institution, but one that is in receipt of public funding, operating directly under the supervision of the Ministry of Education in Singapore. During the period of the study, the institution transits from a polytechnic towards a full university status and the study observes the extent to which the development impacts on the Singapore Higher Education System and how it responds to two major Singapore government objectives: • The Global Schoolhouse Initiative • The Creative Industries Development The case study illustrates a number of specific challenges facing many existing universities as they attempt to reposition themselves in response to mission convergence.
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Zabramski, Stanislaw. "Creating Digital Traces of Ideas : Evaluation of Computer Input Methods in Creative and Non-Creative Drawing". Doctoral thesis, Uppsala universitet, Människa-datorinteraktion, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-220882.

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Ideas are formed in a process of idea generation that includes creation, development, and communication of new ideas. Drawing has been used as a support for ideation for centuries. Today, computerized tools are commonly used for drawing. Such tools form a user interface between the human and the resulting drawing presented on the screen. The interface may come between the user and the drawing in a disruptive way also affecting the ideation process. Using controlled laboratory studies, this thesis investigates the consequences of drawing with different user interfaces in two types of tasks: creative drawing tasks (based on a standardized test of creativity) and non-creative drawing tasks (i.e. shape-tracing tasks where no new idea is created). The goal was to identify and evaluate the consequences of the several issues originating from the use of different input devices, the functionality of the graphical user interfaces, the formulation of the drawing task, and the user’s previous experience. The results showed that drawing tasks are oriented toward quality of outcomes and that higher input accuracy led to higher quality of outcomes of both creative and non-creative drawing tasks. This came with a trade-off between the quantity and quality. In ideation, less accurate input devices facilitated significantly more ideas but these were of lower quality. In non-creative tracing, higher speeds caused lower quality of outcomes. The users subjectively preferred higher accuracy, also when an inaccurate user interface offered an eraser function. However, using the eraser allowed avoiding reinterpretations of ideas and led to ideation strategies characterized by laborious drawing that negatively affected the quality and quantity of the ideas produced. For non-creative drawing, the more difficult the shapes were, the lower the tracing accuracy. In the thesis a new framework for interaction analysis is introduced that improves the theoretical and practical understanding of computerized drawing tasks and the phenomena resulting from different aspects of the user interface design of computerized drawing tools. This thesis demonstrates that the inaccuracy of computerized tools cannot only make our drawings less aesthetically pleasing but also negatively affect ideas that are created in the process.
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Scholtes, Mark A. "Creative Trigger, Creative Intent and Creative Choice: An Exploration of Where Songs Come From". Thesis, Griffith University, 2015. http://hdl.handle.net/10072/365726.

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This paper investigates the relationship between Creative Trigger, Creative Intent, and Creative Choice in the context of intuitive songwriting practice. By positioning creative practice in a theoretical framework that includes both traditional musical transcription and autoethnographic data, the paper discusses the interplay between these creative elements and their relationship to the finished works. It also seeks to compare conscious and intuitive songwriting process in an attempt to better understand how these two modes of operation intersect in the context of the author’s own creative practice. As a result, over the course of this project, this research highlights a transition away from what can be considered an overly romantic and anachronistic view of songwriting and creativity, towards a conclusion that refutes much of the mystery surrounding songwriting practice as propagated by many successful recording artists, songwriters, media, and the music industry at large.
Thesis (Masters)
Master of Music (MMus)
Queensland Conservatorium of Music
Arts, Education and Law
Full Text
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McGinn, Bonnie Gay. "Creative Matrix". VCU Scholars Compass, 2007. http://hdl.handle.net/10156/1366.

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Santos, Elder Rizzon. "Creative agency". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/28359.

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A presente tese de doutorado descreve uma pesquisa interdisciplinar nas áreas de criatividade computacional e agentes cognitivos. A motivação para a integração dessas áreas é o estudo da habilidade humana de utilizar suas experiências prévias e conhecimento geral para resolver problemas e lidar com situações a partir do momento em que as mesmas são apresentadas. Imbuídos dessa motivação, nosso propósito é ampliar a utilização do conhecimento de agentes, inspirado na forma como, nós, humanos entendemos e vivenciamos o mundo. Nossa abordagem para concretizar essa visão de pesquisa é adotar teorias e resultados das ciências cognitivas e neurociências como fundamentação para um modelo computacional de agentes capazes de atuar criativamente. Assim sendo, adotamos a teoria do concept blending (fusão conceitual – tradução do autor) (FAUCONNIER; TURNER, 1998), advinda da lingüística cognitiva e teoria da mente como a fundação de nosso modelo. O modelo de agentes criativos proposto integra uma implementação da fusão conceitual em uma estrutura BDI. Concretamente, utilizamos a implementação da linguagem AgentSpeak fornecida pelo framework Jason, para manipular o raciocínio teórico (crenças) e prático (desejos, planos e intenções) do agente. Logo, o objeto principal de estudo desta tese é a utilização da fusão conceitual em uma estrutura de agentes inteligentes visando contribuições em criatividade computacional e agentes. Considerando a área da criatividade computacional, especificamos um modelo da fusão conceitual que define explicitamente as regras necessárias para representar uma tipologia da fusão. Ademais, a integração de uma estrutura de agentes BDI ao modelo possibilita a construção automatizada das entradas e de informações de domínio para utilizar o processo de fusão. Focando na área de agentes, nossa contribuição é caracterizada pela aplicação do processo de raciocínio criativo para fornecer alternativas de uso do conhecimento prático e teórico. Dada a especificação da fusão aqui apresentada, é possível integrar diferentes estratégias de adaptação para lidar com a falha de intenções ou outras situações que requerem adaptação. Outra funcionalidade é a capacidade de utilizar diferentes representações de conhecimento, assumindo a disponibilidade de uma definição descritiva (na linguagem OWL) da representação. O modelo de fusão conceitual também é aplicado na modelagem do raciocínio de um sistema de recomendação educacional. Finalmente, nosso modelo de fusão representa um trabalho inicial em direção a um modelo cognitivo no qual fusão, agência e outras funções cognitivas (e.g. aprendizagem) interagem para simular diferentes funcionalidades do pensamento humano.
This PhD thesis describes an interdisciplinary research on computational creativity and cognitive agents. Our motivation to integrate these two areas is to study the human skill that uses previous experiences and knowledge to solve unpredicted problems and situations. Imbued by that motivation, our purpose is to improve the applicability of the agent’s knowledge, inspired in the way that we humans understand and experience the world. Our approach towards that research view is to adopt theories and results from cognitive and neural sciences as the grounding to a computational model of agents capable of acting creatively. Thus, we adopt the concept blending theory (FAUCONNIER; TURNER, 1998) – that originated from cognitive linguistics and theory of the mind – as the grounding of our model. Therefore, our proposal of creative agents integrates an implementation of concept blending into a BDI structure. In concrete terms, we use Jason’s implementation of AgentSpeak to manipulate the agent’s theoretical (beliefs) and practical (desires and intentions) reasoning. Hence, the main topic of study of this research is the utilization of concept blending in a structure of intelligent agents. Consequently, we observe our contributions under two perspectives. Regarding computational creativity, we specify a model for concept blending that explicitly defines rules to represent a blending typology. Furthermore, integrating a BDI structure to the model allows the automated construction of inputs and domain information to feed the blending process. Focusing on agents, our contribution is on the process of creative reasoning applied to supply alternative ways to use practical and theoretical knowledge. Given the blending specification defined here, it is possible to integrate different adaptation strategies to handle intention failure or other adaptation scenarios. Another feature is the possibility to work with different knowledge representations given its descriptive logics (using the OWL language) definition. The blending specification is also applied to model the reasoning of an educational recommender system. Finally, the defined model represents an initial work towards a cognition model where blending, agency and other cognitive operations (e.g. learning) interact together to simulate different features of the human thinking.
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Blatter, John Henry. "Creative Insubordination". VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1825.

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In today’s lexicon a ‘Daily Constitutional’ usually refers to a daily walk. But in actuality, a ‘Daily Constitutional’ is something that one does on a daily basis that is beneficial to one’s constitution or healthful(1); and one’s constitution being the aggregate of a person’s physical and psychological characteristics(2). With this definition, the daily constitutional refers to any daily activity that improves a person’s physical or mental health. At various stages in my life I may have understood my constitutional to be any number of things and it was not until I came into my own did I truly discover my Daily Constitutional, the creative process. In the following thesis I will be covering my thoughts and opinions on the creative process as well as my role of Artist in a larger art community. The thesis consists of six chapters, each being a letter I wrote for Daily Constitutional, A Publication for the Artist’s Voice as the Editor-in-Chief. I created the Daily Constitutional in 2005 in order to provide my contemporary colleagues with an opportunity to once again have a voice in the art world. The publication is entirely submission based with an international open call. Each semi-annual issue is created out of the submissions received and composed by a rotating panel of six artists and has been ongoing throughout my tenure at Virginia Commonwealth University. The mission of the publication is to provide an outlet and forum for the individual Artist’s voice, rather than the cacophony that is the art world at large (galleries, critics, curators, museums, patrons and finally the artists themselves). To provide a place to express, exchange and discuss, without interpretation, the artist’s opinions, ideas and discoveries within one’s practice. This publication can only be made possible, through a collaboration of individual Artists.(3) This document was created with Adobe InDesign CS2. 1. “constitutional.” Dictionary.com Unabridged (v 1.1). Random House, Inc. 03 May. 2009. . 2. “constitution.” Dictionary.com Unabridged (v 1.1). Random House, Inc. 03 May. 2009. . 3. “Mission Statement,” Daily Constitutional, A Publication for the Artist’s Voice, 2005-09, http://www.dailyconstitutional.org/mission_statement.html
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Jalili, Lemar. "Creative Processes". Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-75298.

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Tsiavos, Prodromos. "Cultivating creative commons : from creative regulation to regulatory commons". Thesis, London School of Economics and Political Science (University of London), 2007. http://etheses.lse.ac.uk/264/.

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This thesis explores and explains the development of the Creative Commons (CC) as an alternative to mainstream copyright protection. it argues that the distinctive characteristics of CC as a license based, configurable form of meta-regulation can be explained by consideration of the disciplinary background of the movement's founder (Lawrence Lessig) and as a consequence of the particular mode of development it undertook (e-mail discussions as commonly used in the arena of software development rather than traditional legal discussion) as well as the influence of a variety of pre-exisiting regulatory forms. The second part of the research reviews the inputs from multiple existing regulatory structures such as the Free Software Foundation and the Open Content movement, and de-constructs the process by which the CC is developed in practice. The thesis analyzes the trajectory of CC from a licensing project to a political project, the structural elements of the CC licences and the decision making process of their creation and development. This analysis helps to explain the apparent inconsistencies that have been expressed about the CC project and shows how Lessig's perspectives on regulation and meaning construction contribute to the empowerment of the creator and the attempt to provide regulatory tools instead of regulatory solutions. The thesis argues that imbalances in the existing Copyright system are symptoms of deeper structural problems of distantiation of the regulated subject from the process of regulation construction. CC therefore becomes an effort to increase access to the regulatory process and as a result ignites the creation of the Commons. instead of the regulation to be enforcing its normative content on the creative practice over the Internet, the CC approach allows the reverse to happen. The intellectual or creative commons are thus achieved as a secondary result of the ability to access the regulatory commons.
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Ragsdell, Gillian. "Creative management of creative management : a critical systems approach". Thesis, University of Hull, 1997. http://hydra.hull.ac.uk/resources/hull:4702.

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This thesis draws on current research from the systems world - that of Critical Systems Thinking - in such a way as to bring the study of creativity into a new era. Recognising a novel link between these two major fields of activity has enabled a new form of creativity to be both developed and operationalised; that is, a form of creativity which can claim to have a sound theoretical base and to be practically useful. 'Critical creativity' is put forward as a form of creativity which is worthy of pursuit today. Based on similar philosophical foundations to those of CST, critical creativity is underpinned by four main principles - a systemic principle and principles founded on participation, reflection and human needs. While it is appreciated that some creative problem solving approaches, (Ackoff's 'idealized design' and Morgan's Imaginization', for instance) implicitly rely on critical creativity, this is not sufficient for the practising manager. Only the explicit incorporation of critical creativity will ensure that creative approaches are used appropriately in each context. Total Systems Intervention (TSI) is shown to provide an overarching framework which integrates all creativity centred approaches in a critical manner; a metamethodology which promotes the practice of critical creativity. TSI is therefore capable of guiding managers to 'successful' choices and implementations during creative problem solving. A comparison of two case studies - one in which creativity per se was practised, and another in which critical creativity was strived for - emphasises the benefits of explicitly pursuing the latter form. Associated difficulties from accepting the guidance offered by TSI are explored, and subsequent realisations are used to enrich the 'theory-practice' cyclic process of critical creativity. Such guidance is not intended to be sterile and staid: indeed, this guidance will, itself, incorporate creativity. It is concluded that TSI provides a framework for the 'creative management of creative management'.
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Hood, Emily Jean. "Creative Matter: Exploring the Co-Creative Nature of Things". Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404623/.

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This dissertation is about new materialism as it relates to art education. It is a speculative inquiry that seeks to illuminate the interconnectivity of things by considering the ways in which things participate in generative practices of perceiving and making. To do so, the dissertation pioneers an arts-based methodology that allows for broad considerations about who and what can be considered an agent in the process of art making. In this inquiry, the researcher is an artist-participant with other more-than-human and human participants to construct an (im)material autohistoria-teoría, a revisionist interdisciplinary artwork inspired by the work of Anzaldúa. The term w/e is developed and discussed as new language for expanding upon Braidotti's posthumanist subjectivity. New theories called thing(k)ing (including found poetry) and (im)materiality are discussed as movements towards better understanding the contributions of the more-than-human in artmaking practices.
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Książki na temat "Creative"

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La inteligencia creativa. Archidona: Ediciones Aljibe, 2010.

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Robert, Kelly, i Leggo Carleton Derek 1953-, red. Creative expression, creative education: Creativity as a primary rationale for education. Calgary: Detselig Enterprises, 2008.

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Aprender a generar ideas: Innovar mediante la creatividad. Barcelona: Paidós, 2001.

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Kong, Lily, i Justin O'Connor, red. Creative Economies, Creative Cities. Dordrecht: Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-1-4020-9949-6.

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Holman Jones, Stacy, i Marc Pruyn, red. Creative Selves / Creative Cultures. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-47527-1.

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C, Kaufman James, i Pretz Jean, red. The creativity conundrum: A propulsion model of kinds of creative contributions. New York: Psychology Press, 2002.

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Crabbe, Anne B. Creating more creative people: Book II. Laurinburg, NC: Future Problem Solving Program, St. Andrews College, 1988.

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

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Mill, John. Creative Creative Creative Creative. Independently Published, 2018.

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Visualizacion Creativa (Creative Visualization). Alamah, 2002.

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Części książek na temat "Creative"

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Mastria, Serena, Sergio Agnoli, Marco Zanon, Todd Lubart i Giovanni Emanuele Corazza. "Creative Brain, Creative Mind, Creative Person". W Exploring Transdisciplinarity in Art and Sciences, 3–29. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76054-4_1.

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Holman Jones, Stacy. "Creative Selves, Creative Cultures, Creative Futures". W Creative Selves / Creative Cultures, 247–49. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47527-1_16.

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Harris, Anne. "Creative Agency / Creative Ecologies". W Creativity Policy, Partnerships and Practice in Education, 65–87. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-96725-7_4.

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Holman Jones, Stacy. "Creative Selves/Creative Cultures: Critical Autoethnography, Performance, and Pedagogy". W Creative Selves / Creative Cultures, 3–20. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47527-1_1.

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Wilkinson, Linden. "Inside Our Islands: Confronting the Colonized Muse in the Decolonizing Performance Space". W Creative Selves / Creative Cultures, 153–68. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47527-1_10.

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Mackinlay, Elizabeth. "Shrug Off the Old Lies: Writing Decoloniality in and Through Critical Autoethnograhy with Helene Cixous". W Creative Selves / Creative Cultures, 169–82. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47527-1_11.

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Iosefo, Fetaui. "Transformer: More Than Meets the I/Eye". W Creative Selves / Creative Cultures, 183–95. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47527-1_12.

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Aszodi, Jessica. "Got Lost: Embodied Vocal Performance at the Junction of Autoethnography and Practice-Based Research". W Creative Selves / Creative Cultures, 199–215. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47527-1_13.

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Green, Phoebe. "Creating Memories: A Cartography of Musical Learning". W Creative Selves / Creative Cultures, 217–27. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47527-1_14.

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de Bruin, Leon R. "Critical Autoethnography and Musical Improvisation: Reflections, Refractions and Twenty-First Century Dimensions". W Creative Selves / Creative Cultures, 229–45. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47527-1_15.

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Streszczenia konferencji na temat "Creative"

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

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

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This research is built upon the search for the understanding of today's status of the process of creation, and how it has been considered through time, first through an philosophical approach, then through psychological aesthetics and finally, more recently, through psychology. If all construction of reality are built upon the interaction between physical world, the psychological or subjective world and the world of human creation, it seems to be clear that the creative process is, by excellency, a paradigm of the human experimental or experiential phenomena. Assuming a descriptive case study approach, Boa Nova Tea House of Siza Viera is analyzed. In Siza Vieira´s creative process, the drawing constantly validates his work. Architecture balances between art and technique as a creative act resulting from the artist mental reflective and experimental construction.
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Chen, Yi-Wen. "Value creation in cultural and creative industry". W 2012 IEEE 3rd International Conference on Software Engineering and Service Science (ICSESS). IEEE, 2012. http://dx.doi.org/10.1109/icsess.2012.6269521.

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Bahrebar, Poona, Leon Denis, Maxim Bonnaerens, Kristof Coddens, Joni Dambre, Wouter Favoreel, Illia Khvastunov i in. "cREAtIve". W CF '21: Computing Frontiers Conference. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3457388.3458857.

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Ibrahim, Mohammad, Marie Bassford, Helen Ackerley i Vincent Cornelius. "Creative design dynamics and creative systems". W 2009 3rd Annual IEEE Systems Conference. IEEE, 2009. http://dx.doi.org/10.1109/systems.2009.4815811.

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Romero, Margarida, i Niki Lambropoulos. "Digital game creation as a creative learning activity". W 2015 International Conference on Interactive Mobile Communication Technologies and Learning (IMCL). IEEE, 2015. http://dx.doi.org/10.1109/imctl.2015.7359615.

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Zaim, M., Refnaldi, Yofita Sandra i Rifqi Aulia Zaim. "Creating Waste Coconut Coir as A Creative Art". W Ninth International Conference on Language and Arts (ICLA 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210325.066.

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Geraedts, Rob, Hilde Remøy i Anniek van der Hoek. "Refitting Vacancy for the Creative Industry; A Strategy to Create and Maintain a Creative Community". W 24th Annual European Real Estate Society Conference. European Real Estate Society, 2017. http://dx.doi.org/10.15396/eres2017_4.

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Csikszentmihalyi, Mihaly. "The creative person and the creative system". W Proceeding of the seventh ACM conference. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1640233.1640236.

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Wierzbicki, A. P., i Y. Nakamori. "Towards Creative Environments: Conclusions from Creative Space". W Proceedings of the 39th Annual Hawaii International Conference on System Sciences (HICSS'06). IEEE, 2006. http://dx.doi.org/10.1109/hicss.2006.495.

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Raporty organizacyjne na temat "Creative"

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Nazarycheva, A. I. Philosophy: creative search. OFERNIO, listopad 2020. http://dx.doi.org/10.12731/ofernio.2020.24683.

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Williams, Susan. Literacy Creative Component. Ames (Iowa): Iowa State University, styczeń 2019. http://dx.doi.org/10.31274/cc-20240624-960.

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Hughes, Anne. Hughes Creative Component. Ames (Iowa): Iowa State University, styczeń 2021. http://dx.doi.org/10.31274/cc-20240624-846.

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Acemoglu, Daron, Ufuk Akcigit i Murat Alp Celik. Young, Restless and Creative: Openness to Disruption and Creative Innovations. Cambridge, MA: National Bureau of Economic Research, luty 2014. http://dx.doi.org/10.3386/w19894.

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Kramer, Mitch. Creative Virtual V-Person. Boston, MA: Patricia Seybold Group, wrzesień 2012. http://dx.doi.org/10.1571/pr09-20-12cc.

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Kramer, Mitch. Creative Virtual V-Person. Boston, MA: Patricia Seybold Group, kwiecień 2014. http://dx.doi.org/10.1571/psgp04-24-14cc.

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Hamilton, Lawrence. Examples of creative graphing. University of New Hampshire Libraries, 2008. http://dx.doi.org/10.34051/p/2020.54.

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Marshak, Ronni. Being Creative on Zazzle.com. Boston, MA: Patricia Seybold Group, styczeń 2013. http://dx.doi.org/10.1571/cea01-17-13cc.

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Jovanovic, Boyan, i Chung-Yi Tse. Creative Destruction in Industries. Cambridge, MA: National Bureau of Economic Research, wrzesień 2006. http://dx.doi.org/10.3386/w12520.

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Toivanen, Otto, Xavier Jaravel i Richard Blundell. Inequality and creative destruction. The IFS, styczeń 2022. http://dx.doi.org/10.1920/wp.ifs.2022.0822.

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