The purpose of this thesis is to investigate how students on the computer game development program at Ljud och bild skolan, define creativity and what they experience strengthen respective weakens their creative ability. The Swedish “gymnasieskola” (Upper secondary school) has an assignment to stimulate student’s creativity, an ability described as one of the most important skills today by leading expertise in pedagogic. However, several teachers in Sweden believe there is a lack of research concerning creativity in schools. By both interviewing and conducting a survey regarding the student’s view on creativity, evidence have been found to suggest that all partaking students had a similar view on creativity. The most frequent answer when asked about creativity was the ability to come up with unique solutions to problems by “thinking outside of the box”. The result of the study points to a few different factors being important on strengthen the student’s perceived creativity; the importance of inspiration material such as music and video games being the most important. As for factors that weakened their creativity; stress, tiredness and bad work environment were seen as the main reasons.The main two conclusions from the study are the lack of up-to-date research around students and their perceived creativity and the importance to include student’s own thoughts and ideas in the process.

Depuis les années 1950, la pensée divergente est la principale mesure utilisée pour estimer le niveau de créativité d'un individu. si de nombreuses études lui ont été consacrées, peu se sont attachées à la décrire dans sa dimension processuelle. dans la continuité des travaux fondateurs de lubart et de gilhooly, nous développerons avec cette thèse une approche statique et une approche dynamique du processus de pensée divergente. nous proposerons plus spécifiquement une extension du modèle de résonnance émotionnelle de lubart et getz appliquée aux associations originales (pour l'aspect statique), et une modélisation par des chaînes de markov de différentes dimensions de la pensée divergente, comme les stratégies ou les catégories d'idées (pour l'aspect dynamique). / This dissertation is devoted to the study of the variability of creativity evaluations, by focusing ontraining non-experts judges to enhance their expertise. In the theoretical part, various issues related tocreativity, judgment and variability are explored and provide hypotheses for the empirical part. Thefirst series of studies allows justifying the relevance of the application of a simplified model of creativityjudgment inspired by Besemer & O’Quin (1999) to the evaluation by non-experts judges of graphicproducts made by children. The rest of the empirical studies are devoted to the investigation of theeffect of the training on 1) the stability and 2) the expertise of creativity evaluations. The model ofcreative judgments provides the mechanism explaining the effect of the training on the stability andthe expertise of creativity evaluations, by emphasizing the mediating role of stability and expertise ofrelevant predictors evaluation (originality and elaboration) and of the integration function, by which thejudge combines predictors to make a creativity judgment. A final study allows studying the long-termeffect of the training. These results are discussed and future research and applications are suggested.

This study was framed by the question, How is creativity integrated into the design process of apparel textile designers? A qualitative approach was used to explore the integration of creativity in the design process of two designers in the field of clothing and textiles. The personal experiences of a weaver and a costume designer were shared with the researcher through interviews, participant observation, logs, and document/visuals. Data were analyzed by a method of coding and categorizing. Comparative analysis was conducted on the studies of the weaver and the costume designer. A comparative analysis was done among the findings of the two apparel textile designers and from the review of the literature. First, steps of the design process as related to creativity were explored. The design process model stated by Koberg and Bagnall (1981) was used to analyze and discuss the findings. It was found that the apparel textile designers' process included the steps of acceptance, analysis, definition, ideation, idea selection, implementation, and evaluation. Many themes emerged from the data for each of the steps of design. Amabile's (1996) three components of creative performance (domain-revelant skills, creative-revelant skills, and task motivation) were used to examine and discuss the creativity of the weaver and the costume designer. It was found that the design process acted as a framework, and creativity allowed for the generation of new ideas and outcomes in the designer's work. The study of apparel textile designers, their individual design processes, and creativity serves to expand the body of knowledge of the design process and creativity related directly to the textile arts and to aid in the development of methods in design education. / Master of Science

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Through the diffractive examination of modern neuroscience, posthuman philosophy, and composition studies, this transdisciplinary research focuses on intrinsic motivation via homeostatic integration of self to initiate organic exploration of the powers involved in the creation of self and agency, and the ongoing making of meaning. Through this homeostatic integration, composition students connect their own goals and desires within the composition environment, and through a creative production model sustain curiosity in self-examination, achieving the following: increased motivation and positive affect, further integration of self in the classroom, improved cognition and long-term memory, and evaluation of human and nonhuman factors involved in ongoing self-formation. This further develops modern composition studies’ emphasis on equality, diversity, and social justice in the classroom, providing a framework through which students of all backgrounds and discourses can find emotional value in meaning-making that transfers to other classrooms, and to the world at large.

Creativity is increasing in value worldwide, but the processes underlying various creative abilities remain ambiguous. The most frequently used assessments of creativity (i.e., divergent thinking tasks; creative problem-solving tasks) differ in surface features and are also rarely examined together. These inconsistencies, in addition to mixed findings in the literature, have caused considerable debate among creativity researchers concerning the particular roles of independent or dual processes that lead to success on different creativity tests. The present study expounded upon these mixed findings using a factor analytic method. The results indicated that individual differences in working memory and fluency ability impact performance on divergent thinking and creative problem-solving tasks, but to differing degrees. These results are discussed as supporting a dual-process view of creative thinking.

<p> This is a study of the role that creativity plays in the metaphysics of Alfred North Whitehead ( 1861-194 7). As the title generally indicates, there are two parts to this project. The first part develops an understanding of Whitehead's metaphysics through the careful analysis of two key texts, namely Religion in the Making (1926), and Process and Reality (1929). The second part examines and carefully analyses the role that creativity plays within this metaphysic. The second part focuses on two questions. The first question considers the ontological status which creativity requires to perform the role which it is given within the metaphysical system. The second question discusses implications of this status for creativity's relationship to God. This second section further discusses the implications of such an understanding of "process theology" for Christian theology in general. Specifically it comments on the various responses of theology to creatio ex nihilo and the problem of evil.</p> <p> This thesis concludes that creativity functions as an ultimate explanatory principle in Whitehead's metaphysics. In this role, creativity is monistic, not in the sense of an ontological monism, but in the sense that it is 'one' rather than 'many'. Creativity cannot be ontologically monistic because it is not actual. However, since it is indeterminate it must be one rather than many. In addition creativity and God must be considered distinct elements in Whitehead's metaphysics. Their roles cannot be collapsed into each other, although it is possible to speak of an intimate association between them. In this sense, creativity is the ground of God and God is necessarily creative. Finally, this thesis demonstrates that there is room for further dialogue between process theology and a more orthodox version of Christian theology especially regarding the questions of the creation of the world and theodicy.</p> / Thesis / Master of Arts (MA)

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The purpose of this literature review is to investigate and discuss: (1) the characteristics measured by innovation assessments, and (2) the comparison of characteristics measured by creativity assessments with those of innovation assessments. This will be done by: (1) collecting creativity and innovation assessments, and (2) comparing and contrasting the characteristics measured by each assessment. This study reveals that innovation assessments do not measure the innovation process in its entirety. The findings show that creativity and innovation assessments lack in assessing the entire innovation process, assessing the innovation process on an individual level, and assessing an individual's change or growth in the innovation process. Based on the findings, future research needs to be done to develop an individualized innovation assessment.