Through the review of creativity research I have found that studies lack certain crucial parts: a) a theoretical framework for the study of creativity in science, b) studies considering the unique components related to scientific creativity, and c) studies of the interactions among key components through simultaneous analyses. The primary purpose of this study is to explore the dynamic interactions among four components (scientific proficiency, intrinsic motivation, creative competence, context supporting creativity) related to scientific creativity under the framework of scientific creativity. A total of 295 Korean middle school students participated. Well-known and commonly used measurements were selected and developed. Two scientific achievement scores and one score measured by performance-based assessment were used to measure student scientific knowledge/inquiry skills. Six items selected from the study of Lederman, Abd-El-Khalick, Bell, and Schwartz (2002) were used to assess how well students understand the nature of science. Five items were selected from the subscale of the scientific attitude inventory version II (Moore & Foy, 1997) to assess student attitude toward science. The Test of Creative Thinking-Drawing Production (Urban & Jellen, 1996) was used to measure creative competence. Eight items chosen from the 15 items of the Work Preference Inventory (1994) were applied to measure students' intrinsic motivation. To assess the level of context supporting creativity, eight items were adapted from measurement of the work environment (Amabile, Conti, Coon, Lazenby, and Herron, 1996). To assess scientific creativity, one open-ended science problem was used and three raters rated the level of scientific creativity through the Consensual Assessment Technique (Amabile, 1996). The results show that scientific proficiency and creative competence correlates with scientific creativity. Intrinsic motivation and context components do not predict scientific creativity. The strength of relationships between scientific proficiency and scientific creativity (estimate parameter=0.43) and creative competence and scientific creativity (estimate parameter=0.17) are similar [Δx²(.05)(1)=0.670, P > .05]. In specific analysis of structural model, I found that creative competence and scientific proficiency play a role of partial mediators among three components (general creativity, scientific proficiency, and scientific creativity). The moderate effects of intrinsic motivation and context component were investigated, but the moderation effects were not found.

This study is part of an inter-university project, for which co-workers from Potchefstroom University for Christian Higher Education and University of the Free State gathered the data during 2000. The population consisted of children in their late middle childhood (grade 4 to grade 7) from schools in the Vaalpark and Bloemfontein (Free State), Potchefstroom (North West), Badplaas (Mpumalanga), Krugersdorp and Kempton Park (Gauteng), Kimberley (Northern Cape) and Durban (Kwazulu Natal) regions. A random sample, which was representative of the different race and socio-economic strata, was drawn from these children. The literature study indicated that little is known about the nature of locus of control in younger children and its relationship to creativity in the South African context. The aims of this study are therefore to determine the nature of locus of control in middle childhood; to examine locus of control in different age groups and to establish the relationship between locus of control and creativity. By using a single cross-sectional design, creativity was measured with subscales of the Torrance Test of Creative Thinking and locus of control with the Nowicki-Strickland questionnaire. In conclusion the current study suggests that locus of control in late middle childhood has become slightly more externally orientated than it was 30 years ago. Cultural factors and the South-African context are much different in this study population though, and care must be taken not to make direct comparisons. With regard to the differences in the locus of control between the two age groups there is a definite statistical difference, with a shift to a more internal orientation in the older group. However, no practical significance was found. The hypothesis that externally orientated students would be less creative could not be validated and no correlation between locus of control and creativity could be discerned. These results seem to confirm a more dual dimensional view of some authors, in that a "bilocal" person strikes a healthy balance between beliefs in internal and external control, resulting in a more effective coping style. / Thesis (M.A. (Clinical Psychology))--North-West University, Potchefstroom Campus, 2004.

Innovationsproduktiviteten har blivit allt viktigare i vårt samhälle och ses som en förutsättning för att skapa framgångsrika organisationer. Innovationer springer ur människors kreativitet och initiativförmåga och innebär att omsätta kunskap, kompetens och idéer till praktisk nytta.  Det förefaller som om innovation endast blomstrar under rätt organisatoriska omständigheter. Kärnan i den innovativa organisationen är en kultur som agerar vägvisande med en tro på människan. Nyckeln till innovation blir således organisationers förmåga att förhålla sig till förändring i en ofta kaotisk miljö med människan i centrum. Som ett led i detta arbete behöver organisationer kontinuerligt ta temperaturen för att tydliggöra både den nuvarande och den önskade kulturen.  Syftet med den här fallstudien är att utvärdera och analysera Eskilstuna kommuns med-arbetarenkät för att se om mätinstruments etablerade områden sätt att mäta kultur kan kopplas till kreativitet och innovation. Ett andra syfte är att bidra med förslag på kompletterande, vetenskapligt beprövade frågeställningar för att skärpa mätinstrumentet. En utvärderings- och analysmetod har utformats och vilar på Martins och Terblanches modell Influence of organizational culture on creativity and innovation med en förväntan att utmana mätinstrumentets befintliga områden. Studien visar en diskrepans mellan mätinstrumentets befintliga områden och det man önskar att mäta och uppmuntrar till fortsatta ansträngningar i utvecklandet av specifika instrument och åtgärder för att bättre kunna mäta och bedöma innovationskultur.

This study is part of an inter-university project, for which co-workers from Potchefstroom University for Christian Higher Education and University of the Free State gathered the data during 2000. The population consisted of children in their late middle childhood (grade 4 to grade 7) from schools in the Vaalpark and Bloemfontein (Free State), Potchefstroom (North West), Badplaas (Mpumalanga), Krugersdorp and Kempton Park (Gauteng), Kimberley (Northern Cape) and Durban (Kwazulu Natal) regions. A random sample, which was representative of the different race and socio-economic strata, was drawn from these children. The literature study indicated that little is known about the nature of locus of control in younger children and its relationship to creativity in the South African context. The aims of this study are therefore to determine the nature of locus of control in middle childhood; to examine locus of control in different age groups and to establish the relationship between locus of control and creativity. By using a single cross-sectional design, creativity was measured with subscales of the Torrance Test of Creative Thinking and locus of control with the Nowicki-Strickland questionnaire. In conclusion the current study suggests that locus of control in late middle childhood has become slightly more externally orientated than it was 30 years ago. Cultural factors and the South-African context are much different in this study population though, and care must be taken not to make direct comparisons. With regard to the differences in the locus of control between the two age groups there is a definite statistical difference, with a shift to a more internal orientation in the older group. However, no practical significance was found. The hypothesis that externally orientated students would be less creative could not be validated and no correlation between locus of control and creativity could be discerned. These results seem to confirm a more dual dimensional view of some authors, in that a "bilocal" person strikes a healthy balance between beliefs in internal and external control, resulting in a more effective coping style. / Thesis (M.A. (Clinical Psychology))--North-West University, Potchefstroom Campus, 2004.

This thesis explores the nature of creativity in the poetic vision of Percy Bysshe Shelley. "Poetic vision" is chosen for its complex connotations, which include creative imaginings, dreams and intimations of futurity. I examine questions that Shelley raises concerning perception, existence and the fabric of reality. To develop a conceptual framework that has an ontological basis, I draw on the theories of two twentieth-century non-dualist thinkers: David Bohm, who combines science, philosophy and art, and the existential thought of Martin Heidegger. I also investigate ways in which literary expression and life become interwoven and suggest that this reciprocity is explicable through a dynamically creative vision of existence. In Chapter One Shelley's reflections on the creative capacity of poetic visions to influence states of being, and his holistic apprehension of existence in On Life, provide the thesis with a conceptual paradigm which is in contradistinction to the Cartesian schism between mind and matter. A Defence of Poetry is contrasted with Peacock's The Four Ages of Poetry to show that the contention between the two writers' visions springs from questions relating to being. Shelley's declaration that the poetic impulse is central to life is examined in the light of Heidegger’s notion of the poetic as disclosing being and Bohm's quantum concepts of creativity. In Chapter Two Alastor is interpreted as a poem which raises questions about existence and I provide a counter-approach to critical positions of scepticism. Heidegger's concepts of "Being- in-the-world" and "Being-towards-death" provide the basis for an existential analysis of die Poet’s impassioned quest. A comparison between the Poet's dream of his feminine counterpart and Shelley's own vision of his ideal beloved reveals connections between artistic vision and human experience. In Chapter Three on Laon and Cythna. poetic vision is shown to operate from a metaphysical basis of thought, passion, and the human will to enact a radical transformation in consciousness. The poem's investigation of freedom is linked to Heidegger's concept of being absorbed in the "they." Chapter Four continues my extended reading of Laon and Cythna. Shelley's notion of creativity collapses the demarcations between imaginative vision and the physical world. Here his view of reality is contrasted with the psychological investigations of Jean Piaget. The poem’s vision of human empowerment is compared with Peacock's fatahsm in Ahrimanes. Chapter Five investigates challenges to Shelley's optimism. Julian and Maddalo is the major poem interpreted in a chapter v*ere the keynote is the contention between theories about the nature of reality and their validity to human life. Shelley's anxiety about communicating visions of despair is analyzed with regard to the Maniac's tragic predicament. Chapter Six interprets Prometheus Unbound as a dramatic engagement with the spiritual, imaginative, emotional and sensuous planes of being. Existence is seen to be poised on a mobile nexus of thought and emotions. Asia has a dynamic role and, through consideration of her journey with Panthea to Demogorgon, I examine Shelley's complex negotiation between free will and determinism. Spinoza's monism is discussed in relation to "Love's Philosophy. In Chapter Seven on Hellas, "Thought", "Passion", "Will", "Reason" and the "Imagination” are shown to have creative powers which determine futurity. Questions about the structure of reality are explored in the drama's dynamic interchange between the magician-like Ahasuerus and the Turkish tyrant Mahmud. Dreams are given significance as avenues of perception to realms beyond conscious experience and in relation to unfolding the future. Finally, in Chapter Eight Shelley's ideas about poetic creativity are explored through his poems to 'Jane Williams. Whilst composing these lyrics Shelley used the figure of Rousseau, in the Triumph of Life, to suggest a reciprocity between art and life. I examine the similarities between Rousseau's fictional creation of Julie in La Nouvelle Hélose and his subsequent love for Sophie d'Houdetot. Shelley's lyrics to Jane Williams communicate desire at different levels of conscious awareness, from trance-like mesmerism to overt invitation.

No description available.

IKO is a creative prosthetic system designed for children to explore and empower their creativity in a playful, social and friendly way. What if kids could use their imagination to create their own tools according to their own needs; doing participatory observations and interviews in Colombia of two children with congenital hand-disabilities and their families confirmed that the needs of disabled kids are not always related to physical activity but often alternatively the social and psychological aspect; what if kids could make their own prosthetics and have fun at the same time? Learning. Creating. Being kids.

This study examined the professional identity of composers and teachers with a particular focus on how working collaboratively in pairs to compose a new educational composition for a high school ensemble, affected their sense of professional identity. Following the literature of identity formation, individual, professional, relational, and social identity were examined. Using case study methodology, theme mapping, and the constant-comparative technique, the study examined seven (7) composer-teacher pairings employing the following data protocols: online participant questionnaires, on-site observations, individual participant interviews, and a researcher reflective journal. The study aimed to answer the following research questions: (1) How does the co-creation of new music by professional composers in collaboration with teachers influence their respective professional identities?; (2) How does collaborating with another professional in the same domain influence the individual identity formation of the participants; (3) How does the collaboration between the music composer and teacher influence how they viewed, interacted, and related to each other, and to one another?; and (4) How are the participants’ perceptions of their professional identity altered in society because of having participated in a collaborative project? The findings of the study indicated that all participants felt that their participation in this project changed, to varying degrees and in different ways, their sense of identity formation. For some participants, this change was evident and explicit, for others it was subtler and more philosophical. One unexpected but prominent finding was the influence of the students who, while not the focus of this study, were active participants in the project. Based on the findings, the discussion included: the concept of participants as learners, an exploration of the collaboration between the participants, and communities of practice. The student influence furthered discussion about the implications for music and music education. Finally, consideration for future research and directions were summarized.

Orientador: Doris Catharine Cornelie Knatz Kowaltowski / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Engenharia Civil, Arquitetura e Urbanismo / Made available in DSpace on 2018-08-12T21:37:01Z (GMT). No. of bitstreams: 1 Mosch_MichaelEmil_D.pdf: 14092287 bytes, checksum: 1ba89a2d2c943b6d60f2e2de4a31a051 (MD5) Previous issue date: 2009 / Resumo: A presente tese, vinculada à área de pós-graduação de Edificações da Faculdade de Engenharia Civil, Arquitetura e Urbanismo (FEC) da UNICAMP, Campinas, configura-se como um estudo de caso dentro de uma disciplina curricular do curso de Arquitetura e Urbanismo da FEC. As atividades desta disciplina concentram-se na arquitetura escolar com ênfase nas escolas públicas do Estado de São Paulo, gerenciados pela FDE (Fundação pelo Desenvolvimento da Educação no Estado de São Paulo). Os objetivos do estudo de caso foram: desenvolver ferramentas técnicas e humanas de ensino de projeto e estimular a criatividade. Dois métodos foram introduzidos, o método das restrições e da formação de imagens. Este último método inclui a inserção de atividades artísticas, com o objetivo de agregar qualidades antropomorfas aos projetos e prolongar e intensificar a percepção sensorial do projetista, e conseqüentemente aprimorar a habilidade de solução para os problemas de projeto. No estudo de caso a disciplina de projeto foi dividida em dois grupos, o grupo "A" projetou uma escola dentro das recomendações, exigências e restrições da FDE e o grupo "B" desenvolveu atividades artísticas para conhecer o conceito da formação de imagem. Os resultados (projetos arquitetônicos dos alunos) foram avaliados em duas estâncias: pelos docentes da disciplina e por um grupo de leigos, representando possíveis usuários. Para a avaliação do grupo de leigos foram apresentadas imagens de maquetes de quatro projetos, considerados pelos docentes de melhor qualidade arquitetônica. O grupo de leigos analisou as imagens, com base na escala semântica bipolar, em consideração aos aspectos: diversidade, dinamicidade, expressividade, vitalidade, identidade, organização, estruturação e simplicidade. A conclusão dessa pesquisa mostrou que o método das restrições permitiu melhor desempenho de fatores projetuais como organização, estruturação e simplicidade, e a inclusão do processo de formação de imagem demonstrou bom desempenho nos fatores como diversidade, dinamicidade, expressividade, vitalidade e identidade do objeto de obra. Recomenda-se ainda no ensino de projeto a adoção de práticas e métodos que favoreçam o processo criativo e o desenvolvimento de um processo de projeto consciente. Em termos conclusivos o estudo apontou vários cuidados em experimentos de ensino e de avaliação de projetos. No ensino devem-se evitar traduções meramente visuais de conceitos apresentados, e em relação à avaliação de projetos é importante reduzir variáveis na apresentação destes em estudos comparativos. / Abstract: This thesis is linked to the graduate studies program, in building science of the Faculty of Civil Engineering, Architecture and Urban Design (FEC) of UNICAMP, in Campinas, Brazil. A case study within a discipline of the Architecture and Urban Design course of the FEC was developed. The activities of this discipline focused on school architecture with an emphasis in public schools of the State of São Paulo, which are managed by FDE (Foundation for Development of Education in the State of São Paulo). The goals of the case study were: to develop teaching tools for a more humane design and encourage creativity. Two methods were introduced, the method of restrictions and that of the formation of images. This method involves the insertion of artistic activities, with the goal of adding anthropomorphic quality to design and prolonging and intensifying the sensory perception of designers, and consequently improves the ability to solve design problems. The case study divided the design class into two groups: group "A" designed a school according to the recommendations, requirements and restrictions of FDE and group "B" developed artistic activities to experiment with the formation of images. The results (architectural designs of the students) were evaluated in two instances: by faculty members and by a group of laymen, representing potential users. For the evaluation of lay-people, images of models of four designs were used. These four designs were considered of architectural quality by the faculty members. The laymen group examined the images, based on bipolar semantic scales in relation to the aspects of: diversity, dynamics, expression, vitality, identity, organization, structure and simplicity. The conclusion of the study showed that restrictions as stimuli for creativity can result in designs with high degree of organization, structure and simplicity, and the inclusion of the formation of images shows better attention given to: diversity, dynamics, expression, vitality and identity. The study also recommends that design education needs to introduce methods that stimulate creativity in a structured way to develop a conscious design process. Some special care must be taken in relation to teaching experiments using analogies and with design evaluation methods. In relation to the use of analogies purely visual translations should be avoided and for the evaluation of design projects presentation variables must be reduced in comparative studies. / Doutorado / Arquitetura e Construção / Doutor em Engenharia Civil

Creativity and innovation are increasingly recognised as important for business success. A primary concern for organisations seeking to encourage creativity and innovation is establishing an environment that is conducive to their occurrence. To gain a better understanding of the relationships between these constructs, the current research has taken an interdisciplinary, multilevel approach. Taking this approach answers multiple calls for empirical research that combines disciplines (in this case, the disparate psychology and innovation management literatures) and estimates cross-level relationships between Creative and Innovative Climate, Team Creativity and Front End Innovation, utilising advances in statistical analysis and computational modeling. The current research comprised three studies. Studies 1 (n=117, n=841) and 2 (n=416, n=841, n=30) developed two new psychometric measures: the Front End Innovation Scale and the Creative and Innovative Climate Scale. Measurement of both Creative and Innovative Climate and Front End Innovation has been fraught with problems. These have been problems of conceptualisation, in that there is no consensus as to which dimensions comprise either Creative and Innovative Climate or Front End Innovation, and also a problem of statistical robustness, as the majority of previous measures of both Creative and Innovative Climate and Front End Innovation have not been developed following psychometric principles. Study 3 (n=841) explored the single and multilevel relationships between Individual and Team Creativity, Front End Innovation and Creative and Innovative Climate, and investigated whether Individual Creativity and Individual Creative Performance are synonymous constructs. All studies used quantitative data derived from a questionnaire, which was supplemented in Study 2 by qualitative narrative data. In addition to the development of two new psychometric measures, the current research contributed to the understanding of what Front End Innovation and Creative and Innovative Climate are, and the factors that comprise them. Given the lack of definitional and measurement consensus surrounding these topics, this understanding can guide future research. Furthermore, Study 3 identified two aspects of Creative and Innovative Climate that seem to be the most important for creativity and innovation (Internal Networks and Team Cohesion), particularly at the team level where they accounted for a greater proportion of the variance than at the individual level. The dual role of formalised processes surrounding creativity and innovation was also discovered, in that formalised processes were perceived to hinder individuals but benefit Team Creativity and Front End Innovation. Very little previous research has explored these relationships and none identified this duality. Lastly, Study 3 represents the first comprehensive empirical investigation of the relationship between Creative and Innovative Climate and each aspect of Front End Innovation.