ABSTRACT What is visual art making, the artistic creative process, and how does it work? These questions fuelled an investigation at first theoretical, then incorporating an empirical study centered on attaining understanding relating to the elements and dynamics involved in making visual art. The resultant study aims to offer an approach to gaining comprehensive understanding of the artistic creative process, an understanding that may inform art teaching practice, so that art teachers may better understand the related dynamics of their pedagogical processes. Historically the artistic creative process has been accepted as one consisting of different sequential stages of development. This view however, is evolving due to the growing understanding of interrelated dynamics of life processes offered by, for example, neurological studies of the brain. New thinking links earlier philosophical and psychological ideas presented by such thinkers as James (1894) and Dewey (1934), to the work of Baars (1999), Brown (2000), Ellis (1999), Zeki (2000), in offering a deeper understanding of the natural human creative process. The reflective aspect of the artistic creative process is thus related to the way that we process information every minute of our lives; essentially it is the way we progress through life, minute by minute, learning and evolving, affirming self through finding meaning. Study of current theory relating to the processes of the brain inevitably incorporates modern thinking that revolves around dynamic processes. Originating in thermodynamics, Chaos Theory has travelled far from physics to become incorporated into a broad spectrum of disciplines. It offers a common language that relates to the dynamics of human nature, and as such is totally applicable to areas of learning and human interaction. Here used metaphorically, Chaos Theory serves to elucidate interactive aspects of the discipline of art making, with much to offer an understanding of the artistic creative process as it describes exactly the same process of change and growth through experience. A metaphorical use of the language of Chaos Theory provides visual art making with a means of sharing ideas with other academic disciplines that also constantly deal with the dynamics of the human condition, found for example in the close connections between the methods of exploration of both artists and scientists. In studying the phenomenon of ‘scale’ the physicist Feigenbaum commented on the connections between perceptions of artists and those of scientists, pointing to the way in which their perceptions and analysis of things coincide (Gleick, 1987). The visual analysis evident in the work of Turner or Ruskin reflects the same process of detailed conceptual exploration of material collected by the senses as that of a student of any field of scientific exploration. Chaos Theory is important also in that it provides a language accessible by varying levels of expertise, whether at a simple metaphorical or a more sophisticated level. This work charts these dimensions because “The challenge is to reverse the disconnectedness of the present world and to develop a curriculum that is not based on separateness of knowledge from life and being, but upon their inherent unity and integration” (Lovat and Smith, 1995, p.248). / PhD Doctorate

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.

Thesis in Musicology and Artistic Practice by Anders Soldh. Part of the work for the master’s degree. Studies from School of Music, Theatre and Art, University of Örebro, 2007. Available from School of Music, Theatre and Art, Örebro University, SE-701 82 Örebro, Sweden. Original in Swedish. This essay in musicology describes the work concerning the composition of an orchestral piece and the different strategies and approaches which are essential in order to be in control of your work and to make a piece of music sound the way you want it to. It consists of two different parts: 1) The theory part: This first part describes the importance of planning. This planning consists of how to determinate duration, number of themes, form and orchestration in a piece of music. It also brings up the importance of time management.Further, it deals with problems you might find in the collaboration with a soloist and orchestra. In the orchestral section of this part of the essay, the different instruments and their families are brought up. Finally, the theory section talks about the role and importance of the audience. 2) The practical part: This second part (from chapter 7), which includes the score of the piece ”Medvind”, consists of a complete analysis of the music. This analysis shows how the subjects spoken of the theory part are dealt with in practice when writing a piece of music. Included in this part is also a recording of the piece played by ”Svenska Kammarorkestern” with Mats Norrefalk as soloist.

The aim of this study is to bring forward four teachers of Arts-education, their statements and reasoning concerning the condition and meaning of the subject of Arts-education along with their statements in relation to theory and earlier research, give voice and insight in their intentions according to what teaching of Arts-education should contribute to. The basis for the study is brought out of the dilemma that there, in the subject of Artseducation is “crowding of matter” in the nine-year compulsory school, difficulties in selecting the importance of various subjects and different opinions between teachers, due to curriculum being modified in accordance with the development in society. The earlier research that this study relates to shows how teacher’s opinion of different subjects varies. My questions concerning the subject are the following; How do four teachers of Arts-education reason concerning the condition and meaning of the subject of Arts-education? What are the teachers intentions according to what teaching of Arts-education should contribute to? What are the similarities and differences between the statements of the teachers in this study versus the teachers' statements according to previous research? To find answers on my issues and questions I have made interviews with four teachers of Arts-education and have then put their reasoning and statements against theories , which  all concerns the creative process. This study shows that these four teachers all have different opinions in how to educate, but not different opinions about what the results of  the subject should be and contribute to. Common to all four teachers is, out of their statements, more or less, it is possible to interpret discussion around the importance of the role of creativity for Arts-education. Three of the teachers also have a discussion in how they relate to modern society, similarities and differences, but also how they expand on a problematic issue. There are among the four teachers of Arts-education, in their reasoning, many similarities in what teachers according to earlier research, have said they value in the subject of Arts-education along with their intentions of education. There are also differences from earlier studies, and that is the fact that there are subtle distinctions in the discussion within the actual problem area. This could contribute with hypothetical knowledge to future research within the actual problem area. In statements from two of the teachers a new aspect arose, an aspect that has not been seen in earlier research, “way of thinking creative” and its meaning.

This practice-led research project takes the form of a written thesis, a body of new work and a public exhibition, which are designed to be reciprocally illuminating. Collectively they articulate a response to the central question; „How do contemporary jewellery makers transfer the sensory experience of place into a tangible object?‟ Fundamental to this enquiry is „The Topophilia Project‟ - a creative participatory research method where the resulting artefacts serve both as data and represent data. This project involved a group of 16 contemporary makers creating new work to brief for an exhibition entitled „A Sense of Place; New Jewellery from Northern Lands‟. The exhibition was held in the National Museums of Scotland in Edinburgh from May to September 2012 and formed the primary vehicle with which to both present and explore research into the contemporary jewellery of Northern Europe. The new artifacts and first person accounts produced as a result of this research method enabled an investigation into the maker‟s approach to material and process. These highly valuable resources allowed for a reading and deciphering of the methods used by the artists when gathering information from their surrounding environments. Multifaceted methods of practice are distilled within the project outcomes allowing for a broadened terminology to unfold in reference to these practices. This Northern study, rooted in phenomenological understanding and investigated through the creative process, contributes knowledge to the field from an alternative perspective to the dominant position of Central European jewellery output. As a geographically focused inquiry it also adds a necessary alternative outlook to studies focusing on multi-cultural migration. The resulting body of research outlines an arena of practice and theory in which the work of these makers can be debated, analysed, and criticised within the broader field, contributing to the cross-disciplinary discourse on contemporary theories of place of benefit to those interested in the significance of environmental influence on the creative process.

abstract: The intention for the dance production Story was to develop and explore a collaborative creative process to communicate a specific narrative to an audience. The production took place in the Margaret Gisolo Dance Studio at Arizona State University on November 18, 19, and 20, 2011. The purpose of my thesis work was to investigate how my personal inspiration from classical ballet, balletic movement vocabulary, fantasy narrative (an imaginative fictional story), supportive lighting, set, costumes and expressive sound might merge within a collaborative dance-making process. The final choreography includes creative input from the participating dancers and designers, as well as constructive feedback from my thesis committee. My reflection on the creative process for Story describes the challenges and personal growth I experienced as a result of the project. / Dissertation/Thesis / M.F.A. Dance 2012

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.

In this thesis I have examined how to transcribe sounds from our everyday environments and use them as a tool in composition. The sounds that I transcribed, mainly human speech, make up the basis for two approximately twenty-minute-long original compositions or suites and one shorter piece meant for improvising over a selection of recorded city background noises. The music was written for a “chordless” jazz-quartet, and had its premiere on the 1st of March, 2022.  In the first chapter, I explain how I first came to think of this idea, what other musicians and composers already have done in the area, and what the purpose of this thesis is. In the second chapter, I go through my way of both recording and transcribing the sounds and the challenges I met in the process. In chapter three, I cover the compositional process regarding all three pieces, and my thought process regarding the concert. In the fourth chapter, I discuss and problematize the different thoughts and reflections during the project. In the fifth and final chapter, I summarize the project with what I’ve learnt and how I could make use of it in the future. / <p>Medverkande musiker:</p><p>Andreas Lundblom - trumpet</p><p>Marius Zeeberg - tenorsaxofon</p><p>Olle Lannér Risenfors - kontrabas</p><p>Kristian Remnelius - trummor</p><p></p><p>Kompositioner:</p><p>Flight Attendant - Kristian Remnelius</p><p>Promenadpotpurri - Kristian Remnelius</p><p>Tunnelbaneresa - Kristian Remnelius</p>

In this project, Gustav Renberg has explored new methods of integrating different musical influences into his compositions. He examines how incorporating rules and criteria can affect the creative process, as well as the result. Some of his main goals with the project has been to broaden his perspective and to strengthen his own musical voice. Renberg describes the creative process of each composition, as well as the methods he used. He also conducted two separate interviews with two established and renowned musicians to dwell even deeper into the subject. Furthermore, he describes the process of putting his group together and the results of his final concert. Renberg concludes that the project has given him new tools for composing, and that it has strengthened him as a writer, as well as a musician in whole. He has created a method that has expanded his frame of reference, and he expresses how he looks forward to further develop it in the future. / <p>Medverkande musiker: </p><p>Gustav Renberg - gitarr</p><p>Sebastian Jonsson - saxofon</p><p>Britta Virves - piano</p><p>Tomas Sjödell - kontrabas</p><p>Jonas Bäckman - trummor</p>

Analysing human creativity has always been a difficult undertaking. The reason for this is the vagueness of the term creativity itself. Philosophers and Researchers have tried to unveil the secrets behind creativity since centuries. Besides some principles e.g. defined by Finke, Ward, and Smith, there is no holistic understanding about term creativity and there will always be discussions between researchers of different disciplines about how creativity is achieved. Current approaches try to understand creativity through studying the creative artifact or the creative human himself. These approaches have not lead to any promising results. Instead of focussing on creativity itself, it is more promising to look at the creative process of creators. Through this, it is possible to analyse what happened during the creation of an artefact. The aim of the analysis is the identification of certain behaviours within the creative process, which lead to very creative results or in opposite hinder creativity. The gained knowledge is used for the creation of patterns, describing this specific behaviour. The analysis of the creative process is not only interesting for artists, but also for engineers, researchers, students and many others. Important target groups for this approach are schools and universities. Being able to early recognise problems in the learning curve of a student will enable a directed support, in order to improve the student's performance. Until now, the main problem for analysing the creative process of a creator is the lack of information on how an artefact was created. Most creators tend not to make many notes during their creative phase, even if there are famous exemptions like Beethoven who left behind a huge amount of notices and marked changes in his work. Hence, the challenge is the development of a powerful framework, which can cope effectively with the recording and presentation of this creative process, in order to enable detailed analyses. Modern computer technology fosters the recording of the creative process of a person. Much of today's creative work is achieved with computers and powerful software applications. Computer networks and the internet enable new ways of collaboration. The creation of a flexible, collaborative tool-set is the ideal approach for the mapping and analysis of the creative process. A novel approach, based on these ideas, was developed by the members of the Creative Technologies Research Programme at the Software Technology Research Laboratory (STRL). The central aim of the approach is the mapping of the human creativity with so-called creativity maps. A creativity map is basically transition system, which allows to store and represent the creative process as well as to hold each version of the artefact. The developed De Montfort Creativity Assistant (DMCA), is a collaborative, web-enabled state-of-the-art software framework, realising the theoretical concepts. This thesis represents a substantial contribution to the research project. The focus of the presented work lies on the analysis and the support of the creative process. Several novel techniques for the analysis of massive data sets have been developed. The presented techniques enable a domain-independent analysis and support of the creative process. This is huge improvement over previous concepts, which are highly specialised and focus on the creative artefact itself. The presented approach required the development of several novel techniques. The major contributions of the presented research are: - Behavioural Patterns Enable the description of constructs inside the creativity map. These constructs represent the creative behaviour of the creator. - Techniques for a Computer-supported Information Extraction A pattern description language enables the computer-supported information extraction from creativity maps. - Knowledge Repository Knowledge, gained through the analysis processes, is stored centrally and shared with other creators in order to stimulate further growing of knowledge. - Concepts for the Analysis and Support of the Creative Process Novel concepts allow the structured analysis and support of the creative process, regardless of the creator's domain. All developed techniques have been implemented in several tools, which aim to enrich the DMCA with the ability of a computer-supported analysis and support of the creative process.