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Botch, Catherine F. "Creativity, the lateral path less taken lateral thinking in the art classroom /". Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only.xxx, 1997. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M. Ed.)--Kutztown University of Pennsylvania, 1997.Source: Masters Abstracts International, Volume: 45-06, page: 2745. Typescript. Abstract precedes thesis as preliminary leaves iv-v. Includes bibliographical references (leaves 98-103).
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Kampe, Carolyn J. Newby Marilyn Provart. "Effects of differential instruction upon the creative response of deaf students". Normal, Ill. Illinois State University, 1990. http://wwwlib.umi.com/cr/ilstu/fullcit?p9101116.
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Thesis (Ed. D.)--Illinois State University, 1990.Title from title page screen, viewed November 7, 2005. Dissertation Committee: Marilyn Newby (chair), Heather Hanlon, Max R. Rennels, Lanny E. Morreau. Includes bibliographical references (leaves 66-69) and abstract. Also available in print.
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Bartholomee, Lucy. "How Does It Feel to be Creative? A Phenomenological Investigation of the Creative Experience in Kinetic Places". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062833/.
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How does it feel to be creative? Such a question, when approached from a phenomenological perspective, reveals new understandings about the embodied experience of creativity, and how it feels as it is being lived. This investigation begins with a provocative contrast of two environments where creativity is thought to manifest itself: school art classrooms, where creativity is often legislated from an authority figure, and New Orleans Second Line parades, where creativity is organically and kinetically expressed. A thorough review of the literature on creativity focuses on education, arts education, creative economies, psychology, and critical theorists, collectively revealing a cognitive bias and striking lack of consideration for community, freedom, and the lived experience of being creative. Further discussions in the literature also neglect sites of creativity, and the impact that place (such as a school classroom) can have upon creativity. The phenomenological perspectives of Merleau-Ponty, Heidegger, Bachelard, and Trigg support a methodological lens to grasp embodied knowledge, perceptions of placedness on creativity, and the interdependent frictions between freedom, authenticity, movement and belonging. The research method includes investigations in New Orleans in archives, examination of visual and material culture, participation in cultural practice, and formal and informal interviews. Further, the phenomena of walking and wandering became a methodology for embodied data collection that clarified the emerging rich experiences and descriptions of how it feels to be creative, especially how it feels to be creative in a creative place. What is also revealed are intense frictions, such as the tension between perceptions of personal freedom and a high demand for authenticity in terms of New Orleans traditions, that opens the space and fuels the inspiration for the abundance of creativity found in New Orleans culture.
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Frost, Sophie Louise. "Art at work : creativity and participation in the public cultural institution". Thesis, University of Aberdeen, 2016. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=230630.
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This thesis reflects upon the nature of creativity and participation in the UK public cultural institution. It asks: to what extent is creative agency enabled or disabled within this context? In order to answer this question a qualitative study of Southbank Centre, one of the UK's leading public cultural institutions, has been constructed. The thesis considers the institution in its totality, analysing and interpreting both internal, subjective dimensions and external, public-focused dimensions. An interdisciplinary approach characterises a theoretical and methodological framework that draws upon concepts and methods from sociology, visual culture, museum studies and institutional ethnography. The case study is contextualised through analysis of three key historical examples that provide the preconditions for current perspectives on the relationship between art and work in the public cultural institution: the 1951 Festival of Britain, Artist Placement Group (APG) and the Arts and Crafts Movement. The Southbank case study involves employee interviews, fieldwork observations and the interpretation of cultural objects. These provide the empirical evidence that enables reflection on how creative work and the public are constituted, and how the institution might be seen to exist as a site of struggle. These methods facilitate an assessment of the critical potential of creative work within and around the public cultural institution's self-defined boundaries and the specific historical, discursive and symbolic conditions through which it is enabled or disabled. Although the influence of neoliberal cultural policy cannot be underestimated in this context, the thesis concludes with an alternative suggestion for what the public cultural institution could be. It claims that the discursive tension between artistic and managerial agendas can act as a productive terrain for creative work in its broadest sense.
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Buscemi, John. "The visual arts and religion the changing relationship /". Theological Research Exchange Network (TREN), 1986. http://www.tren.com.
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Singer, Jessica Elizabeth. "Being and becoming : the creative balance of the artist teacher". Thesis, University of Aberdeen, 2018. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=235793.
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In this study, identity is conceptualised as a joint accomplishment between individuals and their interactions with norms, practices, cultural tools, relationships, and institutional and cultural contexts (Gee, 2000; Holland et al., 1998; and Wenger, 1998). From this stance, this research is within a situative approach which aims to understand motives and engagement of people as they participate in formal and informal learning contexts. This is accumulated from experiences (Dewey, 1934) which are processed and retained. From this state of being, the individual's identity is in the process of becoming; affected by personal circumstances and experiences gathered throughout the life course. In response to this, this research views identity not as a thing but as a process of being and becoming. (Beijaard, 2003). Through the process of living, individuals come into constant interaction with different contexts and cultures which inform their personalised identities. Individuals live in the world and, in so doing, create a 'meshwork' (Ingold, 2011) in which individuals do not exist in one location but move along paths acknowledging the role of other people and places in the formation of identity. Transitions throughout the individually lived life course (Elder, 1994) and the emotional experiences (Dutton and Heaphy, 2003) of these transitions aid in the identity formation of the artist teacher. The artist teacher is in a constant state of 'negotiating' between the identities of the artist and the artist teacher. The theoretical framework guiding this study merges Urie Bronfenbrenner's theory of ecological systems (1979)- the micro-, meso-, and macro- levels of human development with Barbara Rogoff's three planes of analysis (1995) - the personal, interpersonal and community levels of development. Data were built with the participation of six artist teachers living and working in North East Scotland, Aberdeen. Findings revealed fascinating ways in which the six artist teachers negotiated their artist and artist teacher identities in/through: art practice and pedagogy, collaborations with others in processes of dialogue and joint activity, and both solo and collaborative participation across persons in-contexts (Nolen et al., 2015).This study contributes to knowledge in exploring both psychological and sociological emotional experiences of the artist teacher to provide a more comprehensive and thorough examination of identity formation from a situative perspective.
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Walters, Marilyn. "Marxist aesthetics : the social relation of the creative process and emancipated consciousness". Thesis, The University of Sydney, 1986. https://hdl.handle.net/2123/26027.
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A great deal has been written about the activity we know as Art; its role within the larger community, its relationship to the general mode of production within a given society, as well as its potential as a force for social change. Theorists in this area have bequeathed to us, tome upon tome in their efforts to better understand how we perceive Art, its objects and processes. Within the discipline of Aesthetics, definitions of the ”beautiful" and the ”good" and explorations of the relationship of one to the other, which have been with us since Plato's time, have been continually scrutinized, and in the Complex societies of Modern Capitalism, the perennial question, what is Art? persists, begging an answer. As Donald Brook remarks: It has been intuited for millenia that people can not make real art intentionally, on demand, because there is a significant sense or respect in which nobody knows even what it is; much less do they know how to set out to make it.
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Brown, Jeffrey Wardlaw. "Essential understandings exploring my personal relationships with the multiple intelligences through art /". CONNECT TO THIS TITLE ONLINE, 2007. http://etd.lib.umt.edu/theses/available/etd-07232007-123044/.
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Bader, Angela. "A personal exploration of the creative process". Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/960.
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Grahle, Christian René. "Organizing creativity : the role of aesthetic knowledge in advertising creative processes". Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/11868.
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This thesis presents the results of research which investigated how creative processes in advertising agencies are organized and the role aesthetic understandings play therein. Indepth accounts describing how creative processes in advertising agencies are organized were not well characterized in the extant literature. This was surprising, given the confusion that existed about whether or not advertising practitioners share similar tastes. Whereas some research suggests highly homogenous taste patterns, other research, reporting about severe conflicts in advertising agencies, suggests that the contrary is true. Consequently, also research on taste-making processes and thus the ways through which tastes and collective action are negotiated was missing. This research aims to address these gaps in the literature by providing an in-depth account of the way specific practices creative processes are organized by analysing how practices and tastes interlink as well as by providing insights into the ways through which taste and collective action are sustained at advertising agencies. To do so, qualitative research at a leading London-based advertising agency was carried out over a period of five months. Two sets of practices by which the advertising creative processes were organized were identified. In addition, four types of tensions between both sets of practices and thus different tastes among advertising practitioners, depending on the practices in which they were immersed, were found. Moreover, ways in which tensions were resolved and thus how different tastes were negotiated were identified. By doing so, this research closes the above gaps in the literature and reveals that at advertising agencies' creative processes and taste-making go hand in hand. Finally, practical insights for managers in the advertising industries, aiming to foster collective engagement, collaboration and conversations, and creative expression in creative advertising processes as well as suggestions for future research are offered.
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Robins, Amanda School of Arts UNSW. "Slow art : meditative process in painting and drawing". Awarded by:University of New South Wales. School of Arts, 2006. http://handle.unsw.edu.au/1959.4/31214.
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This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called "meditations," which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).
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Osorio, Fernandez Arturo. "A Tale of a Town: Artists Crafting "The Creative Class"". Amherst, Mass. : University of Massachusetts Amherst, 2010. http://scholarworks.umass.edu/open_access_dissertations/192/.
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Hudson, Ken. "Designing a continuously creative organisation /". View thesis View thesis, 2001. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030328.140346/index.html.
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Dowd, Ron. "An inquiry into an imaginal landscape". Thesis, View thesis View thesis, 2001. http://handle.uws.edu.au:8081/1959.7/25791.
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This thesis describes an inquiry taken into the nature and genesis of landscapes experienced imaginally. The inquiry proceeds by introspection, by art making, and by exploring related writings. The terms pre-conceptual and pre-imaginal are used to refer to an unknowable dimension from which the conceptual and the imaginal rise, and attempts are made to confirm the conceptual and the imaginal as expressions and effects of this dimension. The possibilities of a continual interplay between the imaginal and the pre-imaginal in the inner life of writers and artists are explored.
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Dowd, Ron. "An inquiry into an imaginal landscape". View thesis View thesis, 2001. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030417.105838/index.html.
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Scaringi, Paul. "Freedom and the 'creative act' in the writings of Nikolai Berdiaev : an evaluation in light of Jürgen Moltmann's theology of freedom /". St Andrews, 2008. http://hdl.handle.net/10023/443.
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Sade, Gavin John. "Envisaging alternatives for practice : a study into the way concepts of sustain-ability can be explored within an interactive media arts practice". Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/53314/1/Gavin_Sade_Thesis.pdf.
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This practice-led study explores different ways the subject of sustain-ability can be addressed within an Interactive Media Arts practice. The exploration encompasses three creative projects, Charmed, Distracted and e. Menura superba. Grounded in an ecological philosophy inspired by vegetarianism and the critical design philosophy of defuturing, the work shows how such a philosophical position can guide the redirection of practice. The concern for sustain-ability within my practice, and more generally the question of Interactive Media Arts and sustain-ability, I refer to as a problématique. The objective of this study is not one of finding an answer or a truth to an instrumentally posed question, but to explore the complexities of the problématique through a program of practice and intellectual investigation. The aim being to redirect my practice and to find a renewed raison d’être for practice through a process of opening up, encountering, and discovering otherwise unknown possibilities for practice. In the context of sustain-ability, this opening up of possibilities can be considered a form of futuring. A futuring I argue is only possible if the things we take for granted as integral aspects of our being, practices and life worlds, are revealed in ways that estrange them, rendering them visible in ways that allow questioning and change.
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McCoubrey, Sharon. "But I'm not an artist, beginning elementary generalist teachers constructing art teaching practices from beliefs about ability to create art". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0017/NQ56586.pdf.
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Shepherd, Jason D. "Redeeming the arts creativity as the primary component of the humanitas attributes in the imago Dei /". Theological Research Exchange Network (TREN), 1997. http://www.tren.com.
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Blackmon, Kristen N. "Creative Self-Efficacy and Personality: From Imagination to Creativity". Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248380/.
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Imagination and creative self-efficacy are important components of the creative process and outcomes but are rarely investigated together. To explore the relationship between personality factors, imaginative thinking, and creative self-efficacy, survey responses were gathered from university students in a southwestern region in the United States (n = 1,731). Personality was measured using the International Personality Item Pool (IPIP), imagination was measured using the Imaginative Capability Scale (ICS), and creative self-efficacy was measured using items based on reliability in previous studies. Participants were asked to complete the three surveys along with demographic information through an online format. Confirmatory factor analysis (CFA) was conducted first to confirm measurements used. After fit indices confirmed measurement models used, subsequent analyses were conducted using structural equation modeling (SEM). The model of best fit supported creative self-efficacy as a strong predictor of all three factors of imagination. Additionally, the model indicated a strong relationship between conscientiousness and conceiving imagination as well as other notable relationships with personality factors.
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Labuschagne, Elizabeth Jacomina. "Speelse plastiek : kontemporere juweliersware as bricolage : ’n praktyk-gebaseerde ondersoek". Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86664.
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Thesis (MA(VA))--Stellenbosch University, 2014.ENGLISH ABSTRACT: This thesis investigates adults who play. Through my investigation, I discovered that play for adults is not distraction or a waste of time as is generally accepted. It is a basic need and necessary for survival. Although there are different forms of play, such as sport matches, hobbies and gambling, I specifically focus on play where objects can be created. This type of play is inherently more creative and stimulates lateral thinking. In play there is a freedom and safe environment which is not necessarily tied to reality. At the same time it is a self-reflective discovery process which stimulates brain activity. In my practice I use plastic bags as an accessible and malleable material to design and make contemporary jewellery. It is a way to act as an active agent in the world, rather than a passive consumer. The discussion of my art pieces forms the primary research of the thesis and is supported by theoretical research. In the process of making a deeper understanding and knowledge is extracted, which can be established through ritual play. New connections are formed in the brain and contrasting ideas can be linked which would otherwise not have happened. Play has value because it does not only stay in ‘play state’. It can spill over to the confrontation, questioning and uniting of the sociological, economical, cultural and political contrasts in my immediate South African environment. Consequently play contributes to our ability to adapt, process everyday contradictions (such as social inequality) and find creative solutions. Furthermore, it possesses the potential to contribute to our social wellbeing, happiness, trust, the will to share and to live empathetically.
AFRIKAANSE OPSOMMING: Hierdie tesis handel oor volwassenes wat speel. Deur my ondersoek ontdek ek dat spel vir volwassenes nie afleiding of ʼn mors van tyd is soos algemeen aanvaar word nie. Dit is ʼn behoefte en noodsaaklik vir oorlewing. Alhoewel daar verskillende vorme van spel is, soos byvoorbeeld sportkragmetings, stokperdjies, dobbelary, fokus ek spesifiek op spel waar objekte gemaak word. Dié tipe spel is inherent kreatief en stimuleer laterale denke. In spel is daar is ʼn vryheid en veilige ruimte wat nie met die werklikheid verenig hoef te word nie, maar terselfdertyd is dit ʼn self-refleksiewe ontdekkingsproses wat breinaktiwiteite verhoog. In my praktyk maak ek gebruik van plastieksakke as toeganklike en vervormbare materiaal om kontemporêre juweliersware te ontwerp en te maak. Dit is ’n manier om as ʼn aktiewe agent in die wêreld op te tree, eerder as ’n passiewe verbruiker. Die bespreking van my kunswerke vorm die primêre navorsing van die tesis en word ondersteun deur teoretiese navorsing. In die maakproses word daar ʼn dieper begrip en kennis ontgin wat vasgelê kan word deur rituele spel. Nuwe konneksies word in die brein gevorm en kontrasterende idees kan verbind word wat nie andersins sou plaasvind nie. Spel is waardevol omdat dit nie net in die ‘spel toestand’ bly nie. Dit kan oorspoel na die konfrontasie, bevraagtekening en vereniging van sosiologiese, ekonomiese, kulturele en politiese kontraste in my onmiddellike Suid-Afrikaanse omgewing. Gevolglik dra spel by tot ons vermoë om aan te pas, alledaagse teenstrydighede (soos sosiale ongelykheid) te verwerk en kreatiewe oplossings te vind. Dit besit verder die potensiaal om by te dra tot ons sosiale welstand, gelukkigheid, vertroue, die wil om te deel en empaties te lewe.
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Pierman, Eleanor L. "Dance-ability: A Mixed Methods Study of Dance and Development in PreschoolStudents with Disabilities and Adaptations for Sustainable Dance Programming". The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1586543857308249.
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Tampalini, Serge. "Affective space (looking back) /". Access via Murdoch University Digital Theses Project, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20071116.144247.
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Bennett, Rick 1963. "Drawing on the virtual collective : exploring online collaborative creativity". Phd thesis, Sydney College of the Arts, 2009. http://hdl.handle.net/2123/6433.
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Evans, Michelle Louise. "Socioeconomic status and domains of creativity: Is the artist really starving?" CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3240.
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Socioeconomic status (SES) influences many aspects of a person's life, and stereotypes concerning level of SES and the domain of creativity exist. It was hypothesized that children classified as low SES would perform more creatively in the visual arts and language arts domains of creativity than in the mathematic and scientific domains.
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Migdadi, Mahmoud Mohammad. "An integrative view and empirical examination of the relationships among knowledge management enablers, processes, and organizational performance in Australian enterprises". Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060511.153300/index.html.
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Hirunyawipada, Tanawat. "How componential factors and constraint enhance creativity in the development of new product ideas". Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3964/.
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New product ideation is the transformation of a raw idea into a robust concept with consideration of fit and feasibility of technologies, customer benefits, and market opportunity. Although the ideation process often involves ambiguous processes, it is the most critical activity in new product development (NPD). As a creativity task, the ideation process is considered heuristic rather than algorithmic. However, managing the ideation process as either a completely heuristic or an entirely algorithmic procedure leads to just conventional outcomes. Rooted in cognitive psychology, this study proposes that ideation activities in NPD should be pursued as Simonton's "constrained stochastic behavior." An ideation task not only needs good componential factors but also requires constraint to frame the task by precluding unwieldy ideas while promoting high variability of ideas. Focusing on the inputs and attempting to strike a balance between algorithmic and heuristic ideation process may provide the mechanisms to manage the psychological perceptions with an aim to stimulate and orchestrate the ideation staff's cognitive efforts to generate the creative idea. To achieve this goal, new product idea creativity is considered as the ideas that could turn out to be products that are novel to and useful for customers, and appropriate to firms' existing production systems. In addition, the study asserts that componential factors include two factors: specialization representing idea creators' depth of NPD knowledge, experience, and skills in a product domain, and diverse expertise representing the breadth of ideation team's knowledge, experience, and skills concerning the same domain of NPD. These factors are essential and collectively can enhance creativity in the development of new product ideas. Finally, goal constraint is defined, operationalized, and incorporated in the NPD ideation framework. This constraint encapsulates the overall criteria and stylistic principle for a particular product domain and reflects the frame of reference for new product idea development. The findings provide mixed results, and yield at least three new concepts. First, the process of new product idea development truly requires specialization and diverse expertise if its ultimate goal is creativity. Both componential factors are essential and together can enhance new product ideas on all important dimensions. Second, goal constraint exhibits a linear relationship, rather than an inverted U-curve relationship, with idea newness and usefulness-two dimension of creativity important for customers. Finally, goal constraint can enhance creative outcomes of new product ideas, especially in the ideation team exhibiting a low level of specialization.
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Greene, Debra Blatt. "An Analysis of the Peer Relationships of Gifted and Gifted-Creative Primary Students". Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331836/.
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The purpose of this study was to compare the peer relationships of highly gifted and highly gifted-highly creative primary students in a gifted classroom of a public school. The study was conducted using thirty-one highly gifted first, second, and third graders who had scores of 140 or better on the WISC-R, WPPSI, or Otis-Lennon.
At the beginning of the school year, the Creativity Assessment Packet was administered to the class. The top 20 percent scorers in the class (termed gifted-creative) and those who scored in the bottom 20 percent of the class (termed gifted) on the CAP were targeted for observation. In addition, a sociogram was administered to each student individually for the purpose of determining each child's social status. A bivariate correlation coefficient was employed to express the degree of any relationship between creativity scores and rankings on the class sociogram. Observational anecdotes were used in the discussion of the
sociometric results.
The following findings resulted from the study. The gifted-creative students, as a group, ranked higher on a class sociogram on measures of friendship and choice of academic work partners than did the gifted group. On sociometric measures of choice of creative work partners, there was no significant difference. During observations, the gifted students displayed approximately the same amount of positive verbal behaviors as the gifted-creative students. The gifted students did exhibit more isolated behavior, especially during academic tasks, than.did their gifted creative counterparts. The gifted-creative group displayed much more verbal and physical aggression than the gifted group.
This report concludes that in the gifted classroom under investigation, gifted-creative and gifted pupils differ in their peer relationships thus supporting findings documented in past research. However, information from the sociogram seemed to suggest that the gifted-creative students, as a group, achieved higher social status within this gifted classroom than the gifted students.
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Kam, Ting, i 甘婷. "An analysis of policy agenda setting: a studyof government policy on creative industries in Hong Kong". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46780671.
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Wright, David George. "Creativity and embodied learning : a reflection upon and a synthesis of the learning that arises in creative expression, with particular reference to writing and drama, through the perspective of the participant and self organising systems theory /". View thesis, 1998. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030807.134153/index.html.
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Ruddock, Eve. "Ballad of the never picked : a qualitative study of self-perceived non-musicians' perceptions of their musicality". University of Western Australia. School of Music, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0103.
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Humans are a musical species and every culture has its music. However, twenty individuals out of a cohort of twenty-nine participants in this study judged themselves to be 'not musical'. Through their words, silences and responses, the story of music in the lives of these self-perceived non-musicians uncovered a musical world where concepts of performance, judgment and talent dominate. My investigation into individuals' perceptions of their musicality revealed a pervasive societal belief that individuals were either born 'musical' or they were not; their everyday reality was one where music was perceived as a performance, an object, something that only talented people can 'do'. I planned conversations with participants that aimed to reveal clues that could help to unravel a paradox that lies within music in our Western culture: every young human is intrinsically musical but only some are born with a gift to be musical. Participant convictions that they were not musical deterred some individuals from active engagement in music making. They felt as if they had been left out of the 'musical ballpark'. Details from conversations illustrated a constricting cultural imposition on individuals; this was perpetuated in many schools and also in private music teaching. Data revealed that current educational practice contributed to a denial of a natural birthright and alienated some individuals from being part of a musical community. As their stories revealed failed attempts to engage in music making, iterative contacts created a daunting quantity of data. But there was poetry in participant data. These self-perceived non-musicians simultaneously demonstrated their musicality in the rhythms of their narrative as they denied that they were musical; this emerged as a means to report the research whereby participants' words combined to tell a non-musician's tale. Compelling narrative revealed a society where educational practice does little to address individual musical development. While each story alone was specific and complex, once the stories became woven together as a complex and contradictory whole, the ballad of the never picked captured the essence of a distanced musicality in our Western society. Narrative drove towards meaning. Through interpretation and detailed qualitative analysis, understandings began to emerge from depths of experience and from friction existing within contradictions. Deep within narrative which evolved over a period of five years were perceptions that led to understandings of our cultural reality. Active involvement in this research became part of an emancipatory process for several participants where mutually reflective acts exposed unnecessary impositions from societal expectations. Participant voices uncover a bifurcated reality wherein the musical development of many individuals is undermined through an ignorance of holistic human potential; this musical-unmusical divide is perpetuated in educational practice.
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Fouche, Pierre. "The distance between us : strategizing a queer, artistic, personal and social politic". Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/2137.
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Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2006.This thesis considers radical and reactionary political strategies for questioning systems of gender/sexuality categorisation and finds both wanting in terms of the cultural insularity and mainstream assimilation each respectively engenders. An alternative is posited in the form of radical assimilation, a theory borrowing the best elements from both approaches. The remainder of the study is focussed on the search for personal and iconographic strategies to pursue a politic of radical assimilation in my creative production. These strategies are finally exemplified and manifested via discussions of the practical corpus of artworks that aided in the formation of this politic. The discursive framework in which this theorization occurs includes considerations of queer theory and photography (especially domestic photography and portraiture) and subjective contextualization (invoking the domestic uses of images), and all should be seen as constituting a personal discursive framework: an attempt to counter the reductive scope an uncontextualised analysis of my work allows. This study is accordingly an explication of the processes that turn the personal into the political; a critical affirmation of difference; and an attempt to narrow the distances between us.
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Avalon, Alexxis. "Arts in new directions : the development and application of a construct that uses the arts to promote transformation and self-actualization in health care and education/therapy". [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001421.
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Scaringi, Paul A. "Freedom and the 'creative act' in the writings of Nikolai Berdiaev : an evaluation in light of Jürgen Moltmann's theology of freedom". Thesis, University of St Andrews, 2008. http://hdl.handle.net/10023/443.
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This project revisits the work of Nikolai Berdiaev, one of the first Russian Silver Age religious philosophers to be widely read in the West. The focus of this research is his thought on freedom and the ‘creative act’. We will argue that Berdiaev’s vision of freedom contains two types of freedom – a freedom understood within the created order and a freedom ‘outside’ of creation. It will be shown that in the former type, the reader finds a nuanced and insightful multi-layered conception of human freedom, which offers intriguing possibilities for exploring freedom and its implications for humanity. It will also be demonstrated that this type of freedom is closely related to his innovative view of creativity. Berdiaev conceives of freedom and creativity as distinct concepts, and yet so integrally related that they are interdependent. In the latter type of freedom, the reader will encounter a highly speculative and original metaphysical view that attempts to explain freedom as non-determination and answer the challenges of theodicy, which, this research will maintain, fails to do. This research will contend (contrary to Berdiaev’s own statements) that his thought is most comprehensible from a broadly theological perspective. This perspective will underscore the significant tension within his work that arises from his speculative metaphysics. Unlike earlier works on Berdiaev that glossed over this tension, we will attempt to ameliorate it by engaging Jürgen Moltmann’s theology of freedom. Moltmann’s theology will provide a number of ideas and concepts for an analysis, critique, and reconfiguration of Berdiaev’s vision. This reconfiguration will seek to remain faithful to Berdiaev’s core concerns, while providing a new interpretation of his thought that is relevant for a contemporary dialogue concerning the significance of freedom and creativity for the person and community in relation to God.
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Roy, Subroto. "Innovation generation in buyer-seller relationships /". View thesis, 2001. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030625.171114/index.html.
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Thesis (PhD) -- University of Western Sydney, 2001." A thesis submitted in partial fulfillment of the requirements for the degree of PhD in Marketing, University of Western, Sydney." "Submitted July 2001 and revised February 2002" Bibliography: p. 273 - 285.
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Puryear, Jeb S. "The Role of Chosen Creativity Measurements in Observed Relationships to Personality". Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849658/.
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Creativity is a complex construct that is conceptualized and measured in multiple ways. This study examined the relationship between creativity and personality taking this into account. It was hypothesized that applying different conceptions and measures would cause variation in the creativity-personality relationship. The participants (N = 224) were undergraduate students completed six creativity measures, a personality inventory, and a demographic questionnaire. Personality predicted more creative production (R2 = .277) than creative potential (R2 = .176) and more self-reported creativity (R2 = .348) than that which was externally-rated (R2 = .149). Personality predicted creativity beyond demographic and intellect variables, but the effects varied based on the creativity measure. Openness was most consistently and strongly related to creativity. Other personality factors demonstrated suppression effects in multiple models. Overall, the results suggest that despite relatively small effects of personality on creativity, it can help strengthen prediction in creativity models. Implications for educational settings and future research are discussed.
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Wohl, Elizabeth C. "Creativity and Affective Traits Across the Life Span: Developmental Influences Among Adolescents and Older Adults". Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4279/.
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In recent years, empirical research has consistently supported an association between susceptibility to affective illness and creativity at the level of eminent achievement and at the non-eminent, or "everyday creativity" level. Although this research has provided greater evidence for the existence of this link, it has simultaneously unearthed more questions about how and why such an association exists. The purpose of this research was twofold: first, to provide further analysis of the nature of the relationship between hypomanic traits and creativity by employing a longitudinal study to determine the extent to which inter-individual differences over time in creativity are predicted by hypomanic traits. Second, the purpose of the cross-sectional analysis in the present study was to further determine how developmental components such as age and expertise may help unravel the ways in which hypomanic traits contribute to creativity and to further describe inter-individual differences among these variables. The first hypothesis, which proposed that the direction of the relationship between hypomanic traits and creativity could be predicted, was not supported by these results. The second research hypothesis was partially supported: hypomanic traits predict creativity in the combined adolescent and older adult samples. However, upon further examination of the regression analyses, the data indicate that the relationship between hypomanic traits and creativity is also influenced by age and developmental factors. Furthermore, the way in which the relationship is influenced by these other factors depends on the way in which the creativity construct is measured (e.g., process or personality. The findings suggest that the antecedents of creativity may differ between adolescents and older adults. In adolescents, the hypomanic traits measure is the only variable that predicts creative personality and creative process, while expertise is the only variable to predict creative personality and creative process among the older adults in this study. It appears expertise significantly and uniquely contributes to at least two areas of creativity in older adults, while hypomanic traits significantly and uniquely contributes to the same two areas of creativity in adolescents. Implications of these findings and limitations to this study are discussed.
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Danks, Shelby. "Measuring Culture of Innovation: A Validation Study of the Innovation Quotient Instrument". Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc848105/.
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The ability for an organization to innovate has become one of the most important capabilities needed in the new knowledge economy. The research has demonstrated that an organization’s culture of innovation in particular predicts organizational innovativeness across multiple industries. To provide support to these organizations in their abilities to understand the culture of innovation, researchers have developed instruments to measure culture of innovation, and while many of these instruments have been widely used to inform organizational opportunities for improvement, few of these instruments have been validated or replicated beyond their initial use. The current study employs multiple factor analytic methods to validate the factor structure of the Innovation Quotient instrument developed by Rao and Weintraub and assess the extent to which the instrument is reliable for multiple organizational groups. The results of this study, as well as implications for researchers interested in culture of innovation, are presented.
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Smith, Jack. "Unleashing your creative potential". Theological Research Exchange Network (TREN), 1988. http://www.tren.com.
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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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Burgoyne, Christine Anne. "The importance of identifying particular strengths : spatial ability in pupils who are at risk of not learning to read". Thesis, University of Exeter, 2010. http://hdl.handle.net/10036/3150.
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Recent studies have shown that there may be evidence that children with reading difficulties have particular compensatory spatial ability, although the exact spatial ability has not been identified. This study used qualitative and quantitative methods to examine closely two spatial abilities, spatial visualisation (mental rotation from memory) and visual realism (three-dimensional drawing and construction ability) in students with reading problems and students with no problems. The aim was also to explore the question of whether students with spatial ability and reading problems were encouraged to use these strengths either in or out of school and whether such abilities could be identified in the early years environment. Equally, the question of motivational failure related to possible unrecognised potential, particularly in the area of non-verbal/spatial ability was also examined. This study used longitudinal case studies with five children and their mothers over a period of ten years. Interviews were transcribed and analysed using a grounded theory approach. Researcher observations as the teacher of the five children in their primary years provided additional evidence of their reading and spatial abilities at an early age. In addition, the study uses a Further Education College survey that examines spatial ability and reading problems in 133 post-16 year olds that provides the quantitative element of the study providing evidence about students with spatial abilities and their career choices. The data analysis revealed that the five case studies had largely overcome their reading problems due to early intervention strategies for reading together with encouragement and support outside school for their spatial abilities. Additionally, they have pursued careers, which for the most part, uses their spatial skills. The data analysis of the College survey showed that the link between spatial ability and reading problems was less secure, although there were a number of students with Specific Learning Difficulties (SpLD) who had high spatial abilities and this proved to be important from the point of view of identifying strengths alongside weakness in literacy, particularly in the early years at school. Early identification and acknowledgement of spatial ability as a perceived strength and used to support learning, as opposed to identification of reading problems, a perceived deficit, proved to be a key finding of the research.
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Hetzel, Eugene David. "The mad rhetoric: Toward a rigor on radical creativity and its function in consciousness as a communicative principle". CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3293.
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This thesis explores three creative works, "The music of Erich Zann" by H.P. Lovecraft; the film "Eraserhead" by David Lynch; and the "Self-Portrait (blue)" by Vincent Van Gogh, as examples of different forms of mad rhetorics as a way in which to demonstrate the application of the theory of "mad rhetorics" and the role "radical creativity" plays in the construction of mad rhetorics by "mad rhetors" play in society.
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Mobley, Michele Ingram. "Exploration of processes essential to the production of major creative accomplishments". Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/29213.
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Fisher, Matt. "Mind as creative organization : the nature and development of human cognition as a creative process /". Title page, abstract and table of contents only, 2004. http://web4.library.adelaide.edu.au/theses/09ARM/09armf5331.pdf.
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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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Walker, Marie. "Creativity and depression : personality correlates of depression in autobiographies of creative versus non-creative achievers". Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=67522.
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This study focused on depression-proneness in the creative achiever compared to the eminent but non-creative achiever. Forty-eight subjects' (25 male, 23 female) autobiographies were assessed on personality using the California Q-Set (Block, 1961). Creative achievers were divided into visual and literary creators while the control group was made up of political, military and social leaders. The Q-Set items were divided into the five factors of personality (neuroticism, extraversion, openness, agreeableness and conscientiousness) according to McCrae, Costa and Busch (1986). Using factor analysis, neuroticism was further divided into 6 facets, two of which corresponded to Costa and McCrae's depression and impulsivity items. Results showed that creative achievers scored significantly higher than controls on neuroticism and openness, while controls scored significantly higher on conscientiousness. Creative achievers rated significantly higher than controls on depression-proneness and impulsivity, with literary artists scoring particularly high on depression-proneness. Creativity as a method for controlling depression is discussed.
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Reilly, Rosemary. "Social creativity, values and shared expertise : the synergistic confluence of social creativity, values and the development of shared expertise". Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85200.
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The following is a report of a qualitative inquiry regarding a team of novices and their journey in developing shared expertise and social creativity in the domain of group facilitation and process consultation. Using the format of public reflection, the participants engaged in an intensive collaborative process of meaning making, along with the university instructor as expert, while being teaching assistants in a course about group dynamics. Using the framework of evolving systems, the methodology employed an instrumental case study approach, with the case defined as the group. Data sets included videotaped debriefing and planning sessions, individual and group interviews, and written reflection diaries, covering the entire lifespan of the team. These sets were transcribed and subjected to an examination of the unfolding cognitive and metacognitive, creative, value, and social processes embedded within the team interactions. The process patterns do demonstrate that under the conditions created within this context, novices can pool together expert thinking skills that can collectively compare favorably to those of an expert. Social creativity also emerged as a property of the system, and these processes seemed to piggyback onto the socially shared expert thinking skills. Values acted as tacit rules governing and shaping the social interactions. Ones that showed a strong association to the development of shared expertise were: supportiveness, care, listening/questioning for clarity, helpfulness, openness to disagreement/feedback, and plurality. Values that showed a strong association to the development of social creativity were: supportiveness, listening/questioning for clarity, helpfulness, and openness to disagreement/feedback. Humor was an ever present element to the system and acted as a lubricant producing social ease. The patterns that emanated from this inquiry were placed into two larger theoretical frameworks, socially shared cogni
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Mao, Yuhan-Lin. "Computer art and creative tool making". Thesis, Massachusetts Institute of Technology, 1985. http://hdl.handle.net/1721.1/78802.
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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1985.MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Includes bibliographical references (leaves 124-126).
A digital paint package has been developed which places attention on the design of personal "brush " patterns. The user generates an image by iterating these pattern modules on the raster display. During the application of a pattern, it can grow, shrink, and change in opacity level under the user's control. This method of digitally creating images was developed in light of the problem of representing visual characteristics effectively while "painting" with a computer graphics system . Allowing the user to design personal brush patterns, which can be stored in a library of patterns, and to make marks by repeating them, expands the potential visual qualities of the image as demonstrated by sample images included in this thesis. Software functions are provided for creating and editing patterns through a menu of selections. These functions treat individual shapes and colors in a pattern as separate entities that can be manipulated. Shapes can be manipulated individually, or as a selected group. The manipulation functions include the following: move, copy, scale, and delete. Software functions are also provided for the editing of color components. One method allows a color's red, green, and blue components to be adjusted. And the other allows its hue, lightness, and saturation levels to be adjusted.
by Yuan-Lin Mao.
M.S.V.S.
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Colby, Kristen Marieta. "Creative Workers and County Earnings in the United States". Fogler Library, University of Maine, 2008. http://www.library.umaine.edu/theses/pdf/ColbyKM2008.pdf.
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Danner, Sarah E. "Creative Leadership in Art Education: Perspectives of an Art Educator". Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1217001351.
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