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In this dissertation I argue that creativity should be understood as a situated and distributed process. As I develop my approach to understanding creativity over the course of this dissertation, three core claims emerge: 1) that the creative powers of particular agents are constituted within the concrete circumstances (both social and material) in which they are situated, 2) that the creative process itself unfolds across networks of associating actors, and 3) that these networks of associating actors include nonhumans of diverse sorts as active participants in the creative process. Understanding the creative process in this way distinguishes my approach from the ways in which creativity has traditionally been understood, which I argue are marked by a deep Cartesianism. This Cartesianism manifests itself in the way that creativity is predominantly studied and conceived of as a cognitive process that occurs within the minds of individuals. Because creativity is seen to occur within the minds of individuals, and because these minds are seen to function autonomously of their context, there is a resulting lack of attention to how the creative process is shaped by and extended out into the material and social environment. Furthermore, because creativity is understood to be solely a manifestation of human agency and human intentions, the active role of nonhumans in the creative process has not been taking into account. Drawing upon literature within feminist epistemology, cognitive science, science and technology studies, disability theory, and situated action theory, I argue that to better understand creativity, we must consider the creative process as it occurs within particular social and material environments, as it is distributed across diverse networks of actors, and as it is shaped in essential ways by nonhuman actors. It is only by considering creativity in its context, out in the world and in the interactions between things, that we can get an adequate understanding of the creative process. / Philosophy

The purpose of this study was to compare the effect of a computer simulation activity versus a hands-on activity on students' product creativity, originality, and usefulness. Fifty-eight middle school technology education students from Northern Virginia participated in the study. Subjects were randomly assigned to either a computer simulation or hands-on treatment group. The computer simulation group used a Lego-type brick simulator to construct creative products on the computer; whereas, the hands-on treatment group used real LEGO® bricks to construct their creative products. The hands-on groups' products were collected by the researcher and copied into the computer simulation program. Both groups' products were printed using a color printer. The printed products were evaluated by expert judges using a creative product semantic differential scale. This study showed that there was no significant difference in product creativity scores among the computer simulation and the hands-on treatment group. The null hypothesis was accepted. Findings suggested that it was possible to use a computer simulation activity in place of a hands-on activity and still maintain product creativity, originality, and usefulness. / Ph. D.

This thesis explores the concept that self-imposed constraints in jazz improvisation can enhance creativity and the generation of ideas. With the help of constraints, the purpose is to find new pathways in music that I wouldn't have taken otherwise. The ambition is to move beyond habitual playing and deep-seated patterns on the instrument, aiming for a more genuine creative expression. Various types of restrictions are applied within a jazz quartet, tailored and assigned to each band member. The outcomes were showcased during my graduation concert, featuring predominantly jazz compositions and standards.  The imposed limiations proved effective in fostering new and exciting musical developments. Under the right conditions, these constraints playfully accentuated and amplified our musical identities, although some proved too restrictive to inspire meaningful progress in our music. / <p><strong>Musik</strong></p><p>Eronel (Thelonius Monk)</p><p>Untitled (Eskil Larsson)</p><p>Straight No Chaser (Thelonius Monk)</p><p>You Know I Care (Duke Pearson)</p><p>Heartaches (Al Hoffman)</p><p><strong>Medverkande musiker</strong></p><p>Eskil Larsson - Tenorsaxofon</p><p>Milos Lindegren - Piano</p><p>Johannes Bäckström - Kontrabas</p><p>Felix Kling - Trummor</p>

Identity development is not a subject formally covered in coursework or professional development, but it is still important. Identity is used to determine behavior and actions as well as to set goals. Our identities shape who we are and what we do. If I identify as creative then I am more likely to practice creative behavior as well as set goals that include creativity. With the day to day problems we face as a society grow in number as well as in level of difficulty, creative solutions are needed. However, often we hear "you're not creative" or say "I'm not creative." These words are said because our creative identity is not active nor is it developmentally supported. Understanding the development of creative identity and the behaviors that demonstrate creativity level can help develop creative problem-solving skills and practices. I found that generally, agricultural teachers find they are creative whether their creative score indicates a strong creative ability or not. I found that for teachers to feel their administrators and peers view them as creative they must hear words of affirmation; however, a teacher uses clues from student actions of engagement or questions to feel that their students view them as creative. I found that teachers credit mentors, peer teachers, books, and professional development with how they define and act creatively within their classrooms. I found that the predominant creative behaviors were storytelling, movement, colorfulness, and fantasy. These findings indicate the need to develop a teacher's creative identity by purposefully designed professional development. We should also begin to recognize creativity and verbally acknowledge creativity when observed. Teacher preparation programs should include creative mentors and books that further develop instructional creative behaviors that were observed. The behaviors that appeared the least should also continue to be developed. / Doctor of Philosophy / Identity development is not a subject formally covered in coursework or professional development, but it is still important. Identity is used to determine behavior and actions as well as to set goals. Our identities shape who we are and what we do. If I identify as creative then I am more likely to practice creative behavior as well as set goals that include creativity. With the day to day problems we face as a society grow in number as well as in level of difficulty, creative solutions are needed. However, often we hear "you're not creative" or say "I'm not creative." These words are said because our creative identity is not active nor is it developmentally supported. Understanding the development of creative identity and the behaviors that demonstrate creativity level can help develop creative problem-solving skills and practices. I found that generally, agricultural teachers find they are creative whether their creative score indicates a strong creative ability or not. I found that for teachers to feel their administrators and peers view them as creative they must hear words of affirmation; however, a teacher uses clues from student actions of engagement or questions to feel that their students view them as creative. I found that teachers credit mentors, peer teachers, books, and professional development with how they define and act creatively within their classrooms. I found that the predominant creative behaviors were storytelling, movement, colorfulness, and fantasy. These findings indicate the need to develop a teacher's creative identity by purposefully designed professional development. We should also begin to recognize creativity and verbally acknowledge creativity when observed. Teacher preparation programs should include creative mentors and books that further develop instructional creative behaviors that were observed. The behaviors that appeared the least should also continue to be developed.

Over the past 28 years, as a human resource (HR) professional, I observed much writing and research on the need for the HR function to focus more on strategic outcomes and less on administration (Lawlerand Boudreau, 2012; OPM, 1999; PPS, 2010; Ulrich 1997). The shift in focus from administrative to strategic has been slow, demonstrated by the fact that from 1995 to 2010 the HR function appears to have has not changed how it allocates its time, has not increased focus on strategic outcomes, and is not engaging in higher value-added activities (Lawler and Boudreau, 2012). Absent from the literature is research on why the members of the HR function have been slow to embrace and demonstrate a strategic HR role (Beer, 1997; Lawler and Boudreau, 2012, OPM, 1999). This study was designed to address this knowledge gap by exploring the relationship between creativity and goal orientation and demonstration of strategic HR competencies based on self-assessed competencies. Understanding these constructs and their relationship to the demonstration of strategic HR competencies can inform the nature of interventions, to include selection, certification, training and development, to facilitate the movement of the HR function from an administrative to a strategic focus. Perceptions about creativity, goal orientation, and demonstration of strategic HR competencies were solicited from Department of Defense, Department of the Army civilian HR professionals. Correlational and multiple regression analyses were used to explore creativity and goal orientation and their relation to the demonstration of strategic HR competencies. Results showed that 17% of the variance in demonstrated strategic HR competencies was explained by creativity and a learning goal orientation, both characteristics of the individual HR professionals. After controlling for pay grade, these predictors still explained 13% of the variance in the self-assessed demonstration of strategic HR competencies. Suggestions for future research include replicating this study with a larger, diverse, randomized sample to validate and expand the findings of this study in terms of affects and generalizations. In addition, research exploring the work environment in organizations that have successfully made the transition from an administrative to a strategic focus. / Ph. D.

This thesis describes an exploratory application of a statistical analysis and modeling technique (Markov chains) for the modeling of jazz improvisation with the intended subobjective of providing increased insight into an improviser's style and creativity through the postulation of quantitative measures of style and creativity based on the constructed Markovian analysis techniques. Using Visual Basic programming language, Markov chains of orders one to three are created using transcriptions of improvised solos by John Coltrane in his song Giant Steps. Still considered as statistical data, the Markov chains are examined and information is extracted from them through the development of several statistical tools for musical analysis. Two general categories of tools for analysis are developed: Subtraction matrices and graphical comparisons of distributions. Using these tools and the raw Markov chain data for musical analysis, quantitative measures for creativity and style are postulated. These measures are based on previously developed models and definitions of creativity and style taken from the literature. The information acquired from the implementation of the analysis tools is applied to the models in order to provide a theoretical basis for the development of the quantitative measures and a framework for the interpretation of the information. Guilford's Structure of Intellect model is used for developing creativity measures and Heen's model of the constructs of style analysis is used for determining measures of style. Overall, this research found that Markov chains provide distinct and useful information for musical analysis in the domain of jazz improvisation. Many examples of Markov chains are enumerated and tools for analysis are developed that implement the Markov chains. It is then explained how Markov chains and the tools for their analysis can be interpreted to determine quantitative measures of creativity and style. Finally, this thesis presents conclusions on Markov chain portrayals, new analysis tools and procedures, quantitative measures of creativity and style, and, in sum, that Markovian modeling is in fact a reasonable and useful modeling approach for this application. / Master of Science