Problem solving is a big part of design, however a lot of emphasis is put on creativity in research related to the effects of stress. Research has shown that the amount of stress we feel affects idea generation. Stress may also affect the ability to solve problems, however the researchers don’t seem to agree about what the effect of stress actually does. The study was made through experimental sessions where the respondents were asked to solve 4 matchstick puzzles of similar difficulty. Depending on their outcome they experienced more or less stress. They all experienced greater amounts of stress in the puzzles that took them longer times to figure out. Along with the experimental sessions, I also interviewed the respondents about their personal relationship with problem solving in their daily and professional life. I found that problem solving is intertwined and compounded with creativity through both problem solving being a part of the creative process, and problem solving needing the creative elements to generate ideas for solutions. But more than anything the study showed that problem solving in fact could be a stress trigger.

[pt] O trabalho procura definir o processo de criação de uma animação cinematográfica dentro de sua natureza espontânea e intuitiva, nem sempre decorrente de deduções racionais. Os campos da Animação e do Design são comparados em suas características holísticas e multidisciplinares, que favorecem o uso e o reconhecimento da intuição em seus processos. A animação é caracterizada como a faculdade humana de analisar e sintetizar movimentos, de existência anterior à invenção do cinema. Técnicas e processos atualmente utilizados na animação são descritos e classificados segundo fontes bibliográficas. A partir destes fundamentos, procura-se definir o termo Animação Espontânea, com o suporte de relatos biográficos de três grandes artistas da animação: Norman McLaren (1914-1987), Fernando Diniz (1918-1999) e Len Lye (1901-1980). São relatadas quatro bem sucedidas iniciativas didáticas em animação: O Animathon (maratona de animação), o Estúdio Aberto do Festival Anima Mundi, o projeto Anima Escola e a Oficina de Modelo Vivo e Animação. Nas considerações finais, conclui-se que a abordagem da animação através de métodos intuitivos e espontâneos facilita e motiva o despertar de uma faculdade ainda pouco conhecida do ser humano: a capacidade de reproduzir e controlar o tempo através de movimentos virtuais. / [en] This work seeks to define the creative process in the cinematographic animation, inside its spontaneous and intuitive nature, not always deriving from rational deductions. Animation and Design are compared in its holistic and multidisciplinary characteristics, which favor the use and acknowledgement of intuition in their processes. Animation is characterized as the human faculty of analysis and synthesis of movements, which has been demonstrated far before the invention of cinema. The techniques and processes presently used in animation are then described and classified according to bibliographic sources. From these fundamentals, a definition for Spontaneous Animation is searched, with the help of the biographical reports on three great masters of animation: Norman McLaren (1914-1987), Fernando Diniz(1918-1999) and Len Lye (1901-1980). Four well succeeded didactic initiatives in animation are described: the Animathon (animation marathon), the Open Studio of the Anima Mundi Festival, the Anima School project and the Life Drawing and Animation Workshop. In the final considerations, conclusion is that the approach of animation through intuitive and spontaneous methods is shown to facilitate and motivate the awakening of a yet little know faculty of the human being: that of being able to reproduce and control time through virtual movements.

Titel: Ledarskap i den kreativa processen: En studie om dataspelsföretag Problem: I dagsläget finns det brister på studier som fokuserar på olika ledarskapsperspektivs påverkan på kreativitet inom arbetsgrupper. Hur ledarskap formas och ledarskapets roll i den kreativa processen saknas det information om, speciellt inom kreativt intensiva industrier. Stor del av tidigare forskning fokuserar på länder som USA och Japan, men inte Sverige. Dataspelsindustrin är en snabbföränderlig industri, därmed finns det flera utmaningar och affärsmöjligheter som organisationer möjligtvis saknar kunskap om. Syfte: Syftet med denna uppsats är att få en förståelse för hur ledarskapet ser ut i den kreativa processen i dataspelsföretag. Samtidigt vill vi bidra med kunskap och förståelse om ledarskapets inflytande på den kreativa processen. Metod: Undersökningen utgick från samhällsvetenskapligt tolkningsperspektiv med en kvalitativ forskningsstrategi.  Fenomenologisk ansats har använts för att fånga intervjupersonernas upplevelser av ledarskapet i den kreativa processen i dataspelsindustrin med hjälp av semistrukturerade intervjuer. Forskningsansatsen var abduktiv då forskarna pendlade konstant mellan data och kända teorier vid sökandet efter de mest sannolika förklaringarna. Vid bearbetning av data användes en fenomenografisk dataanalysmodell. Slutsats: Olika ledarskapsperspektiv fungerar olika under olika omständigheter. Enligt den teoretiska referensramen utesluter inte en ledarskapsteori nödvändigtvis en annan utan aspekter av olika ledarskapsteorier går att kombinera. Eftersom att det finns många olika typer av dataspelsföretag är det viktigt att förstå den egna organisationen och vara öppen för att plocka aspekter från olika ledarskapsteorier och skräddarsy ett ledarskapsperspektiv som passar organisationens kontext. / Title: Leadership in the creative process: A study about small computer game companies. Problem: Currently there is a lack of studies that focus on different leadership perspectives effect on creativity within groups. There is a lack of information about how leadership shapes and the leadership’s role in the creative process, especially in creative intensive industries. A big part of previous research focuses on countries like USA and Japan, but not Sweden. The computer game industry is a fast changing industry, therefore there are many challenges and business opportunities that organizations might lack knowledge about. Purpose: The purpose of this essay is to gain an understanding for what leadership in the creative process in small computer game companies look like. At the same time we want contribute knowledge and understanding about the leadership's influence on the creative process. Method: The study is based on a interpretive social science perspective with a qualitative research strategy. A phenomenological approach has been used to capture the respondent's’ experience of leadership in the creative process in the computer game industry with the help of semi structured interviews. The research approach was abductive due to the researchers constantly going between data and known theories when searching after the most probable explanations. During processing of data a phenomenographic data analysis model was used. Conclusion: Different leadership perspectives work differently under different circumstances. According to the theoretical framework leadership theories does not necessarily exclude one from another, rather aspects from different leadership theories are combinable. Since there are many kinds of computer game companies it is imperative to understand one’s own organization and to be open to pick aspects from different leadership theories to tailor a leadership perspective that fits the organization's context.

The main topic of the diploma thesis is creativity and its function in CIE Automotive company in Valašské Meziříčí. Creativity is the integral part of personal and working life of each person. It influences the ability of the company to react to possible changes and it can also dramatically influence the existence and prosperity of the whole company. CIE Automotive is an important supplier in automobile industry. In a long term the company faces lack of support and development of creativity of its employees. The main aim of the thesis is to explore the relation of CIE Automotive employees to creativity and on the basis of this information formulate a suggestion of new project for creativity development in CIE Automotive. The theoretical part is dedicated to specification of essential definitions associated with creativity and its function in the company. In the thesis are used two main methods for necessary data finding - interview and questionnaire. On the basis of received information are suggested recommendations to CIE Automotive and created entirely new program to support the development of creativity among employees in the above mentioned company. In the practical part the emphasis is placed on weakness identification resulting from the interview with HR manager and mentioned questionnaires. Weaknesses are considered to be insufficiently creative atmosphere, lack of team support, inefficient communication in the company and vague program for creativity support. Considering the weaknesses, there are recommendations suggested how to focus on improvement of weaknesses and also created a new program to support creativity - REGIA IDEA.

Esta dissertação propõe uma tradução comentada de um excerto do romance Lenfant multiple, de Andrée Chedid, para o português brasileiro. Inicialmente apresentamos a autora e a obra, desconhecidas do público leitor brasileiro, para em seguida analisar as etapas de tradução e revisão de onze trechos por nós selecionados do original. Tendo como equivalência tradutória a busca pela reescritura do ritmo, sendo ele a organização do movimento da palavra/fala [parole] na escritura (MESCHONNIC, 1999, p. 69) por um sujeito, entendemos que a tradução é reveladora do pensamento da linguagem e da literatura (MESCHONNIC, 1999, p.11), o que nos fez analisar nosso movimento tradutório dos seguintes pontos de vista: o das normas (estratégias) como sendo intrínsecas ao ato tradutório; o da tradução como sendo um intenso exercício de crítica literária; e o do movimento do processo em direção ao Outro que, a nosso ver, é a tradução literária. Para tanto nos baseamos em Toury (1995, p.53), segundo o qual a aquisição de um conjunto de normas é um pré-requisito para o tradutor, uma vez que ele integra um ambiente cultural; em Berman (1995), Zilly (2000, 2011), Campos (2006), Pound (2006) e Britto (2011) para tratarmos do Tradutor-(re)criador: crítico por excelência, trazendo novamente à discussão Meschonnic e Toury; e, por fim, em Lévinas (1971, 1985), Laygues (2004) e outros, que nos levaram a começar a desenvolver o conceito de identidade tradutória: defendemos que o tradutor busca a alteridade para, posteriormente, eliminá-la, proporcionando assim a criação de um Novo Outro (a tradução). À guisa de conclusão, relacionamos o processo criativo da escritura (do original) com o da reescritura (da tradução) e, questionando-nos sobre a tradução comentada em âmbito acadêmico, vemo-la como um instrumento pedagógico, indutor da autoconsciência e da tradução responsável / This thesis proposes a commented Brazilian Portuguese translation of an excerpt of the L\'enfant multiple novel written by Andree Chedid. Initially, we introduce the author and her work, unknown to the Brazilian public, to analyse the stages of translations and reviews of the eleven excerpts selected from the original. Considering the translation equivalence the search for the rhythm rewriting the rhythm being the \"organization of the movement of speech [parole] in writing\" (MESCHONNIC, 1999, p. 69) by someone , we understand that translation reveals the thought of language and literature (MESCHONNIC, 1999, p.11), which made us to analyse the translation movement from the following viewpoints: the rules (strategies) as intrinsic to the translation act; the translation as an intense exercise of the literary criticism; and the movement of the process towards to the Other, which from our perspective is the literary translation. Hence, we rely on Toury (1995, p.53), who consider the adoption of a set of norms as a pre requirement for the translator, since he is part of a cultural environment; on Berman (1995), Zilly (2000, 2011), Campos (2006), Pound (2006) and Britto (2011) to treat the \"Translator-(re)creator: critic par excellence\", bringing back to discussion Meschonnic and Toury; and finally on Lévinas (1971, 1985), Laygues (2004) and others, which led us to start developing the concept of translational identity. We defend the thought that the translator seeks alterity to eliminate it posteriorly, thus enabling the creation of a New Other (the translation itself). To conclude we relate the writing creative process (from the original) with the rewriting (of translation) and questioning ourselves on the commented translation in the academic context, we see it as a pedagogical instrument, conducive to self-awareness and responsible translation

Syftet med denna studie är att göra en kartläggning av ledarskapets roll i den kreativaprocessen inom majorbolagens organisationsstrukturer, samt på vilka sätt ledarskapet styr denkreativa processen. Ledarskapets betydelse i den kreativa processen diskuteras kring olikasituationer samt omgivningen och dess krav som styr marknaden och dess förutsättningar.Det dubbla ledarskapets teori får en viktig roll i studiens analys. Tillsammans medentreprenörskapets innovativa ledarskap ger det en koppling till den teknologiska utvecklingsom skett inom musikindustrin, genom framför allt digitaliseringen av industrin. / The purpose of the study is to do a mapping over the role of the leadership in the creativeprocess within the major record labels’ organizational structure and in what ways theleadership directs the creative process. The importance of leadership in the creative process isdiscussed in different situations as well as the environment’s demands which controls themarket and its conditions. The theory of the double leadership has a vital role in the study’sanalysis together with the innovative leadership of entrepreneurship and the connection to thetechnological advancements which have occurred in the music industry, mostly through thedigitalization of the industry.

[pt] O objetivo deste trabalho é estudar a ilustração enquanto elemento fundamental na construção de sentido de livros infantis. É feito um breve levantamento do percurso histórico da ilustração em livros desde a Idade Média e são examinadas as etapas da criação de imagens a partir de depoimentos e entrevistas com ilustradores contemporâneos, cujas obras representam uma linguagem visual específica em seus livros. Em seguida, as fases do processo da criação ilustrativa são descritas a fim de mostrar que a produção de imagens não é meramente uma ação intuitiva em relação ao texto verbal. Fruto de um projeto de design, trata-se de um processo estudado, concebido e referenciado na experiência do autor, bem como nos componentes da obra. Desta forma, a pesquisa estuda a relação verbo-visual e sua importância na criação das obras literárias infantis, considerando o gênero de ilustrações narrativas. A relação entre estes dois códigos de linguagem é discutida a partir da perspectiva de diferentes autores e ilustradores, identificando as possibilidades oferecidas pelo Design Gráfico na interação entre tipografia e ilustração. / [en] This work s goal is to study illustration as a fundamental element in the children s book meaning making. A brief historical account of book illustration from Middle Ages is presented. Contemporary illustrators are interviewed to describe their creative process. This process is brought foreword in order to show that image creating is not just based on intuition vis-à-vis the verbal text. As the result of a project of graphic design, such process is conceived and based on the author s experience, as well as the elements found in references around the written text. The present work, therefore, examines the verbal and visual relationship, and its importance in the creation of children s literary works concerning narrative illustration. The connection between these two codes, is then, discussed bearing in mind different perspectives presented by authors and illustrators.

Thesis (M.Ed. (Mathematics, Science and Technology Education)) -- University of Limpopo, 2020 / The purpose of this is to investigate how teachers go about for the development of Creative Thinking Skills (CTS) in a grade 9 technology classroom. The introduction of technology in the South African curriculum by the Department of Basic Education (DBE) to develop CTS through the Design Process (DP) as the cornerstone of the learning area. Technology as a learning area should provide learners with opportunities to solve real-life problems, in the process developing their CTS (DBE, 2011). In the 21st century, CTS have been seen as skills that are crucial across the spectrum of day to day activities. However; it appears to be very complex for technology teachers to enhance the teaching and learning of CTS in a technology classroom. The literature suggests that technology teachers tend to suppress the development of learners’ CTS by limiting the process of teaching and learning to low order thinking cognitive levels rather than high order cognitive levels. This study employed a qualitative research enquiry, purposive sampling was used for the selection of the relevant participants. Qualified technology teachers who teach grade 9 technology with at least three years’ experience in teaching technology were considered. Data collection was obtained through interviews, observation and document analysis. The research finding showed that teachers lack the understanding of policies, particularly CAPS hence they continuously compromise its implementation hindering with the development of CTS of learners as it is envisaged in the CAPS document. Furthermore, the research findings reveal that the teacher has a little or no understanding of what is creative thinking (CT) and what it entails, hence they did not unpack what is it exactly that they do to support the development of learners CTS in a technology classroom This study recommends that technology teachers be familiar with the CAPS document and implement it correctly without any compromise. Furthermore; understanding of the design process is of vital importance to teachers as it is the cornerstone of teaching and learning, particularly the development of CTS of learners. Technology teachers need also to have a clear understanding of what CT is and what it entails, that will assist to arouse their CT and help to develop the CTS of learners in a technology classroom.

Title: Supervision with Visual Art Expression Author: Bc. Andrea Hanzlová ABSTRACT Although art expression has been widely used in both art therapy and supervision in the Czech Republic, its distinctive features, added value and possible drawbacks in supervision have been researched less extensively than in art therapy. Here I explore what art expression brings into supervision, what new perspectives it can offer and what obstacles may dissuade supervisors from employing certain approaches. A qualitative content analysis of semi- structured interviews on the sample of 12 respondents revealed four thematic areas: Definition of creative art process, phases and content; Drawbacks and Benefits of working with art expression; The role of education in used methods and approaches. The results show an unexpectedly wide range of methods that Czech supervisors and supervisees employ when dealing with art expression in supervision, as well as the extent or absence of some approaches. One possible reason could be the lack of legislative anchoring compared to countries such as the UK and USA. Key words: expression, visual creative process, artefact, expressive therapy, art therapy, supervision, supervision of art therapies

Sammanfattning  Jag har länge velat skriva musik men känt att det är något som håller mig tillbaka. Känslor av prestationsångest förpestar mitt liv och hindrar mig från att utvecklas musikaliskt. Den här studiens syfte är att utforska och lära av relationen mellan min upplevelse av prestationsångest och min kompositionsprocess utifrån ett fenomenologiskt perspektiv. Följande tre frågeställningar används för det: 1) När i samband med komponerande av musik upplever jag prestationsångest? 2) Hur påverkas min skapandeprocess av att jag upplever eller inte upplever prestationsångest? 3) Vilka verktyg/strategier kan man använda för att hantera prestationsångest? Studien baseras på självobservationer i form av loggboksanteckningar som under tre månader följer min upplevelse av skapandeprocessen att skriva musik från blankt papper till konsertframförande. Med hjälp av tematisk analysmetod och ett fenomenologiskt livsvärldsperspektiv analyseras och bearbetas det insamlade materialet. Resultatet delas in i tre rubriker, prestationsångestens uppkomst, prestationsångestens effekter på skapandeprocessen samt hanteringsstrategier, och presenteras sedan med hjälp av följande tre teman: försvagande perfektionism, flow och insikter. Slutligen förs en diskussion kring studiens resultat i relation till tidigare forskning, vald litteratur samt det fenomenologiska perspektivet.   Nyckelord: musik, komposition, skapandeprocess, prestationsångest, perfektionism, flow, fenomenologi / Abstract  For a long time I have wanted to write music but felt that something is holding me back. Feelings of performance anxiety plague and prevent me from developing my musicality. The purpose of this study is to investigate and learn from the relationship between my experience of performance anxiety and the process of composing music from a phenomenological perspective. The following three questions will be used: 1) When do I experience performance anxiety in association with composing music? 2) How is my creative process affected in how I experience or not experience performance anxiety? 3) Which tools/strategies can be used to deal with performance anxiety? The study is based on self-observations through a journal which during three months records my experiences in the creative process of composing music from blank paper to concert performance. Thematic analysis and the phenomenological lifeworld-perspective is being used to process and analyze the collected material. The result is divided into three headlines, the origin of the performance anxiety, the performance anxieties impact on the creative process and coping strategies, which are then presented using the three following themes: weakening perfectionism, flow and insights. Finally, the result of the study is discussed in relation to previous research, chosen literature and the phenomenological perspective.    Keywords: music, composition, creative process, performance anxiety, perfectionism, flow, phenomenology.