Creativity and the creative process are a well-researched topic. The process has been analyzed into models, dissected to determine affecting factors, and modified using varying techniques for the purpose of finding insights into it. The insights found have been used to improve creativity and its process immensely. Although the findings have been significant, there is room for more. This report seeks to extend the knowledge into the creative process so that society’s creativity may improve. To do so, nine in-depth interviews were conducted of professionals in various fields; they discussed a major problem they had encountered and revealed the creative process that led to their successful solution. These timelines of their creative process were then analyzed by comparing them to the existing literature and against each other to find useful ways to aid the creative process. The results reveal reliable techniques into how a person can improve their creativity and inevitably generate better ideas. / text

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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.

The development of creativity of primary school pupils by fairy-tales.

The aim of this study was to explore the alternation and the connection between the senior pupils’ creativity and motivation peculiarities. Hypothesis that pupil having high creativity questionnaire indicators will have higher creative thinking indicators were formulated. The positive connection between the senior pupils’ (9-12) creative thinking, creativity and learning motivation does not exist. The connection between creativity questionnaire indicators and independent criteria such as progress, gender and age is presumable. Most of tests in use today are based on the theory of Guilford (1950). Guilford (1950) identified three components of creative thinking: fluency (the ability to find multiple solution to a problem quickly); flexibility (being able to simultaneously consider a variety of alternatives); and originality (referring to ideas that differ from those of other people). Early tests designed to assess an individual’s aptitude for divergent thinking included the Torrance (1962) tests. So Torrance Test of Creative Thinking (1974) was chosen to test senior pupils in case to explore their peculiarities of creative thinking. (IICT) the visual aids (uncompleted figure task) of creative thinking measuring method, (TTCT, B form) originality evaluation and detail evaluation criteria were used as well. The personality creativity questionnaire of V. Petrulis (1988) was also used in order to ascertain the pupils’ evaluation level of their own creativity. The pupils’... [to full text]

Many studies have been performed on creativity and the measurement of creativity. However, little is known about the relationship between gender differences and creativity, particularly in South Afnca. The current study aimed to investigate the difference in creativity between boys and girls, as well as the development of creativity in late middle childhood, in the South African context. From the random sample of 1000 primary school children in late middle childhood (grade 4 to 7) of different races and socio-economic strata and from different provinces in South Africa, the questionnaires of 707 children could be used. By using a single cross-sectional design, creativity was measured with subscales of the Torrance Test of Creative Thinking. The results indicated low average scores of creativity in South Afncan children. No statistically significant differences in creativity scores were found between boys and girls. Furthermore, no statistically significant differences in creativity scores were found between the 9-year-old and the 10- to 12-year-old groups, except for verbal fluency, where the 10- tol2-year-old children scored higher than the 9-year-old children. Since the creativity scores were generally lower than the norms for the Torrance Test of Creative Thinking, it is clear that the development of creativity in particular groups of South African children may be suboptimal and this phenomenon needs further investigation. / Thesis (M.A. (Clinical Psychology))--North-West University, Potchefstroom Campus, 2004.

The initial intention of this arts-informed research study was to implement art classes for people with Alzheimer‟s disease, and to examine its impact upon new learning at cognitive, procedural and affective levels of experience. While these goals persist – indeed adult educational theory and quality of life are central to this thesis – the research focus gradually shifted from a constructivist view of the Alzheimer‟s learner to a phenomenological view of the relationship between teacher and student. Its power to facilitate the growth of reciprocity and bolster identity within the learning context, whether one-to-one or in small group settings, became more apparent as the research progressed. This revealed the potential of arts-based educational programs to build mutual trust and reciprocity with and among the participants. In turn, these qualities contributed to the expression of positive feelings, improved self-esteem,and communication in people with Alzheimer‟s.

This study investigates how knowledge is created in a small business organization. Knowledge creation refers to organizational learning which results in innovation. The research design was a qualitative, single site case study of three firms in the point of sale industry. Data collection took place during a six month field study and employed multiple methods including participant observations, interviews, document reviews, and field journal entries. The study was informed by a conceptual framework which focused on the importance of both tacit and explicit knowledge forms, multiple modes of knowledge conversion (socialization, externalization, combination, internalization), and a knowledge spiraling process. Six themes emerged from the data. The first theme, "the people are the business" indicated that individuals become a knowledge creating structure that transcends office boundaries. A second theme, "we just spend tons of time talking", emphasized the importance of dialogue and informal communication structures to the sharing of tacit knowledge. A third theme, "there hasn't been a new idea in a million years", illustrated the predominance of incremental rather than radical innovation, the strategy of mimicking concept successes, and the importance of learning with other organizations through strategic alliances. A fourth theme, "you learn from your mistakes", represented the experiential nature of learning within the firm. A fifth theme, "it's one of those crystal ball kind of things" depicted the intuitive nature of personal knowledge and its limitations. Finally, the sixth theme, "a day late and a dollar short" explored how time and money pressures both enhance and hinder knowledge creation within a small business context. By comparing the themes to the conceptual framework the study concluded that small business organizations create knowledge in accordance with the nature of interpersonal interactions as they occur in context. The theoretical knowledge spiral was reconceptualized as a web structure in order to accommodate more diversity of approaches to knowledge creation and the complex nature of innovations.

This summary shows that the positive improvements of creativity are obtained by broadening and deepening the knowledge of fairy tales of primary school pupils in the theoretical and practical level, and by realization of potentialities rendered by teaching means of Lithuanian language for the develpment of divergent thinking and imagination of pupils and nurturance of sense of humour, emotionality and empathy purposefully employing additional educational activities.