Siga este link para ver outros tipos de publicações sobre o tema: Creative process.
Teses / dissertações sobre o tema "Creative process"
Crie uma referência precisa em APA, MLA, Chicago, Harvard, e outros estilos
Veja os 50 melhores trabalhos (teses / dissertações) para estudos sobre o assunto "Creative process".
Ao lado de cada fonte na lista de referências, há um botão "Adicionar à bibliografia". Clique e geraremos automaticamente a citação bibliográfica do trabalho escolhido no estilo de citação de que você precisa: APA, MLA, Harvard, Chicago, Vancouver, etc.
Você também pode baixar o texto completo da publicação científica em formato .pdf e ler o resumo do trabalho online se estiver presente nos metadados.
Veja as teses / dissertações das mais diversas áreas científicas e compile uma bibliografia correta.
1
Calatrava, Santiago Tzonis Alexander Lefaivre Liane. "Santiago Calatrava's creative process." Basel [etc.] : Birkhäuser, 2001. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=3764363231.
Texto completo da fonte
2
Olson, Stephanie E. "Igniting my Creative Process." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/87.
Texto completo da fonteResumo:
This art-based research study will examine creativity and the creative process during the production of a cohesive body of work. The author’s auto-ethnographic reflections of her creative process were recorded, and analyzed. The artist/teacher/researcher will provide conclusions based on her art production and self-reflection.
3
Babington, Amanda-Louise B. "Handel's 'Messiah' : the creative process." Thesis, University of Manchester, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518483.
Texto completo da fonteResumo:
The primary aim of this study is to utilise Messiah as a case study into Handel's creative process, attempting to examine details of its composition in chronological order, for the purposes of exposing and exploring Handel's creative decisions and methods. This means that the study is divided into chronological sections and, as the creation of the libretto of Messiah is inextricably linked to the creation of the musical work, the study begins with an investigation into the cultural precedents to the libretto of Messiah, the libretto's genesis and Charles Jennens's aim in (and method of) constructing it. Sketches and other 'pre-compositional' material form the next stage for discussion, raising the issue of Handel's well-known propensity to re-use his own and others' music. Handel's methods of creating the autograph score are then outlined in preparation for an analysis of the alterations that he made to the autograph during the work's initial composition. The focus then shifts towards the conducting score for an exploration of the various types of later alteration that some movements in particular were subjected to, examining Handel's reasons for selecting movements for alteration, the possible circumstances behind the changes and his methods of marking alterations in both the autograph and conducting scores, before assessing the role of these later alterations as part of the work's creation.
4
Jungmann, Manuela. "Embodied creativity : a process continuum from artistic creation to creative participation." Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/7374/.
Texto completo da fonteResumo:
This thesis breaks new ground by attending to two contemporary developments in art and science. In art, computer-mediated interactive artworks comprise creative engagement between collaborating practitioners and a creatively participating audience, erasing all notions of a dividing line between them. The procedural character of this type of communicative real-time interaction replaces the concept of a finished artwork with a ‘field of artistic communication'. In science, the field of creativity research investigates creative thought as mental operations that combine and reorganise extant knowledge structures. A recent paradigm shift in cognition research acknowledges that cognition is embodied. Neither embodiment in cognition nor the ‘field of artistic communication' in interactive art have been assimilated by creativity research. This thesis takes an interdisciplinary approach to examine the embodied cognitive processes in a ‘field of artistic communication' using a media artwork called Sim-Suite as a case study research strategy. This interactive installation, created and exhibited in an authentic real-world context, engages three people to play on wobble-boards. The thesis argues that creative processes related to Sim-Suite operate within a continuum, encompassing collaborative artistic creation and cooperative creative participation. This continuum is investigated via mixed methods, conducting studies with qualitative and quantitative analysis. These are interpreted through a theoretical lens of embodied cognition principles, the 4E approaches. The results obtained demonstrate that embodied cognitive processes in Sim-Suite's ‘field of artistic communication' function on a continuum. We give an account of the creative process continuum relating our findings to the ‘embedded-extended-enactive lens', empirical studies in embodied cognition and creativity research. Within this context a number of topics and sub-themes are identified. We discuss embodied communication, aspects of agency, forms of coordination, levels of evaluative processes and empathetic foundation. The thesis makes conceptual, empirical and methodological contributions to creativity research.
5
Brewer, Peter W. "The Creative Process of Ira Sullivan." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/238.
Texto completo da fonteResumo:
Six Ira Sullivan performances were analyzed from studio and live recordings spanning the years 1962 to 1998. Sullivan plays different musical instruments on five of the six selections: trumpet, flute, tenor saxophone, alto saxophone (2 selections), and soprano saxophone. Musical facets considered include phrasing (length/placement), melodic contour, lyricism, harmonic phenomenon, and concept of sound. Common musical threads within Sullivan's improvisations were expected to be found throughout all performances. A call and response dynamic across myriad musical fundamentals such as melody, harmony, and rhythm was found to be present and seems to form a basis for much of Ira Sullivan's improvisations. This and other broad traits common to Sullivan's improvisations are presented herein through analysis.
6
Braun, Jennifer Ann. "Wikis and the creative writing process." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/11442.
Texto completo da fonteResumo:
A wiki is one example of social software that can assist and augment the creative writing process in a number of ways. In this thesis, I present a work of original fiction developed in a wiki, a select literature review on wikis, an autoethnography of my creative writing process while working in a wiki, and an ethnographic study of my students who wrote their own wiki stories. The research thus far suggests that wikis can facilitate the following vis-à-vis creative writing: increased risk-taking; more extensive revision and editing; greater flexibility and freedom for writers; instant access to writing via the internet; the storage of intermediate drafts; and the ability to incorporate multimedia and hyperlinks to convey complexity in ways not possible in print. Wiki environments may also support dialectical inquiry and collaboration between students and teachers. This opportunity for easy (and easy to monitor) collaboration, along with their organizational and creative affordances, is why wikis should be more readily adopted into school curricula. As many texts today are digital, collaborative and under constant revision, wikis can support the creative writing process in a milieu that is becoming increasingly comfortable for people and provide them with a much wider audience than most print formats.
7
Carse, Henry R. "Creative ambiguities in the pilgrimage process." Thesis, University of Kent, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408518.
Texto completo da fonte
8
Engle, Teresa A. "Experimental Navigation and the Creative Process." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1058.
Texto completo da fonteResumo:
For this creative project, I am exploring alternate methods of navigating urban environments, and ways in which this activity can inspire creativity. This process is intended to create a new awareness of the urban landscape, break out of the prescribed, and to inspire innovation. The range of possibilities for this way of navigating is vast, and part of the challenge of my experience has been defining boundaries, assigning variables, and using strategies for exploration making my process inherently morphological. I hope that my work here will encourage others to step out of their comfort zone and experience their environment in a new way.
9
Javeri, Sabyn. "The creative process : a journey of self-discovery through creative writing." Thesis, University of Leicester, 2016. http://hdl.handle.net/2381/37801.
Texto completo da fonteResumo:
This PhD submission constitutes a novel and accompanying critical commentary. My novel Nobody Killed Her provides an alternative history of the assassination of Pakistan's only female Prime Minister, Benazir Bhutto. The thesis questions the choices I made in order to develop the writing of this novel and the decisions I took in order for it to reach its readers. I discuss the issues of creative integrity and the role of the publisher as an enabler, and as a modern day censor. I examine the role of literary influences and publishing pressures on the multi-layered and shifting strains of the creative process and explore fiction as a powerful tool for communicating the paradoxical state of modern Pakistani women, which my novel draws upon. Accordingly, my research narrative is interspersed with personal vignettes that helped shape my writing. Reflecting upon the role of memory, history and politics, and literary influences that shape our writing, I try to interrogate the ‘flash-bulb’ moments of inspiration and argue that creative writing is actually a series of complex thought processes that shape our consciousness. I have also, during the compilation of this essay, looked critically at the role of the publisher in shaping an author’s creativity and the author’s desire for publication in influencing his or her creative choices. I have examined the role of the audience, by asking who the writer is writing for, concluding that the creative journey is more important than the destination i.e., the culmination of the writing into a published form. I conclude by contending that creative writing is above all communication, not just with the reader but also with one’s self. It is about self- expression and therefore must remain true to the self.
10
Bader, Angela. "A personal exploration of the creative process." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/960.
Texto completo da fonte
11
Harris, K. Paul Covach John Rudolph. "U2's creative process sketching in sound /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,806.
Texto completo da fonteResumo:
Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2007.<br>Title from electronic title page (viewed Dec. 18, 2007). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music." Discipline: Music; Department/School: Music.
12
Townsend, Patricia Mary. "The artist's creative process : a Winnicottian view." Thesis, University College London (University of London), 2018. http://discovery.ucl.ac.uk/10042680/.
Texto completo da fonteResumo:
The existing body of psychoanalytic literature relating to the process of making visual art does not include formal studies of first-hand reports from contemporary artists. This thesis addresses that gap through the creation of a new series of artworks and through a qualitative study of artists’ accounts of the states of mind they experience as they work. It aims to provide new evidence relating to the artist’s creative process and to question the extent to which psychoanalytic theory in the Winnicottian tradition can account for artists’ experiences. My methodology was two-fold: I kept a written record of my own states of mind as I created six video, installation and animation artworks; I also conducted thirty in-depth interviews with professional fine artists. The testimony of the artists and myself was interrogated using psychoanalytic theory from the Winnicottian and British Object Relations tradition. Winnicottian theory was chosen because it offers a particular understanding of the inter-relationship between inner and outer worlds and the thesis considers the artist’s process in these terms. Drawing on Winnicottian theory, the thesis presents the artist’s process as a series of interconnected and overlapping stages in which there is a movement between the artist’s inner world, the outer world of shared ‘reality’ and the spaces between. The research reveals aspects of artists’ experiences that are not fully accounted for by the existing literature. To address these gaps, the thesis proposes the introduction of several new terms: ‘pre-sense’ for an as-yet undefined first intimation of the possibility of a new artwork relating to a particular aspect of the outside world; ‘internal frame’ for a space within the artist’s mind, specific to a particular medium, which the artist ‘enters’ when starting work; and ‘extended self’ and ‘observer self’ for two co-existent self-states that constitute the artist’s working state of mind.
13
Jeffery, Lucy. "Beckett : art, music and the creative process." Thesis, University of Reading, 2018. http://centaur.reading.ac.uk/80440/.
Texto completo da fonteResumo:
This thesis looks at Samuel Beckett’s creative process beginning with an analysis of how the visual arts (in particular Kandinsky and Abstract Expressionism) influenced Watt, which he began writing as a means of staying sane during WWII, and ending with an investigation of the colour blue in Company (which was finished in 1980) in relation to paintings by Beckett’s acquaintance, Geneviève Asse. Three radio plays and two teleplays which Beckett wrote during this period are also examined to evaluate how contemporary (Morton Feldman and Marcel Mihalovici) and Romantic (Beethoven and Schubert) music instruct Beckett’s creative process, specifically his structural techniques and narrative voice. With reference to Beckett’s early drafts from his manuscripts held in the Beckett Collection at the University of Reading, his correspondences, and early critical essays, this research asks how music, art, and media inform Beckett’s aesthetic decisions and shape his work. Specifically, it asks how Beckett’s use of art and music can create new perspectives on his struggle to express the sense of longing and tension between hope and despair. By choosing texts that span forty years, Beckett’s stylistic shifts are analysed in relation to the cultural context, particularly the technological advancements and artistic movements, during which they occur. As an author who recycles numerous motifs – greatcoats, slippers, the sea, cylindrical enclosures – one can identify how Beckett’s methodological experimentation affects his creative process, particularly his use of language. This thesis finds new examples to claim that the drastic changes that took place in the visual and musical worlds, such as the move from abstraction to minimalism, and tonality to atonality, influenced Beckett and, in turn, were influenced by him. Its focus on Beckett’s creative process contributes to interdisciplinary scholarship, extending the discussion on Beckett and his personal and intellectual involvement with the surrounding artistic milieu.
14
Anderson, Jonathan Douglas. "The Creative Process in Cross-Influential Composition." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28386/.
Texto completo da fonteResumo:
This dissertation describes a compositional model rooted in cross-influential methodology between complementary musical compositions that share generative source material. In their simultaneous construction, two composition pairs presented challenges that influenced and mediated the other's development with respect to timbre, transposition, pitch material, effects processing, and form. A working prototype first provides a model that is later developed. The first work Thema is for piano alone, and the companion piece Am3ht is for piano and live computer processing via the graphical programming environment Max/MSP. Compositional processes used in the prototype solidify the cross-influential model, demanding flexibility and a dialectic approach. Ideas set forth in the prototype are then explored through a second pair of compositions rooted in cross-influential methodology. The first work Lusmore is scored for solo contrabass and Max/MSP. The second composition Knockgrafton is scored for string orchestra. The flexibility of the cross-influential model is revealed more fully through a discussion of each work's musical development. The utility of the cross-influential compositional model is discussed, particularly within higher academia.
15
Vandenberg, Cody J. "MINUTEMAN: THE CREATIVE PROCESS OF SHORT FILMMAKING." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1340303337.
Texto completo da fonte
16
Scherman, Katie. "The Creative Process: Honesty, Individuality, and Empowerment." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19245.
Texto completo da fonteResumo:
This study explores a model for the creative process to facilitate an honest, individualistic, empowering human experience for the dancers and choreographer in the Higher Ed dance studio. I investigated the role of choreographer as facilitator/collaborator and dancer as creator/co-owner to formulate a model aimed at developing connection.
Over the course of eight weeks, I facilitated a creative process workshop. Eight undergraduate dance majors volunteered to be a part of the study. My evaluation was conducted through pre and post workshop interviews, self-journaling, group discussions, as well as video documentation. As a result, three themes and six sub-themes emerged from the data: Self-Realization with sub-themes of self-reflection, self-acceptance, and confidence; Safe Open Environment with sub-themes of group empathy and connection; and Using the Voice with a sub-theme of vulnerability. This model offers a safe environment geared toward using the voice, practicing vulnerability, and making individual artistic decisions.
17
Lucena, Nathaniel. "A Mediational Model of the Creative Process." W&M ScholarWorks, 2007. https://scholarworks.wm.edu/etd/1539626540.
Texto completo da fonte
18
Edmonds, Timothy, and 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.
Texto completo da fonteResumo:
The purpose of this paper is to explore group creative processes in a virtual environment to better understand how virtual communication influences creativity. After reviewing literature, a theoretical foundation in creativity was established and with three common themes derived: Task motivation and task orientation, social environment and participation, and communication. This was coupled with a review of current virtual team interaction theories, demonstrating intersections between them. The method used was a qualitative exploration using semi-structured in-depth interviews. The interviews were conducted via VOIP, with notes and recordings taken for further analysis. Analysis was conducted on the three common creative themes viewing virtualization as the mediator. Trends emerged demonstrating that asynchronous communication had a substantial influence on group creative processes. Conversely, virtual teams employing real-time communication found little influence on the creative process. Other anecdotal trends can be seen regarding motivation and social environment. This paper identifies key areas where virtualization influences the group creative process, and provides a base for future suggested research.
19
Yu, Shasha. "Facilitating a Creative Growth Mindset: A Creative Process that Integrates Gameplay with Maketools." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587417280180723.
Texto completo da fonte
20
Smith, Darion. "Boosting My Creative Process in Choreography: Analyzing Related Work, Integrating Methods of Select Master Choreographers, Creating a Dance." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23800.
Texto completo da fonteResumo:
During a ten week period at the University of Oregon I created a sociopolitically based dance work, The Big Red Button. I researched theories about creativity. I researched a selection of master choreographers in order to integrate their methods of creation with my own. Finally, I created a dance piece with students from the University of Oregon which was shared with the public in a live performance. In this document I discuss this exploration into my creative process in dance with the intention of understanding more about it, expending upon what I already posses as a choreographer, and attempting to find out if the creative process can be enriched, resulting in new methods, new products, and new perspectives on creating a dance work.
21
Robinson, Ray. "Making electricity : an exegesis of the creative process." Thesis, Lancaster University, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.730249.
Texto completo da fonteResumo:
An exegesis of the creative process involved in writing the novel Electricity. This comprises: a preface; an analysis of the novel’s genesis; details of an interview with neuropsychologist Dr Alarcon; an examination of how the protagonist’s character was formed; the link between epilepsy and creativity; a brief analysis of how epilepsy is used in Dostoyevsky’s The Idiot', epilepsy as a structural device; memory and the novel as consciousness; the language of the epileptic body; the interpreter and qualia; reader criticism and writer response; an overview of the editorial process; a dialogue discussing the illusion of the female voice; and finally a conclusion.
22
Stevens, Caroline Alexandra. "Making art matter : narrating the collaborative creative process." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ63996.pdf.
Texto completo da fonte
23
Ellamil, Melissa Marie. "Different modes of thought during the creative process." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/27692.
Texto completo da fonteResumo:
Creativity is most often defined as the ability to produce ideas that are both novel and useful. Consistent with this twofold definition, psychological theories have suggested that creativity involves a twofold process characterized by a generative (or associative) component that facilitates the production of novel ideas, and an evaluative (or analytic) component that enables the assessment of these ideas as to their usefulness. To investigate this, the present study employed a novel paradigm that was specifically designed to allow for separately examining the generative and evaluative components of the creative process. Functional magnetic resonance imaging (fMRI) was used to identify the contribution of particular brain regions to creative generation and evaluation. Participants were presented with short book descriptions and, using an fMRI-compatible drawing tablet, designed corresponding book cover illustrations while alternating between the generation and evaluation of ideas. Creative generation and evaluation were associated with recruitment of distinct neural circuits, with generation preferentially recruiting medial temporal lobe regions, and evaluation showing joint recruitment of executive and default network regions. These findings suggest that the medial temporal lobe may play an important role in the generation of novel ideas, and that creative evaluation may extend beyond deliberate and cognitive analytical processes supported by executive resources to include spontaneous, affective, and visceroceptive analytical processes. In summary, separating and alternating between generative and evaluative modes during a creative task helped to provide a better characterization of the contributions of creativity-related brain areas to the creative process, which had previously only been inferred indirectly. The results of this study suggest that creative thinking recruits a unique configuration of neural processes not typically used together in more traditional tasks.
24
Stone, Adam H. "Applying systems engineering methodologies to the creative process." Thesis, Monterey, California: Naval Postgraduate School, 2014. http://hdl.handle.net/10945/44007.
Texto completo da fonteResumo:
Approved for public release; distribution is unlimited<br>The application of systems engineering methodologies to the creative process provides opportunities to improve the creative capabilities of individuals and organizations. Through creativity and systems engineering research, the creative process is equated to the systems engineering process. This allows creativity itself to be defined as a system. Defining creativity as a system permits the analysis of the creative process and the construction of a systems engineering based process model for creativity. Process based creativity theories are decomposed and reformulated into a process flow that acknowledges the iterative and recursive nature of the creative process. The derived process flow is then integrated with systems engineering process elements to construct a process model for creativity. The production of a systems engineering derived process model for creativity allows future opportunities to improve that process model by incorporating new creativity research and/or additional influences on creativity, increasing the fidelity of the model. The proposed process model also invites future research into the efficacy of the model. Through the use of systems engineering, creativity research may be incorporated and refined to build an evolving process model for creativity.
25
Slater, Mark Everard. "Influence and originality in the creative writing process." Thesis, University of Sussex, 2014. http://sro.sussex.ac.uk/id/eprint/51604/.
Texto completo da fonteResumo:
Using an approach that distinguishes between the epistemologies of critical theory and creative practice, this study investigates notions of originality and influence in literary theory and considers their applicability to the teaching of creative writing and creative writing practice. It argues that current paradigms offer limited and contradictory explanations of these phenomena and makes the case that, through the assimilation of recent philosophical and scientific perspectives into a framework of socially-situated theory, a fresh approach can be developed that acknowledges the embodied experience of the writing process. The study consists of two main research areas: qualitative and literary/theoretical. The literary/theoretical research falls into two strands of enquiry that are closely linked and run parallel to each other throughout the thesis. One strand is concerned with the need to find an ontological structure for creative writing that accommodates practical and theoretical approaches and provides a conceptual framework that allows issues of originality and influence to be seen from both inside the writing process and from an external theoretical perspective. The second strand, evolving within the former, analyses notions of originality and influence historically and more specifically within romanticism and the socially situated theory of Mikhail Bakhtin. The qualitative research was designed to offer a practical and experiential set of findings that could be used to guide the theoretical research. In this research project, using a phenomenological methodology, a group of part-time adult creative writing students (14 participants) were asked to reflect on their perception and experience of originality and influence in the writing process. Their responses were returned in the form of questionnaires and the findings were collated into fourteen key themes. The theoretical research contextualizes the study within debates with student writers in writing workshop sessions about issues of influence and originality in critical peer review. After a discussion of the pedagogic and theoretical issues that these debates generated, including an analysis of the impact of romanticism on contemporary notions of creativity and a survey of developments in pedagogic theory in creative writing, the literary/theoretical research goes on to explore notions of originality and influence in the work of Bakhtin and romanticism in greater detail. It develops a critique of Bakhtin's socially-situated theory of creativity and argues that this is due to a weakness in the ontological premises of Bakhtin's conceptual framework. Moving to a study of romanticism it proposes that Bakhtin's socially-situated theory fails to fully understand or assimilate embodied emotionality into its ontology and that the embodied emotionality in romanticism, when seen through a more contemporary paradigm of embodied realism reveals the shortcomings in socially-situated theory. The final section on embodied realism and the impact of neuroscience on studies of the body and emotionality argues for a fresh ontological perspective, which would resolve the paradoxical nature of the relationship between an epistemic, socially constructed view of reality and a more biologically determined notion of human nature. In the discussion of key findings and in the conclusion to the research the thesis shows how, by adopting the ontological perspective of embodied realism and incorporating it into socially-situated theory, new perspectives on originality, influence and creativity can be developed that fully integrate epistemologies of theory and practice, and offer a grounded theoretical position from which to construct a viable pedagogy for creative writing. Finally, the thesis offers ideas for further research and discusses ways in which this combined approach can be applied to teaching practice, offering examples of exercises developed during the course of the study and covered by the main topics of research.
26
Buckley, Morgan. "Creative performer agency in the collaborative compositional process." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/278870.
Texto completo da fonteResumo:
The early-twentieth-century culture in western art music of idolizing the composer as the autonomous creative genius has been challenged by recent developments across musicology and creativity research literature. The composer’s music is now regarded as the product of a collaborative network, influenced by all who come into contact with it—first and foremost the performer. Yet, the nature of the performer’s creative impact on the compositional process remains under-explored. This thesis is centred on a qualitative artistic research project, designed to identify and critically evaluate the prospective extent and scope of creative performer agency; it aims to ascertain how a typical lack of familiarity with the instrument may affect the composer’s creative practice, and to reveal key factors that shape the nature and the consequences of composer-performer interaction and collaboration. It proceeds by commissioning new works for guitar from a range of composers for different performers, and by documenting and analysing the processes of collaboration that result. This research agenda challenges the perception of distinct creative roles that remains resilient in present-day cultural understandings and discourse. The findings are intended to broaden understanding of contemporary collaborative practices in the compositional process for the guitar and generalize to the guitar repertoire of the long twentieth century, during which the majority of substantial works were composed in collaboration. The thesis also contributes to a developing and generalizable framework of practice-led research literature that analyses music-making by recognizing the multiple loci and their interactions that underpin all aspects of the creative processes. Chapter 1 discusses the establishment of the creative hegemony of the composer and its opposing currents across disciplines from the late romantic period to the late twentieth century. Chapter 2 comprises an indicative chronology of select collaborations in the long twentieth-century guitar repertoire and an overview of relevant practice-led research projects in performance studies. Ethnographic methodologies are reviewed in Chapter 3 and the fieldwork commissions are analysed in Chapters 4 and 5. Finally, Chapter 6 comprises an evaluation of the performer’s creative agency and its significance when placed in broader frameworks of contemporary guitar practices, contemporary composition across instrumentations, generalizing to historical guitar collaboration and its implications for creativity research.
27
McCrystal, Mary Katherine. "Re-Visioning the Feminine Through Intentional Creative Process." Thesis, Pacifica Graduate Institute, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10277369.
Texto completo da fonteResumo:
<p> This research is about revisioning the Feminine; this is an exploration into the depth of image, alchemy, and intentional creativity, and the catalytic role they play in psychic and somatic integration. Hekate was identified as an image of the dark Feminine that invoked fear in Western culture. For this reason Hekate was selected for interpretation for this alchemical hermeneutic study. An examination of the dark Feminine as Hekate was conducted using an intentional creative process. Also investigated in this study are the alchemical processes of <i>nigredo</i> and <i>albedo</i> and their correlation with transformation within an intentional creative process. Intentional creativity was identified as a viable method for encountering experiences of psychic and somatic integration. Further, through incorporating current research in trauma and neuroscience, this research examined responses to fear in connection to image and the involvement of image in mind-body-subtle body disconnection. This qualitative research was conducted using alchemical hermeneutic methodology to examine the lived experience of re-visioning the Feminine. The data examined in this study were collected by working with an intentional creativity method developed by artist Shiloh Sophia McCloud. McCloud’s intentional creativity model was applied to a dream image, and the researcher’s responses to the layers of the painting process then generated the data for the study. The findings of this study show that McCloud’s method produced lasting experiences of psychic and somatic integration, and that through re-visioning the Feminine, the mind-body-subtle body experience of fear was transformed. </p>
28
Kilgour, A. Mark. "The Creative Process: The Effects of Domain Specific Knowledge and Creative Thinking Techniques on Creativity." The University of Waikato, 2007. http://hdl.handle.net/10289/2566.
Texto completo da fonteResumo:
As we move further into the 21st century there are few processes that are more important for us to understand than the creative process. The aim of this thesis is to assist in deepening that understanding. To achieve this a review of the literature is first undertaken. Combining the many different streams of research from the literature results in the development of a four-stage model of the creative thinking process. The four stages are problem definition, idea generation, internal evaluation, and idea expression. While a large range of factors influence the various stages in this model, two factors are identified for further analysis as their effect on creativity is unclear. These two factors are domain-specific knowledge and creative thinking techniques. The first of these factors relates to the first stage of the creative thinking process (problem definition), specifically the extent to which informational cues prime domain specific knowledge that then sets the starting point for the creative combination process. The second factor relates to stage two of the model (idea generation), and the proposition by some researchers and practitioners that creative output can be significantly improved through the use of techniques. While the semantics of these techniques differ, fundamentally all techniques encourage the use of divergent thinking by providing remote associative cues as the basis for idea generation. These creative thinking techniques appear to result in the opening of unusual memory categories to be used in the creative combination process. These two potential influences on the creative outcomes of individuals: 1) domain specific knowledge, and 2) creative thinking techniques, form the basis for an experimental design. Qualitative and quantitative research is undertaken at two of the world's leading advertising agencies, and with two student samples, to identify how creative thinking techniques and domain-specific knowledge, when primed, influence creative outcomes. In order to measure these effects a creative thinking measurement instrument is developed. Results found that both domain-specific knowledge and creative thinking techniques are key influences on creative outcomes. More importantly, results also found interaction effects that significantly extend our current understanding of the effects of both primed domain-specific knowledge and creativity techniques on different sample populations. Importantly, it is found that there is no 'one size fits all' for the use of creative thinking techniques, and to be effectively applied, creative thinking techniques must be developed based upon the respondent's current domain and technique expertise. Moreover, the influence of existing domain-specific knowledge on individual creativity is also dependent upon how that information is primed and the respondent's knowledge of cognitive thinking strategies.
29
Rivas, Chávez Valeria Andrea. "La influencia de la digitalización en los procesos creativos de ilustradores profesionales de Lima." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653068.
Texto completo da fonteResumo:
El objetivo principal de la investigación es analizar cómo afecta la digitalización de las herramientas de diseño al proceso creativo de los ilustradores profesionales en Lima. De acuerdo con ello, se propuso como hipótesis que la digitalización puede ocasionar un cambio en los niveles de productividad relacionados con la innovación y representación de ideas.
De este modo, se analizaron los resultados de una dinámica aplicada a ilustradores profesionales quienes estaban divididos en dos grupos de manera aleatoria. Un grupo haría uso de herramientas digitales para graficar la mayor cantidad de representaciones visuales de una palabra durante un tiempo limitado, mientras que el otro trabajaría bajo las mismas condiciones pero haciendo uso de herramientas manuales. Los resultados fueron recopilados en listas de cotejo por medio de una observación estructurada de la dinámica.
Entre los principales resultados encontramos que las herramientas digitales se encuentran presentes en la mayor parte del proceso creativo y afectan en especial la última fase de este. En segundo lugar, el uso de herramientas digitales favorece los niveles de precisión de las representaciones visuales. En tercer lugar, encontramos que la diferencia en la cantidad de representaciones visuales generadas entre ambos grupos fue mínima, pero con resultados favorables para las herramientas digitales. Finalmente, el análisis de cada muestra permitió concluir que la digitalización de las herramientas de diseño afecta el proceso creativo de los ilustradores ocasionando un cambio en sus niveles de productividad.<br>The main objective of the research is to analyze how the digitization of design tools affects the creative process of professional illustrators in Lima. Accordingly, it was hypothesized that digitization can cause a change in productivity levels related to innovation and idea representation.
In this way, an analysis of information collected through checklists was carried out in the observation of a sample, made up of professional illustrators who began their academic training after the start of the digitization process in Lima, divided into two groups at random. One group would use digital tools to graph the largest number of visual representations of a word for a limited time, while the other would work with hand tools.
Among the main results we find that digital tools are present in most of the creative process and especially affect the last phase of it. Secondly, the use of digital tools favors the levels of precision of visual representations. Third, we found that the difference in the number of visual representations generated between the two groups was minimal, but with favorable results for digital tools. Finally, the analysis of each sample allowed us to conclude that the digitization of design tools does affect the illustrators' creative process, causing a change in their productivity levels.<br>Trabajo de investigación
30
Dolgin, Steven Alfred Getsi Lucia Cordell. "Creative writing and the composing process the role of creative writing in the English curriculum /." Normal, Ill. Illinois State University, 1987. http://wwwlib.umi.com/cr/ilstu/fullcit?p8713213.
Texto completo da fonteResumo:
Thesis (D.A.)--Illinois State University, 1987.<br>Title from title page screen, viewed July 25, 2005. Dissertation Committee: Lucia C. Getsi (chair), Curtis K. White, Robert D. Sutherland, Ronald J. Fortune, William E. Piland. Includes bibliographical references (leaves 137-140) and abstract. Also available in print.
31
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.
Texto completo da fonte
32
Galuska, John D. "Mapping creative interiors creative process narratives and individualized workscapes in the Jamaican dub poetry context /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3310395.
Texto completo da fonteResumo:
Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2007.<br>Title from PDF t.p. (viewed Dec. 9, 2008). Source: Dissertation Abstracts International, Volume: 69-05, Section: A, page: 1931. Advisers: John Johnson; Portia Maultsby.
33
Nordmark, Njål. "Software Architecture and the Creative Process in Game Development." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for datateknikk og informasjonsvitenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-18462.
Texto completo da fonteResumo:
The goal of this thesis has been to perform research on the relationship between the creative team, software architecture, and game development processes.Researching this relationship was done in three stages. The first stage was a literature review into software architecture and game development. In the second stage a questionnaire was designed based on the literature review, and this questionnaire was then distributed to several game developers. In addition to querying the game developers on their knowledge on the field, they were also asked whether or not they would be willing to answer a set of follow-up questions later.The responses to the questionnaire provided a lot of answers, but also gave rise to new questions. In the third stage these new questions were incorporated into a follow-up survey which was distributed to those respondents whom had previously answered that they were willing to answer follow-up questions.The problem definition has been divided into five research questions according to the Goal Question Metric approach. Supported by the literature review and the responses to both the questionnaire and the survey, these five research questions have been answered in detail in Chapter 11: “Research Conclusions”.The results from this thesis is not generalizable to all game developers, but provides a very interesting glimpse into how the creative team is affected by, and is allowed to affect, the software architecture and tools used, as well as the game development process.
34
McNulty, Jane. "An Evening of Greek Theater: An Actor's Creative Process." ScholarWorks@UNO, 2004. http://scholarworks.uno.edu/td/75.
Texto completo da fonteResumo:
This thesis is an attempt to document my creative process as an actor throughout the production process of An Evening of Greek Theater as accurately as possible. In a narrative structure, I will record the development of the production starting with the pre-production process, the rehearsal process, and evaluate my performance. Chapters include character analyses, pre-production, rehearsal and performance, self-evaluation and a scored script. A video is included with excerpts of my work from the production.
35
Bitter, James. "Adlerian Family Therapy: Innovations and Creative Process,” Invited Address." Digital Commons @ East Tennessee State University, 2005. https://dc.etsu.edu/etsu-works/6081.
Texto completo da fonte
36
Payne, Emily. "The creative process in performance : a study of clarinettists." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:652aa4a1-347b-41e2-8ba3-a71eee9c3e5a.
Texto completo da fonteResumo:
This thesis examines creativity in performance through the study of the performance practices of professional clarinettists. Creativity research has tended to emphasise the innovative, revelatory qualities of the creative process, rather than the more pragmatic activities related to notated performance. This corresponds to a tension between the perceived creative opportunities of improvisation and notated music, and has resulted in a discourse that associates improvisation with spontaneity and novelty, and notated performance with repetition and reproduction. How might this discourse be challenged? Through a series of case studies documenting clarinettists working in a variety of collaborative settings, I examine how performers' constructions of creativity might complement or challenge the perceived creative affordances of notated music, and how the presence of, and/or collaboration with a living composer affects the creative process. A broadly ethnographic methodology is employed, drawing on thematic analysis of qualitative data obtained through semi-structured interviews with musicians, and audio-visual footage of workshops, rehearsals and performances. Conceptually, the thesis adopts an ecological perspective (Ingold 2011; Clarke, Doffman, and Lim 2013), proposing that creativity is a distributed phenomenon, entangled within a complex interweaving of social, material, and historical influences. It draws on work by Richard Sennett (2008) and Tim Ingold (2013) on craft and material engagement, suggesting that the interaction between a practitioner and a tradition entails a synthesis of action, perception and prior experience. I argue that this orientation is useful for developing an analytical framework that accounts for the dimensions of performance that might otherwise be taken for granted. The research offers insights into the performance practices of contemporary concert musics - a line of inquiry that remains largely unaddressed. More broadly, it makes room for a more forward-looking model of creativity based on processes rather than outcomes, and one that better appreciates the fluid pathways between performers and scores.
37
Pratt, Angela. "ask dance theatre : Christian worldview and the creative process." Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/15881/1/Angela_Pratt_Thesis.pdf.
Texto completo da fonteResumo:
Professional dance companies which reflect a Christian worldview are slowly emerging within the dance community, but this is territory which is generally uncharted academically, especially in Australia. Consequently, this paper is an ethnographic study of an Australian professional dance company of this kind. ask dance theatre is a professional dance company located in Sydney. Established in February 1999, it has three key personnel - Phillippa-Oakden Patch (artistic director/ choreographer/dancer), Hannah Horsley Cooper (choreographer/dancer) and Steve Cooper (composer/musician). Developing a philosophy based on a biblical worldview, one of the company's aims is to provide a "nurturing environment for artists of different disciplines to grow artistically and spiritually while creating dance theatre works". This has involved working collaboratively, incorporating dancers, singers, musicians, visual artists and actors, to create original works which have been performed at major contemporary dance and Christian arts events in New South Wales, Australia. Through the ethnographic methods of participant observation, interviewing and document analysis, details of this company's worldview as a group of "committed Christians" and their creative process was researched. This paper focuses on the description, analysis and interpretation of their creative process in the production of a new work during the first six months of 2001, identifying how their Christian worldview is reflected in their creative process.
38
Pratt, Angela. "Ask Dance Theatre: Christian Worldview And The Creative Process." Queensland University of Technology, 2003. http://eprints.qut.edu.au/15881/.
Texto completo da fonteResumo:
Professional dance companies which reflect a Christian worldview are slowly emerging within the dance community, but this is territory which is generally uncharted academically, especially in Australia. Consequently, this paper is an ethnographic study of an Australian professional dance company of this kind. ask dance theatre is a professional dance company located in Sydney. Established in February 1999, it has three key personnel - Phillippa-Oakden Patch (artistic director/ choreographer/dancer), Hannah Horsley Cooper (choreographer/dancer) and Steve Cooper (composer/musician). Developing a philosophy based on a biblical worldview, one of the company's aims is to provide a "nurturing environment for artists of different disciplines to grow artistically and spiritually while creating dance theatre works". This has involved working collaboratively, incorporating dancers, singers, musicians, visual artists and actors, to create original works which have been performed at major contemporary dance and Christian arts events in New South Wales, Australia. Through the ethnographic methods of participant observation, interviewing and document analysis, details of this company's worldview as a group of "committed Christians" and their creative process was researched. This paper focuses on the description, analysis and interpretation of their creative process in the production of a new work during the first six months of 2001, identifying how their Christian worldview is reflected in their creative process.
39
Felippetti, Daniel. "The advertising creative process: insights from the Brazilian ad industry." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/384534.
Texto completo da fonteResumo:
Esta investigación busca verificar y explorar el alejamiento entre la
academia y la industria publicitaria. Más allá de esto, intenta confirmar si
estas dos realidades comparten conocimiento común en algún punto. Esto
se logra mediante la estructuración de nuestra investigación en dos partes
diferentes, una con un enfoque teórico y la otra desde un punto de vista
práctico.
La primera parte está hecha a través de la definición de los conceptos básicos
y de la revisión de 30 modelos diferentes del proceso creativo. Los
primeros 15 se clasifican como modelos clásicos, normalmente cubriendo
el proceso creativo como etapas a seguir. Los otro 15 son modelos cognitivos
y dicen respecto a los subprocesos implicados en el proceso de
crear algo.
La segunda parte aborda el proceso creativo publicitario a través de los
ojos de los profesionales de la industria. Se realizó una investigación cualitativa
basada en la teoría fundamentada haciendo uso o entrevistas en
profundidad con 16 creativos de alto nivel de las agencias más grandes de
Brasil. El objetivo fue verificar si los profesionales comprenden sus procesos
creativos y cómo lo hacen. Las entrevistas fueron grabadas, transcritas
y codificadas. Los resultados emergieron del análisis de datos y se los
compararon con el marco teórico propuesto en la primera parte de la investigación.<br>This investigation aims to verify and explore the estrangement between
the academia and the advertising industry. Beyond this, intend to
verify if these two realities share common knowledge in some extent. This
is achieved by structuring our research into two different parts, one with a
theoretical approach and the other with a practical standpoint.
The first part is done by defining the basic concepts and the review of 30
different models of the creative process. The first 15 are classified as classical
models, commonly covering the creative process as stages to follow.
The other 15 are cognitive models, regarding the sub processes involved
in the process of creating something.
The second part approaches the advertising creative process through the
eyes of the industry practitioners. We conducted a qualitative research
based on Grounded Theory making use o in-depth interviews with 16 toplevel
creatives from Brazilian largest agencies. The focus was to verify how
practitioners understand their creative processes (and if they do). The interviews
were recorded, transcribed and coded. Findings arise from the
data analysis and are compared to the theoretical framework proposed in
the first part of the investigation.
40
Nelson, Christopher Barnaby. "The Creative process : a phenomenological and psychometric investigation of artistic creativity /." Connect to thesis, 2005. http://eprints.unimelb.edu.au/archive/00001401.
Texto completo da fonte
41
Candy, Linda. "Creative knowledge work and interaction design." Thesis, Loughborough University, 1998. https://dspace.lboro.ac.uk/2134/6992.
Texto completo da fonteResumo:
The main aim of the research presented in this thesis is to inform the design of interactive computer systems for supporting creative knowledge work. Research into creativity and knowledge work has been explored and used to develop a criteria modelling approach. The particular contribution of the author's work is the drawing together of that research and applying the findings to interaction design. The publications were selected on the basis of how well they represent the main outcomes of the work. The journey from prescribing system requirements and design goals to framing the system design process in terms of evaluation criteria may be traced through the papers presented. Interest in creativity and the role of computer technology in creative tasks has recently increased. A number of national initiatives have been set in motion in the LJK, beginning in December 1996 with the Initiative for National Action on Creative Technologies, the Creative Media Initiative: Technology Foresight, Department of Trade and Industry, National Endowment for Science and Technology in the Arts (NESTA) and the People and Computers Programme, of the Engineering & Physical Science Research Council (EPSRC). Thus, the author's involvement in creativity research and computer support is proving to be timely. Amongst her recent initiatives is Creativity and Cognition, an international symposium which brings together creative people in the arts with technologists and scientists. The thesis is divided into three parts : themes and outcomes, methodology and case studies. A criteria-based modelling approach is presented which has evolved from earlier models that represent key elements of creativity and knowledge work. A model of creative knowledge work is proposed and categories of criteria identified. Underpinning the main outcomes are the case studies which were carried out in industry/academic collaborative projects. The findings were considered in relation to other studies. The thesis presents an approach to computer systems design and development that directly links the requirements definition to the application of evaluation criteria. These criteria are based upon the characteristics of the cognitive style and working practices of creative knowledge workers.
42
Otani, Daves. "Geratriz improvisacional espetacular = processo criativo da Boa Companhia =Spectacular improvisational generatrix : Boa Companhia's creative process." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284587.
Texto completo da fonteResumo:
Orientador: Verônica Fabrini Machado de Almeida<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-21T22:11:29Z (GMT). No. of bitstreams: 1
Otani_Daves_D.pdf: 3263077 bytes, checksum: b6e31bdd9d62b39a46f9ea95f66b1486 (MD5)
Previous issue date: 2012<br>Resumo: A presente pesquisa trabalha com a hipótese de que existe uma geratriz improvisacional espetacular (GIE) que, por meio de matrizes criativas definidas anteriormente e/ou encontradas durante o período inicial da montagem de um espetáculo teatral, proporciona que a improvisação, conduzida e provocada pelo tema do espetáculo, gere, ao mesmo tempo, precisão e abertura, rigor e risco. O período inicial marca o espetáculo de forma a dar-lhe uma pré-configuração, a estrutura enquanto um corpo a ser constantemente modelado, no entanto, sedimentado em uma matéria já pré-definida. Para investigar a hipótese, analiso o processo criativo e as apresentações públicas do espetáculo teatral "Primus" (adaptação do conto Comunicado a uma academia, de Franz Kafka) e, via a comparação, investigo ainda o processo criativo de "Mister K. e os artistas da fome" (adaptação do conto Um artista da fome, de F. Kafka) em busca de aprofundar a investigação e comprovar o fenômeno da GIE. Ambos os espetáculos são dirigidos por Verônica Fabrini e montados pelo grupo de pesquisa cênica "Boa Companhia", do qual participo como ator, desde sua formação, em 1992. É uma investigação participativa, do ator em diálogo com a encenação, do atuante que participa e, a partir de sua singularidade, compõe coletivamente. A reflexão toma como mote de partida os princípios conceituais do encenador e teórico russo C. Stanislavski, retrabalhados por E. Kusnet: improvisação como análise ativa, circunstancia propostas, objetivo da encenação, memória, ação interior e exterior, entre outros. Referencia ainda o trabalho aspectos do pensamento do filósofo G. Bachelard: imaginação material, potência do instante e intuição. O estudo conclui que a geratriz improvisacional espetacular de fato se caracteriza no trabalho da "Boa Companhia"<br>Abstract: The following research deals with the hypothesis that it does exist a spectacular improvisational generatrix (SIG) that, through a creative matrix previously defined and /or discovered during the theatrical initial stage, provides that the improvisation, conducted and provoked by the show's theme, generates at the same time precision and openness, rigor and risk. The initial period defines the show and gives it a pre-configuration to be worked - the structure as a body to be constantly shaped, however, settled in a pre-defined subject. To investigate that hypothesis, I do analyze the creative processes and public theatrical performances of the show "Primus" ( Franz Kafka tale's adaptation of "A report to an academy") and, by comparation, I do analyzed too the play "Mister K. e os artistas da fome" (Kafka tale's adaptation of "A hunger artist") both directed by Veronica Fabrini and performed by the scenic research group "Boa Companhia", in which I belong as an actor since it's foundation in 1992. It's a participatory investigation, a dialogue between actor and staging, of the actor that participates and forms the collective from its singularity. The reflexion begins with the russian theoretical Constantin Stanislavski's principles and theorical concepts, reworked by Eugenio Kusnet: improvisation as active analysis, event, given circumstances, staging objective, memory, inner and outer action. This work makes reference also to the philosopher Gaston Bachelard: material imagination, instant and intuition's power. The study concludes that the spectacular improvisational generatrix (SIG) in fact exists in Boa Companhia's performances and theatrical productions<br>Doutorado<br>Artes Cenicas<br>Doutor em Artes
43
Silins, Lija. "My body My tool - Don't fucking tell me what to do!" Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5846.
Texto completo da fonte
44
MARJOT, Cédric, and JOU-YEN (VERNA) LU. "Creative Process and Product Life Cycle of High-Tech Firms." Thesis, University of Kalmar, Baltic Business School, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:hik:diva-351.
Texto completo da fonteResumo:
<p>Given the context of globalization and growing competition, we assist at a reduction of the product life cycle and at a rapid diffusion of creations and innovations. To respond to the fast changing customers’ demand and to reinforce their market position, firms shall design an effective creative process offering superior customer value and insuring their future in the long term.</p><p>First of all, after an explanation of the differences between creativity and innovation, the creative process of high-tech firms in terms of actors involved, resources allocation, leadership and management of creative people will be depicted. Secondly, the creative destruction process and some of the inherent obstacles and risks of the creative process will be addressed. Thirdly, the concepts of Technology Life Cycle (TLC) and Product Life Cycle (PLC) will be developed.</p><p>Within this thesis, our ideas are presented and justified through three methodologies: Literature Review, case study and interview. We mainly used the cases of Hewlett-Packard (HP) and France Telecom Orange (FTO) to backup our argumentation.</p><p>We conceptualized the creative process and we highlighted the connections between the creative process and the Product Life Cycle. With the help of two other small cases study (Nintendo and Apple), we emphasized the downward trend of high-tech products’ lifecycle in the long run. Ultimately, four practical recommendations are given to leaders from high-tech industries and directions to deeper research this topic are advised.</p>
45
Moorman, Kenneth Matthew. "A functional theory of creative reading : process, knowledge, and evaluation." Diss., Georgia Institute of Technology, 1997. http://hdl.handle.net/1853/9122.
Texto completo da fonte
46
Stanley, Faye Tucker. "Re-Framing Traditional Arts: Creative Process and Culturally Responsive Learning." Thesis, University of Canterbury. School of Teacher Education, 2014. http://hdl.handle.net/10092/9471.
Texto completo da fonteResumo:
In many ways, traditional arts in schools bear the bruises of the early years of multicultural education, and the failed practices that created what has been termed a tourist curriculum, comprised of the superficial study of folktales, festivals, foods, and facts. Consequently, the use of art forms of cultures is often approached with caution by teachers, or avoided altogether.
This thesis re-frames the use of traditional arts in the classroom through current research and knowledge, defining their efficacy and role in today’s classroom. Traditional arts are examined through the lenses of arts integration, culturally responsive pedagogical practice and creative processes. A qualitative, research portraiture methodology was employed, and executed through the lens of four case studies in order to more coherently incorporate the arts-based nature of this research. The research sites include classes studying Maori visual arts, waiata (song), and haka (dance) in Christchurch, New Zealand, chant, hula, and plant weaving at an Hawaiian charter school, and social dance and song of the Oneida tribe in the US.
Research results indicated that when teachers facilitate experiences in traditional arts in such a way that students are exposed to entry points for their own interaction with the forms, students respond with self reflection, engagement, and a tendency to elevate the status of affiliation with the culture undertaken. While students and teachers do not become conversant in the culture as a result of such study, working with traditional arts in this way may serve to break down culturally bound ways of seeing the world.
When traditional arts are employed in classrooms, they may engage students in a creative process that takes the form of embodied or physicalized, interpretive, or improvisational interactions with the forms.
When traditional arts are employed in this way, relying on creative process, they also meet goals for culturally responsive learning, legitimizing how students experience and make sense of the world.
Traditional arts provide a critical, under-utilized, strategy for embedding culture in the educational setting. In order to best meet the goals of the learning setting, traditional arts must incorporate creative processes. Hybridization of the forms, while increasing accessibility for teachers and students, must be carefully undertaken. Traditional arts utilized in this way hold potential for addressing broader curricular content.
47
Hunter, Victoria Margaret. "Site-specific dance performance : The investigation of a creative process." Thesis, University of Leeds, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.522940.
Texto completo da fonteResumo:
This thesis presents the findings of a practice-led investigation which explored relationships between the site and the author's choreographic process through the creation, performance and analysis of three site-specific dance works performed in different locations. Site-specific dance performance is defined here as dance performance created and performed in response to a specific site and location. The research contributes new knowledge to the field through the articulation of methods for site-specific choreography developed through practical experimentation. The thesis references key debates from the field of site-specific performance and explores how phenomenological theory was employed as a key framework throughout the research process. The research investigation is further informed by theory and practice drawn from the fields of choreography and performance, site-specific practice and theory, human geography and spatial theory. The investigation examines how a pathway through the site-specific creative process was navigated, and explores methods through which the choreographer created site-specific performance aimed at actively engaging the audience member with the work and its location. Through this process, this research proposes that choreographed site-performance can invoke an increased sense of awareness, engagement and a heightened sense of 'being-in-the-world' for the choreographer, performer and audience member. The thesis contains both a written component and DVD documentation of the practical work. Through discussion and analysis of the performance works and their creative processes the investigation provides an insight into how creative choreographic processes operated within each site-specific dance context. The investigation identifies and articulates creative, processes employed within the practice and aims to contribute new knowledge to the fields of site~specific dance discourse, choreographic studies and site-specific performance practice and theory.
48
Duncan, Suzanne. "Dust imagined : a creative reflection on mortality, anxiety and process." Master's thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/13074.
Texto completo da fonteResumo:
Includes bibliographical references.<br>Why do skin, hair and fingernails that are desirable objects, belonging to a whole body and adding to its decoration, cause disgust and become markers of mortality when they are no longer part of the living body? When disembodied and separated into single strands, skin cells and nail clippings they repulse. In this project, by reconsidering, altering and curating dust, I produce artworks that allow for a new construction of its meaning. Extracted from my living spaces, the dust consists of fragments of objects that were once useful and contributed to a daily existence. In the form of household dust, they become useless. Through the creation of art objects I rework this substance so that it regains purpose. I view my body as a device for producing art, an instrument for construction as well as a producer of my chosen materials. I consider dust through the lens of various dualities: attraction and repulsion, fragility and strength, public and private, clean and dirty, order and chaos and presence and absence. As in all dualities, the potency of the one cannot fully function without the contrast of the other. Through the subtle altering of this non-matter (the dust), I have produced mark-making instruments, made use of it as props to aid performances and mediated its form through video pieces and photography. These products are an experiment in creating something from the non-thing. The material’s original use value is lost in its state as dust, rendering it without purpose - a found material that is always lost.
49
Henriques, Carissa. "Modes of Participation: Co-creative Approaches to the Design Process." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1716.
Texto completo da fonteResumo:
This project explores the notion of participation within the graphic design and problem-solving process. Through projects using generative tools and collaboration, I explore ways to instigate controlled participation from designers and non-designers. I observe and document how the methods and means of participation affect the creative process during these projects.
50
Hahn, Michael Gerard. "Examining the creative process : electronic technology in art and design /." Online version of thesis, 1993. http://hdl.handle.net/1850/11765.
Texto completo da fonte