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Davison, Christopher. "The visualization of the creative experience". Honors in the Major Thesis, University of Central Florida, 2001. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/268.
Pełny tekst źródłaBachelors
Arts and Sciences
Art
Bellingham, Robin. "A phenomenological and thematic interpretation of the experience of creativity". Click here to access this resource online, 2008. http://hdl.handle.net/10292/432.
Pełny tekst źródłaAdams, Tessa. "Creative experience and the 'authenticity' of psychoanalytic discourse". Thesis, University of Kent, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.317398.
Pełny tekst źródłaBell, Alison Forsyth. "Exploring the embodied experience of ageing, through creative practice". Thesis, University of the West of Scotland, 2018. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.751386.
Pełny tekst źródłaPace, Victoria L. "Creative Performance on the Job: Does Openness to Experience Matter?" [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001171.
Pełny tekst źródłaMorrissey, Sheryl Christian. "A Phenomenological Exploration of Mindfulness Meditation and the Creative Experience". ScholarWorks, 2019. https://scholarworks.waldenu.edu/dissertations/6459.
Pełny tekst źródłaJackson, Andrew. "Understanding the experience of the amateur maker". Thesis, University of Brighton, 2011. https://research.brighton.ac.uk/en/studentTheses/199e24e3-a04a-4aec-ba99-094dc0708411.
Pełny tekst źródłaBartholomee, 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/.
Pełny tekst źródłaCamfield, David Alan. "The biological basis of openness to experience". Swinburne Research Bank, 2008. http://hdl.handle.net/1959.3/49815.
Pełny tekst źródła[A thesis submitted for the degree of] Doctor of Philosophy, Brain Sciences Institute, Swinburne University of Technology - 2008. Typescript. Includes bibliographical references (p. 250-272) and index.
Lussier-Ley, Chantale. "Towards an Enhanced Understanding of Dance Education and the Creative Experience". Thesis, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/30354.
Pełny tekst źródłaFishenden, Jerry. "Interactive digital technologies and the user experience of time and place". Thesis, De Montfort University, 2013. http://hdl.handle.net/2086/9023.
Pełny tekst źródłaKarlsson, Stefan. "A Norm Creative Perspective : Understanding users through norm creative theories". Thesis, Umeå universitet, Institutionen för informatik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-154776.
Pełny tekst źródłaWeakland, Marie A. "Creativity, openness to experience, and environmental support in problem solving". Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1124872.
Pełny tekst źródłaDepartment of Psychological Science
ZHOU, Mingying. "Lived experience and creative praxis : a critical appraisal of Raymond William's fiction". Digital Commons @ Lingnan University, 2018. https://commons.ln.edu.hk/otd/21.
Pełny tekst źródłaMaltby, Michael Peter. "The poetics of experience : a first-person creative and critical investigation of self-experience and the writing of poetry". Thesis, University of Sussex, 2009. http://create.canterbury.ac.uk/10286/.
Pełny tekst źródłaGreen, Amy Rose. "Exploring the lived experience of visual creative expression for young adult cancer survivors". Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44297.
Pełny tekst źródłaEdmonds, Timothy, i Terry Maher. "Virtual Teams and The Group Creative Process : How does the group creative process function in a virtual team enviroment?" Thesis, Uppsala universitet, Företagsekonomiska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-227032.
Pełny tekst źródłaDennett-Thorpe, Ivy Garlitz. "The old country : an experiment in modes of writing on the Jewish-American experience in poetry, fiction and popular culture". Thesis, University of East Anglia, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297480.
Pełny tekst źródłaGuseva, Olena. "Women like us : a critical and creative examination of a ‘mail-order bride’ experience". Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/29965.
Pełny tekst źródłaAbidin, Zainal Azhar Zainal. "The Creative Crowd : A Study of Undergraduate Students' Experience in a Design Education Setting". Thesis, University of East Anglia, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.514299.
Pełny tekst źródłaMaris, Jennifer H. E. "The experience and significance of sharing creative writing associated with times of personal difficulty". Thesis, Canterbury Christ Church University, 2013. http://create.canterbury.ac.uk/12494/.
Pełny tekst źródłaChanter, Thomas E. "Investigation of the advantages and disadvantages of using creative narrative in the preaching experience". Theological Research Exchange Network (TREN), 1997. http://www.tren.com.
Pełny tekst źródłaPowers, Rachel Chenven. "To Disappear". PDXScholar, 2016. http://pdxscholar.library.pdx.edu/open_access_etds/3326.
Pełny tekst źródłaMcLaren, Sasha. "Material Synthesis: Negotiating experience with digital media". The University of Waikato, 2008. http://hdl.handle.net/10289/2761.
Pełny tekst źródłaAlazemi, T. R. "Users' information seeking behaviours, their interactions and experience with the academic library web interface". Thesis, University of Salford, 2015. http://usir.salford.ac.uk/36705/.
Pełny tekst źródłaArpak, Asli. "Seeing as aesthetic experience and creative action : visual practices with shape grammars in design education". Thesis, Massachusetts Institute of Technology, 2016. http://hdl.handle.net/1721.1/107309.
Pełny tekst źródłaCataloged from PDF version of thesis. "September 2016."
Includes bibliographical references (pages 123-132).
In the discussion of what makes a "creative" or "imaginative" design, rational concerns have come to override what we might call the "aesthetic experience" - that is, an experience in which all the senses are highly engaged, not only the mind. It has become unpopular and perhaps even politically incorrect to talk about what we feel, like, or respond to viscerally - discussions of emotion, pleasure, or delight are often seen as too subjective, qualitative or illogical, influenced by personal preference and cultural bias. This stems mainly from the age-old arguments positing a mind-body split that gives value to what is seen as "intellectual" over what is seen as personal, idiosyncratic, unquantifiable; and 'normalized" over what is seen as ambiguous, peculiar, outlying. This situation presents an enormous problem for design students. They may be told that their design needs improvement, but they do not really know the why or what's next, nor do they know how to remedy the problem. Students need tools to help them reflect on their design, advance it, interact with it, change it, then interact with the change. While modern technology has provided us with the means to cut down on laborious, energy-draining tasks of drawing and re-drawing, it has perhaps inadvertently over-simplified the design process. We have lost the steps where discovery can take place - the computer does them for us. In this dissertation, I propose one way to address the current state of the problem - especially in the hands-on practice-based design studio and project-based design courses - by employing the principles of shape grammar theory. The use of shape grammars in design education can help students grow as designers and put them back in touch with their unique and instantaneous responses to emerging designs; in other words, shape grammars can help students "feel their way" toward better designs by providing them with a set of actions that can be applied. Shape grammar rules and schemas provide students with steps, a creative framework to follow and execute, which can guide them to generate and improve their designs, while developing their aesthetic and sensory-perceptual creative understanding and insight.
by Asli Arpak.
Ph. D. in Architecture: Design and Computation
Wojtczuk, Alicja. "Creative product assessment in design : Influence of judges’ backgrounds and levels of experience in design". Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3033/document.
Pełny tekst źródłaThe present thesis aims to study creativity assessments in design. More precisely, this research focuses on the evaluation of creative productions in graphic design area and it is based on complementary methods of analysis of used criteria and "evaluative referents". It aims to identify, in various assessment contexts, factors that exert an influence on the judgments of creative productions. It develops a multiple feedback approach by exploring assessments made by judges with different professional backgrounds (designers, art directors, design teachers and targeted audience) and levels of experience in design (asserted experts, intermediary experts and laypeople).The research frame includes different contexts of assessment situations and tries to capture the characteristics of judges' approaches to creativity in design, on the basis of three complementary studies. The first study focusses on judges' mental representations by exploring criteria they declare important to creativity in design. The second study allows an analysis of correlations between scores attributed to design productions with regard to different criteria as well as an analysis of inter-judge agreement on them. The third study aims to perform qualitative analyses of spontaneous verbalizations expressed by judges during their analyses of design outcomes
Chung, Jong-Eun. "From developmental to neo-developmental cultural industries policy : the Korean experience of the 'creative turn'". Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3676/.
Pełny tekst źródłaFatemi, Jaleh. "An exploratory study of peak experience and other positive human experiences and writing". Texas A&M University, 2004. http://hdl.handle.net/1969.1/1368.
Pełny tekst źródłaJahan, Aiysha. "I cast no shadow : a creative and critical exploration of Dubai's South Asian denizen TCK experience". Thesis, University of Southampton, 2016. https://eprints.soton.ac.uk/411277/.
Pełny tekst źródłaLambie, Eileen. "A phenomenological explication of the artistic creative experience of a painter, a writer and a playwright". Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1004605.
Pełny tekst źródłaCadena, Pardo Sandra Paola. "El "acontecimiento creador" y el "Ser de la escritura" a traves del texto autobiografico en Julio Cortazar y Alejandra Pizarnik". University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1458893459.
Pełny tekst źródłaMavrokordatos, Amanda. "Cultivating creativity: the relationship between inclusive leadership, psychological safety, vitality, openness to experience and creative work involvement". Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/97996.
Pełny tekst źródłaENGLISH ABSTRACT : Organisations are rapidly discovering the invaluable influence of creativity and innovation at work. An individual’s capacity to engage creatively with his or her work is becoming increasingly recognised as integral for organisational success and competitive advantage. The quest for an increase in creative output is driven by the following question: what causes variance in creative work involvement? The purpose of this study was to address the question of variance in creative work involvement across a variety of industries. In order to do so empirically, a structural model was developed after an interrogation of the literature to present the hypothesised relationships suggested through previous research. In essence, this study explored the significance of four relationships: (1) the effect of psychological safety on creative work involvement, (2) the effect of inclusive leadership on psychological safety, (3) the effect of openness to experience on creative work involvement, and (4) the moderating effect of vitality on the relationship between psychological safety and creative work involvement. The research approach was a quantitative study in which an ex post facto correlation research design was used. A total of 39 organisations participated in the study; they are located in the Western Cape, Eastern Cape and Gauteng provinces in South Africa. An electronic self-administered survey that consisted of six sections and 39 items was distributed to employees in varying roles and across different industries. Participation was voluntary; 519 employees engaged in the survey. Multiple regression analysis was used in order to evaluate the data collected. Creative work involvement, psychological safety and vitality were measured by utilising the measurement items presented by Kark and Carmeli (2009). Inclusive leadership was measured using nine items from Carmeli, Reiter-Palmon and Ziv (2010). Lastly, openness to experience was measured using the HEXACO-60 survey (Lee & Ashton, 2004), of which only the 10 items pertaining to this construct were included in the survey presented to the participants. The findings reveal that psychological safety had a significant effect on creative work involvement, and inclusive leadership was shown to have a significant effect on psychological safety. In addition, there was a significant positive relationship between openness to experience and creative work involvement. Moreover, vitality was shown not to have a significant moderating effect on the relationship between psychological safety and creative work involvement. It also was found that the relationship between vitality and creative work involvement was significant. The discussions and implications of this research suggest a number of implementations with which managers can engage in order to stimulate creative behaviour and further encourage creative work involvement through strategic decision making at a variety of organisational levels. Greater levels of creative work engagement can be achieved for the overall success of the organisation, which could have an impact on the global community at large.
AFRIKAANSE OPSOMMING : Organisasies besef toenemend die onskatbare waarde van kreatiwiteit en innovasie in die werkplek. ’n Individu se vermoë om kreatief met sy of haar werk om te gaan, word toenemend erken as noodsaaklik vir ’n organisasie se sukses en mededingende voordeel (Florida & Goodnight, 2005, soos Bissola & Imperatori, 2011). Die soeke na ’n toename in kreatiewe uitset/produksie/opbrengs/vermoë word gedryf deur die volgende vraag: wat veroorsaak variansie in kreatiewe werksbetrokkenheid? Die doel van hierdie studie was om die vraag oor variansie in kreatiewe werksbetrokkenheid in ’n verskeidenheid industrieë aan te spreek. Om dit empiries te doen, is ’n strukturele model, na bestudering van die literatuur, ontwikkel wat die hipotetiese verhoudinge uitbeeld wat deur vorige navorsing gesuggereer is. In wese verken hierdie studie die beduidendheid van vier verhoudinge: (1) die effek van sielkundige veiligheid op kreatiewe werksbetrokkenheid, (2) die effek van inklusiewe leierskap op sielkundige veiligheid, (3) die effek van ontvanklikheid vir ervaring op kreatiewe werksbetrokkenheid, en (4) die modererende effek van lewenskragtigheid op die verhouding tussen sielkundige veiligheid en kreatiewe werksbetrokkenheid. Die navorsingswerkswyse is ‘n kwantitatiewe studie waarin ʼn ex post facto-korrelasionele navorsingsontwerp gebruik is. ’n Totaal van 39 organisasies, geleë in die Wes-Kaap, Oos-Kaap en Gauteng, het aan die studie deelgeneem. ’n Elektroniese selfgeadministreerde vraelys, bestaande uit ses afdelings en 39 items, is onder werknemers in verskeie rolle en in verskeie industrieë versprei. Deelname was vrywillig en 519 werknemers het die vraelys voltooi. Meervoudige regressie-analise is gebruik om die ingesamelde data te evalueer. Kreatiewe werksbetrokkenheid, sielkundige veiligheid en lewenskragtigheid is gemeet met behulp van die metings-items wat deur Kark and Carmeli (2009) voorgestel is. Inklusiewe leierskap is gemeet met nege items van Carmeli, Reiter-Palmon en Ziv (2010). Laastens is die ontvanklikheid vir ervaring gemeet met gebruik van die HEXACO-60 opname (Lee & Ashton, 2004), waarvan slegs die 10 items wat betrekking het op hierdie konstruk ingesluit is in die vraelys wat aan die deelnemers voorgelê is. Die bevindinge het getoon dat sielkundige veiligheid ’n beduidende effek op kreatiewe werksbetrokkenheid het en dat inklusiewe leierskap ‘n beduidende effek op sielkundige veiligheid het. Bykomend hiertoe is ’n beduidende positiewe verwantskap tussen ontvanklikheid vir ervaring en kreatiewe werksbetrokkenheid gevind. Verder is aangedui dat lewenskragtigheid nie ’n beduidende modererende effek op die verwantskap tussen sielkundige veiligheid en kreatiewe werksbetrokkenheid het nie. Daar is ook bevind dat die verwantskap tussen lewenskragtigheid en kreatiewe werksbetrokkenheid beduidend is. In die bespreking en implikasies van hierdie navorsing word ’n aantal voorstelle gemaak wat bestuurders kan implementeer om kreatiewe gedrag te stimuleer en kreatiewe werksbetrokkenheid verder aan te moedig deur strategiese besluitneming op ’n verskeidenheid van organisatoriese vlakke. Groter vlakke van kreatiewe werksbetrokkenheid kan bereik word wat die oorkoepelende sukses van ’n organisasie bevorder, wat dan weer ’n impak op die globale gemeenskap kan hê.
Feest, Kathy. "Learning from the pre registration house officer experience : lessons from conventional interpretation and the creative narrative approach". Thesis, University of Bristol, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.398782.
Pełny tekst źródłaO'Donnell, Lisa. "The death of bees and closed doors : exploring the impact of experience and trauma in creative writing". Thesis, University of Huddersfield, 2018. http://eprints.hud.ac.uk/id/eprint/34735/.
Pełny tekst źródłaMcCartney, Michelle. "'When normal words just aren't enough' : the experience and significance of creative writing at times of personal difficulty". Thesis, Canterbury Christ Church University, 2011. http://create.canterbury.ac.uk/10339/.
Pełny tekst źródłaLee, Ya-Chi. "Promoting creative English teaching using Chinese culture for elementary schooling in Taiwan". CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/2952.
Pełny tekst źródłaLiao, Huakai. "A Unified Framework of the Shared Aesthetic Experience". Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1307.
Pełny tekst źródłaSimpson, L. "What's in a moment? : using creative practices to capture emotion and experience in career turning points : an autoethnographic exploration". Thesis, Canterbury Christ Church University, 2018. http://create.canterbury.ac.uk/17917/.
Pełny tekst źródłaVarela, Daniela Renee. "The Netflix Experience : Reshaping the Creative Process: Cultural Co-Production of Content: A user-focus approach to recommendation algorithms". Thesis, Södertörns högskola, Medie- och kommunikationsvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-33088.
Pełny tekst źródłaSiow-KianTan i 陳垗鄄. "Creative Experience in Creative Tourism: A Tourist’s Perspective". Thesis, 2014. http://ndltd.ncl.edu.tw/handle/jdj9hg.
Pełny tekst źródła國立成功大學
創意產業設計研究所
102
This dissertation aims to construct a model of creative experience in creative tourism, and to characterize creative tourists and their perceptions of creative experiences at tourism sites. Creative tourism is receiving an increasing amount of attention, although the concept remains rather vague, and more research is needed. This study first explores the essence of ‘creativity’ in ‘creative tourism’ from a tourist perspective. Data was collected using observations and in-depth interviews with tourists at four ‘Creative Life Industry’ sites in Taiwan. Grounded theory approach was employed, and the findings show that ‘outer interactions’ and ‘inner reflections’ construct the model of tourists’ creative experience. The former refer to tourists’ interactions with environment, people, and product/service/experience, while the latter refer to consciousness/awareness, needs and creativity, and these dimensions ‘interact’ in tourists’ inner-self throughout the experience. Moreover, ‘consciousness/awareness’ is a prerequisite for creative experience, differentiating it from other types of experiences. However, how a particular mix of factors interact and define an individual’s perceptions of a creative experience may vary among different types of creative tourists. Hence, this study continually investigates how tourists perceive creativity and construct their creative experiences at creative tourism sites. Q methodology was used to reveal the tourists’ inherent subjectivity of creative experiences with regard to the constructions of personal meaning. Five distinct groups of creative tourists were identified: novelty-seekers, knowledge and skills learners, those who are aware of their travel partners’ growth, those who are aware of green issues, and the relax and leisure type. Each consists of a different composition of factors which can provide new insights into how different tourists construct their personal creative experiences.
Lin, Ching-Yi, i 林靜宜. "Investigation the Influence of Creative Motivation and Flow Experience on Personal Creative Performance, Creation Satisfaction and Re-Creative Intention". Thesis, 2008. http://ndltd.ncl.edu.tw/handle/58985513205025935028.
Pełny tekst źródła國立高雄大學
經濟管理研究所
96
The 21st century is called the era of creative economy, the concept of creativity and innovation are the key factors responding to the rapidly changing enterprises and countries. Since 1997, the Great Britain and many other countries began pursuing the movement of creative cultural, consequently, the creative culture industry nowadays have become one of the most important industries in the world. Recently in Taiwan 2002, the theme of "Creative Taiwan" is treated as the new vision in planning the future government. While the creativity is the important resource to individuals, enterprises, and countries, according to the theory of individual creative action that is proposed by Ford (1996), motivation will determinate whether the individuals behave creatively or habitually; therein, the capability beliefs and emotion are the important components of motivation. Therefore, this study explores individuals’ creative motivation (including different levels of self-efficacy, positive and negative mood) and flow experience, and their impact on ones’ creative performance, creation satisfaction, and re-creative intention. A survey was conduct to a total of 486 subjects, which is comprised of two different populations: one is the voluntary creators (creators of from fashion market) and the semi-voluntary creators (systems developers), resulting in 396 valid samples, for an overall response rate of 81.5%. The results show that in the group of volunteer subjects (valid subjects N=241), five kinds of self-efficacy established a hieratical relationship; the creative self-efficacy, positive mood, and flow experience have positive impact on individuals’ creative performance. Positive mood and creative performance have positive influence on creation satisfaction and re-creative intentions. Flow experience influence on ones’ positive and negative mood. As for the semi-voluntary group (N=155), the hierarchal relationships of self-efficacy are significant except the relationship between resilience self-efficacy and task self-efficacy. Creative self-efficacy and positive mood have positive impact on creative performance. Creative performance, creative self-efficacy and positive mood have positive influence on ones’ creation satisfaction. Creative self-efficacy and positive mood have positive impact on re-creative intention. As for the flow experience has impact on positive and negative mood. Altogether, the higher level of creative self-efficacy, positive mood and flow experience in creation can lead to a higher level of creative performance, creation satisfaction, and re-creation intentions. The implications to academics and business are discussed.
Chen, Mei-Li, i 陳美莉. "Young Children’s Experience in Creative Movement Activities". Thesis, 2005. http://ndltd.ncl.edu.tw/handle/24037243622260409788.
Pełny tekst źródła國立臺東大學
幼兒教育學系碩士班
93
This study was based on Csikszentmihalyi's (1975. 1988, 1990. 1997a)) theory of flow experience. The purpose of this study was to investigate young children’s flow experience in creative movement activities. Participants were ten 5- and 6-year-old children at a private kindergarten in Taitung. To achieve the purpose, eight 1-hour classes were videotaped and analyzed via event sampling. The learning process of the young children was observed in a natural classroom environment. Analysis was performed by looking at the four processes and four types of creative movement activities in the eight classes. The Flow Indicators in Musical Activities (FIMA) developed by Custodero (1998) was utilized for data analysis. One-way ANOVA was employed for analysis. Results of this study include: Young children’s flow experience in the four processes and types of the creative movement activities was significantly different. 1.In the Affect Indicators: In the Warm Up Activity and Body Shape Movement, young children’s affect was significantly. 2.In the Behavioral Indicators: In the Main Activity; Rhythmic Movement and Equipments Movement, young children’s Behavior ; Challenge ;Imitation dimensions significant different to other Activity. As a conclusion, constructive suggestions were made for early childhood teachers, and the directions for future research.
(David)Tsai, I.-Tsang, i 蔡亦昌. "Developing a Value Co-creation Model for Experience Communication in Creative Design Industry". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/8hqzsm.
Pełny tekst źródła國立成功大學
創意產業設計研究所
103
This action research explores the customer experience management strategies in the background of changing consumer values from a shift of Agrarian Economy to Transformation Economy. According to the literature and discussions shared with Yeong-Jin Furniture Factory, the standpoint is looked upon from the perspective of experience communication values as the determinant of sustainable creative design industry. This is conducted through a practice-based research that attempts to identify novel approaches to render these experiences, through utilizing shared value and experience co-creation by designing encounters between firm and consumer. This research scope includes the background of theoretical reviews along with case study challenges provided by firms from the creative design industry, in achieving new experience values by the lens of the Transformation Economy. The contribution to this study will be in the disciplines of marketing and brand strategic managements of changing economic value. An action research plan was prepared and proposed to Yeong Jin Wooden Craft Furnishing business for collaboration sharing a practiced-based research motivation in co-creating peak-experience encounters. The research utilizes qualitative interactive research methods of in-depth interview, focus groups and moderate participatory approach to clarify new consumer sensibilities and opportunities for experience value designs through encounters in retail branches. The process is three fold; first, is a pre-understanding of current business imperatives and relevant literature findings, second, collecting consumer sensibilities by investigating field data and finally, implementing acquired data into model development for co-creating firm/consumer experience encounters. Pre-understanding is an introduction of the research background literature and understanding of current firm operations along with company managers to hypothesize essential themes. Following through, by collecting and analyzing primary field data accordingly to those initial firm assumptions via in-depth interviewing consumers encounters in retail branches, then classifying consumer characteristics for a comprehensive implementation in enhancing experience event offerings. Lastly, the research will take a moderate participatory approach in these experience events to study outcomes of the created firm/consumer encounters, reflecting their perceived experiences as guidelines for future implementation. All in all, the principles will construct a customer experience strategy model framework in supporting encounter preferences that will shed new light for business imperatives and gain firms new perspectives in consumer sensibilities pro market sustainability. Preliminary studies in literature findings have suggested the future of market competition waging upon the keen understanding of changing business and consumer relationships. In the era of consumers empowered with the knowledge in making choices, market values are not anymore firm centric but co-created, shared by consumers and societal norms. Businesses today are obliged to provide commodities on behalf of rendering authentic experience encounters that may in turn attract consumption much effectively than staking exclusively on the creativity of product designing. The research on Yeong Jin furniture factory explores a good representation for Taiwan’s mid-small enterprises that face the challenges in the transformation of manufacture base to an original brand firm. This investigation reveals current situational problems as well as possible solutions practical for sustainability of the greater industry of creative design business.
Cook, Gabriel I. "How the evaluation of recent experience constrains creative activities". 2002. http://purl.galileo.usg.edu/uga%5Fetd/cook%5Fgabriel%5Fi%5F200212%5Fms.
Pełny tekst źródłaLAO, YI-LUN, i 勞翌倫. "IT and Experience Assimilate into Creative Teaching:A Performance Analysis". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/sfh4a2.
Pełny tekst źródła逢甲大學
合作經濟暨社會事業經營學系
106
In the past, most of the teaching experience was based on traditional teaching methods, which made it difficult for students to concentrate on listening to the lesson during the course of class. It is therefore necessary to change the existing traditional teaching methods to make students more competitive in the global market. This study focuses on the integration of informational technology (ie, MOOCs) and experience (ie, CDIO) into the innovative teaching methods of teaching, and the impact on teaching effectiveness. The course of the freshman social work of the Department of Cooperative Economics and Social Business Management of Fengjia University is the subject of research and measurement. The analysis was performed by the main effect test of the dependent sample T test and the two-factor variance analysis. The results show that information technology and experience are integrated into the innovative teaching to satisfy the overall teaching results. The male students are obviously higher than the female students; the higher the recognition of the students, the higher the satisfaction of the overall teaching; the lower the degree of internet addiction of students, the lesson The higher the satisfaction of teaching; the more students who like to participate in the experience, the higher the satisfaction of the course teaching; the more students who think that the outdoor activities can be suppressed, the satisfaction of the course teaching is slightly reduced; the frequency of students participating in outdoor activities is more High, the higher the satisfaction of the course teaching; the students who participate in outdoor activities for a long time are more satisfied with the course teaching.
"The effect of a creative drama experience on the adolescent child". Thesis, 2014. http://hdl.handle.net/10210/12838.
Pełny tekst źródłaLin, Ping-Hua, i 林秉樺. "The Experience Business Model of Creative Life Industries in Taiwan". Thesis, 2007. http://ndltd.ncl.edu.tw/handle/s7s67t.
Pełny tekst źródła銘傳大學
觀光研究所碩士在職專班
95
Creative Life will be the vision of people chasing for a more quality and beautiful life. This thesis aims to construct a practical business model suitable for the Creative Life Industry that based on the experience and business model theories which via to describe four Cases how they develop their experience creative. Here we have the conclusions regarding the experience business models of Creative Life Industry in Taiwan: 1. To set up a unique topic and creative components via the story. 2. To mature the story and favor for the experience branding, deep core knowledge, a unique topic and multifunctional creative components are necessary. 3. A serious experience design procedure will improve the experience contents and quality, and creative will form the competitive advantage. 4. To making profit, the business should transfer the experience activities into reality products. And, multi-purpose functional operating is necessary also. 5. To Deep the core knowledge and to cooperative outside sources will favor the brand development. Forecasting the future business development, a more beautiful life and deeply experience of dinning, dressing, living, traffic, educating, and amusement will be more organized by the core knowledge and creative business model. And, finally, we hope this business model will real favor the other general enterprises to form their experience activities and products also.
Syu, Jia Jia, i 許嘉家. "The Relationship Among Personal Epistemology Belief, Creative Personality and Creative Life Experience of High School Students in Taiwan". Thesis, 2007. http://ndltd.ncl.edu.tw/handle/50703894465437048130.
Pełny tekst źródła國立政治大學
教育研究所
95
This study is to explore the relationship among personal epistemology belief, creative personality and creative life experience. Three scales were used to measure those constructs, “Personal Epistemology Scale for High School Student”, “Creative Personality Scale”, and “Creative Life Experience Scale”. There are 803 high school students from north, middle and south areas of Taiwan participated in this survey. The descriptive statistic, Cronbach’s α coefficient analysis, explorative factor analysis, confirmative factor analysis, Pearson’s correlation analysis, independent student test, multiple regression analysis and classical correlation analysis were used to analysis data. The main findings of this study were: 1. The personal epistemology belief of second grade high school students were naiver than first grades students, and with less creative personality. 2. The one who tends to hold naïve personal epistemology belief, may obey tradition less, and with less witty and braveness. 3. The one who tends to have naïve personal epistemology belief, would have less creative experience. 4. The one with more creative personality, the more creative life experiences he or she has. 5.The less differentiation of personal epistemology belief, the less creative personality and creative life experience one has. Based on the findings, the following were suggested for teaching and future research: For teaching: 1. Learning by “knowing, reflection, action and practice” 2. Using cross-areas and discussion instruction. 3. Strengthen students’ positive thinking for learning. For future research: 1. To investigate the domain specific of personal epistemology belief thinking. 2. Conduct the relation between personal epistemology belief and creativity by experimental method. 3. To explore the relations of high school students’ entity intelligence belief and learning motivation.
Chang, Shuhua, i 張淑華. "The Conceptual Model of Total Customer Experience for Creative Life Industries". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/64131176188626098069.
Pełny tekst źródła國立臺灣藝術大學
藝術管理與文化政策研究所
100
In 2002, the Taiwanese government proposed the “Challenge 2008 – National Development Plan,” and admitted the creative life industry into the “Cultural and Creative Industry Development Plan” as one of the categories for the cultural and creative industries. The creative life industry integrates aesthetic and cultural elements to develop experienced products and services based on existing industries, and inspires the establishment of innovative operational and service models through different experiences. The creative life industry extends aesthetic and cultural elements, which are the core of the cultural and creative industries, to agriculture, manufacturing, and the services sectors to add creative values to these industries. The creative life industry provides customer experiences based on operational requirements. The contents of the experiences would affect the design of the operational model and the value of customer experiences. A theoretical model for the content of the experiences provided by the creative life industry is yet to be constructed. Therefore, the objectives of this study are to: (1) explore the contents and the measurement model for the total customer experiences; (2) discuss the different types of creative life industries and the differences in customer experience evaluations to assist the design of customer experiences; and (3) explore the strategies of the experience design for creative life industries and provide references for experience design management. In this study, the author explored (1) the dimension scope and model construction of the total customer experience, (2) the visitors’ perceptions of the customer experiences provided by the creative life industry, (3) the differences in visitors’ perceptions of the total customer experiences when the visitors’ backgrounds are varied, and (4) the strategies adopted in the experience design of the creative life industry. The results of this study showed that (1) aesthetic, cultural, and economic perspectives would supplement the development of the experience management in the creative life industry; (2) the total customer experience measurement model was constructed through the relationships among experience patterns, clues of the experience process, results of the experience evaluations, subjective norms, perceived behavioral control, and behavioral intentions; (3) background factors such as residential areas, companions in the visits, and income indicated different demands from diverse lifestyles and should be integrated into the customer experience management; (4) improving the relationship management in customer experience can increase the effectiveness of word-of-mouth marketing; and (5) the reflection on the strategies of experience design are as follows: (a) using emotions or tastes to set the tone for lifestyles; (b) using the expressive value to highlight the features of the creative life industry and emphasize the relationship with the consumers’ return on investment value; (c) different types of creative life industries should learn from each other’s value characteristics from the experience provided; (d) experience patterns should comprise a combination of primary and secondary strategies; (e) improving the design of the starting and peak points based on the clues of the experience process; and (f) creating high customer perceived usefulness to overcome the restrictions of convenient transportation and enhance the effects of information collection decisions. The academic contributions of this study are as follows: (1) incorporate the aesthetic theories and cultural-economic perspectives into the experience economy and value measurement of consumer experiences to highlight the characteristics of the management and knowledge application by the creative life industry; (2) combine the experience economy, experience process management, experiential value, and related behavioral theories to offer a theory integration. The industrial contributions of this study are as follows: (1) established a scale for the total customer experience to create a performance measurement tool for the experiences provided by the creative life industry; and (2) developed principles for the customer experience design strategy to facilitate the execution on experience design. In the aspect of practical policy, we employ the complete customer experience measurement model to provide reference for content selection and counseling practices.