Este trabalho tem por finalidade pesquisar a criatividade na identificacao e selecao de criancas e adolescentes portadores de altas habilidades, com carencia socioeconomica, em uma amostra de dez jovens. A superdotacao ou altas habilidades tem sido objeto de estudo sobretudo quanto aos aspectos cognitivos e necessidades educacionais. Existem dois tipos de superdotacao: uma academica ou escolar e outra criativo-produtiva ou talentosa. A superdotacao academica e representada por altos niveis de desempenho escolar, boa memoria, grande atividade intelectual, processamento de informacoes complexas, pensamento analitico, critico e logico. Por outro lado, a superdotacao criativo-produtiva estaria mais ligada a curiosidade, resolucao de problemas e caracteristicas do pensamento criativo como originalidade, fluencia e flexibilidade. O conceito de um individuo superdotado e associado a tres conjuntos de tracos: habilidade acima da media em alguma area do conhecimento; envolvimento com a tarefa (motivacao, perseveranca, concentracao) e criatividade (ideias diferentes, novos significados), podendo se destacar nas seguintes areas: academica, criatividade, lideranca, artistica, psicomotora e motivacao. O nao preenchimento das vagas ofertadas para bolsistas no Projeto legitima o questionamento se a causa e a valorizacao apenas do tipo de superdotacao academica em detrimento da criativo-produtiva; ao pesquisar a forma como a criatividade e abordada no processo de selecao e a importancia atribuida aos aspectos criativos demonstrados pelos candidatos, espera-se obter a explicacao para uma oferta de vagas maior do que o numero de selecionados, ainda que mil novecentos e noventa e sete candidatos tenham se candidatado ao processo.Os dados para a pesquisa sao coletados por intermedio do trabalho de uma equipe de psicologas que prestam servicos para uma Instituicao sem fins lucrativos com o proposito de selecionar individuos com altas habilidades. Analisar-se-a de que forma a consideracao do aspecto criativo desses jovens e avaliado no processo seletivo, tendo como parametros teoricos os conceitos para a criatividade de Winnicott, bem como autores que tratam da criatividade especificamente na superdotacao, como Renzulli e Reis. A maior parte das caracteristicas de individuos criativos, tais como autoconfianca e independencia, nao-conformismo, senso de humor, interesses esteticos, impulso para realizacao, desejo de descoberta e ordenacao, estao ligadas ao conceito de self verdadeiro e do seu gesto espontaneo, bem como ao desenvolvimento da area da transicionalidade, aquela que nao pertence a realidade objetiva nem a subjetiva. Apesar da criatividade ser avaliada como uma das competencias que definem o desempenho do candidato e, portanto, determinam seu ingresso no projeto, nao se prioriza na selecao desses jovens o aspecto criativo / This work has the objective of researching creativity to indentify and select gifted children and teenagers with social and financial needs, within a ten individuals sample. Giftedness, or high abilities, has been object of study specially regarding the cognitive and educational needs aspects. There are two kinds of giftedness: one is academic or scholar and the other one is creative-productive or talented.The academic Giftedness is represented by the high level of school performance, good memory, great intellectual activity, processing of complex information, analytic thought, critic and logical. On the other hand, the creative-productive giftedness would be more related to curiosity, solving problems and characteristics of creative thought such as originality, fluency and flexibility. The concept of a gifted individual is associated to three sets of traces: ability higher than the average in any field of knowledge, task involvement (motivation, perseverance, concentration) and creativity (different ideas, new meanings), standing out on the following areas: academic, creativity, leadership, artistic, psychomotor and motivation. When scholarships are not fully distributed within the Project it legitimates questioning if the reason is the valorization of only the academic gifted individual letting aside thecreative-productive; while researching how creativity is addressed in the selection process and the importance given to the creative aspects demonstrated by the candidates, it´s expected to obtain the explanation for an offer of scholarships higher than the number of selected students, even thought one thousand and ninety seven candidates have applied to the selection process. The research data is collected by a team of psychologists through volunteer work to a Nonprofit Organization with the purpose of selecting such gifted individuals. It will be analyzed in what way the consideration of the creative aspect of these young individuals is evaluated within the selection process, having as theory parameters Winnicott´s creativity concepts, as well as authors also dealing with creativity especially when the subject is giftedness, such as Renzulli and Reis. Mostly the characteristics of creative individuals, such as self-confidence and independency, non-conformism, sense of humor, aesthetic interests, desire of discovery and to maintain order, are related to the true self concept and to its spontaneous gesture, as well as to the development in the transitional area, the area not belonging to the objective reality neither to the subjective. Even though creativity is being evaluated as one of the subjects defining a candidates performance and, therefore, determines his or her ingress into the project, the creative aspect it´s not prioritized in the selection of these young people

O objetivo deste estudo foi avaliar os efeitos do programa intitulado Mindful Creative Thinking (MCT) sobre o nível da criatividade verbal de estudantes universitários de uma escola de negócios. Evidências científicas apontam efeitos positivos das práticas de mindfulness e das forças de caráter cognitivas no desenvolvimento da criatividade verbal. O programa MCT, desenvolvido no presente estudo e de autoria do próprio pesquisador, combina práticas de mindfulness e práticas das forças de caráter, integradas com práticas de treinamento do pensamento criativo. As variáveis estudadas foram fluência (número de ideias), flexibilidade (número de categorias) e originalidade (novidade estatística das respostas). O estudo exploratório utilizou métodos quanti-qualitativos e abordagem analítica de ensaio controlado antes-e-depois (before and after study) com amostra randomizada. O programa MCT foi realizado com 51 graduandos da Faculdade de Administração, Economia e Contabilidade (FEA-RP/USP) de Ribeirão Preto. Os estudantes foram divididos em dois grupos: Experimental (26 participantes) e Controle (25 participantes). Os dados foram coletados por meio da aplicação do Teste de Torrance, Questionário das Cinco Facetas de Mindfulness e de questionário com questões abertas (Questionário MCT), elaborado pelo pesquisador. O resultado da pesquisa demonstrou que o programa Mindful Creative Thinking contribuiu para o desenvolvimento das habilidades criativas e influenciou positivamente no nível de atenção plena dos graduandos. / The objective of this study was to evaluate the effects of the Mindful Creative Thinking (MCT) program on the level of verbal creativity of university students in a business school. Scientific evidence points to the positive effects of mindfulness practices and cognitive character forces in the development of verbal creativity. The MCT program, developed in the present study and authored by the researcher himself, combines practices of mindfulness and practices of character forces, integrated with practices of training of creative thinking. The variables studied were fluency (number of ideas), flexibility (number of categories) and originality (statistical novelty of the answers). The exploratory study used quantitative-qualitative methods and analytical approach of a randomized sample before and after study. The MCT program was carried out with 51 graduates from the Faculty of Administration, Economics and Accounting (FEA-RP / USP) of Ribeirão Preto. The students were divided into two groups: Experimental (26 participants) and Control (25 participants). The data were collected through the application of the Torrance Test, Questionnaire of Five Facets of Mindfulness and a questionnaire with open questions (Questionnaire MCT), prepared by the researcher. The result of the research demonstrated that the Mindful Creative Thinking program contributed to the development of creative skills and had a positive influence on the level of attention of undergraduates.

A l'origine de cette thèse il y a le constat d’une science en changement. Ce changement se caractérise par deux grandes tendances globales : la dépendance croissante à des grands équipements coûteux et partagés et la production de données de masse qui sont également très coûteuses à stocker et gérer. Dans les deux cas ces ressources sont financées par des programmes publics et proposés à la communauté scientifique selon un principe d’ouverture à des utilisateurs extérieurs sous forme de Infrastructures de recherche (IR). Plusieurs facteurs peuvent nous amener à penser que les IR sont des lieux favorables à la créativité. Cependant les moyens par lesquels les IR favorisent la créativité n’ont pas été étudiés. L’objectif de cette thèse est de répondre à cette question. La problématique se décline en deux sous-questions de recherche. D’abord nous nous demandons, comment les IR peuvent-elles contribuer à la créativité scientifique de leurs utilisateurs ? Puis nous nous interrogeons sur : comment mesurer cet impact ? / At the origin of this thesis there is the observation of a changing science. This change is characterized by two major global trends: the growing reliance on large expensive and shared equipment and the production of mass data which are also very expensive to store and manage. In both cases these resources are financed by public programs and proposed to the scientific community according to a principle of openness to external users in the form of Research Infrastructures (RIs). Several factors may lead us to believe that RIs are favourable places for creativity. However, the means by which RIs promote creativity have not been studied. The purpose of this thesis is to answer this question. The research question is divided into two sub-questions of research. First, we wonder how IRs can contribute to the scientific creativity of their users. Then we ask ourselves: how to measure this impact

Creative thinking is a popular and ambiguous ability but so far we have limited knowledge about how creativity work within history education. The purpose of this study was therefore to investigate how individual creativity and a historical thinking with a focus on continuity and change relate to each other within history education. Data was collected with the help of an authentic history assignment and analyzed with qualitative content analysis and statistical correlations. A constructivist framework with a specific focus on the The Geneplore Model of Creativity and Historical thinking was chosen to guide the analysis. Results point to several similarities between creativity and historical thinking on continuity and change, with both concepts focusing on constructing new and meaningful knowledge. Here, the strongest correlation was found between creative thinking and reflections about change through history. The analysis also pointed to cognitive processes with a particularly promising potential to develop both creative and historical thinking, namely divergent thinking with the purpose to generate several alternative answers, and janusian thinking with the purpose to generate contradictory perspectives. Further, the analysis also revealed some differences between creativity and historical thinking on continuity and change. Here, thinking creatively with help of distant analogical thinking was particularly difficult since those conclusions seldom were rooted in historical facts. In fact, many of the creative conclusion identified in this study showed a potential to develop students understanding of the past, but were still in an undeveloped stage. These results indicate a need for a continued critical exploration of creative answers after initially being generated. In sum, the identified similarities and differences between creative and historical thinking on continuity and change demonstrate that creativity could play a role in the development of students historical understanding and points to a promising direction for future research interested in creative comparisons over time.

Creativity has been included in student learning and model teaching standards with little systematic attention on the preparedness of current practitioners to implement such expectations. This qualitative case study is conducted to discover what knowledge and skills teachers perceived to be necessary to implement practices that foster and develop student creativity with a strong sense of self-efficacy. A purposeful sample of 58 teachers from 4 Arkansas A+ (ARA+) network schools shared their perceptions of how creativity-fostering professional development (PD) influenced their sense of self-efficacy to foster creativity and answer the research questions. Data were collected using questionnaires, individual interviews, and focus groups and analyzed through comparative analysis of open-ended responses. Findings showed that teachers who reported attending ARA+ PD had a positive influence on their sense of self-efficacy to foster creativity through shared applicable ideas and permissible risk taking. Establishing infrastructure for the creative process was determined to be the most salient knowledge and an increase in flexible thinking was the most salient skill. Conclusions drawn from teachers' experiences could provide an opportunity for positive social change through insightful recommendations. Creativity-fostering strategies, such as brainstorming procedures, were recommended for both professional interactions and for classroom instruction. Conclusions and proposed recommendations promote a deeper understanding of how efficacious beliefs towards creativity integration among practitioners could improve systematic efforts to address the imperative call for teachers to develop creativity skills within students.

Increasingly, globalization and the adoption of a market economy have made innovation fundamental for the success of professional sport organizations. Yet oligarchical league structures, isomorphic and hyper-traditional cultures, and hierarchical organizational structures can enhance or hinder organizational creativity, the beginning stage of the innovation process. Therefore, the purpose of this research is to determine the antecedents of organizational creativity in professional sport organizations. Perception of organizational creativity is theorized to be influenced by employee creativity, work environment, and the social interactions of employees. The results, based on a survey of three professional sport organizations’ front offices, indicated perceptions of a work environment with a clear vision and better work processes were associated with greater perceptions of organizational creativity. The lack of relationships between many of the factors theorized to influence organizational creativity, such as an employee's advice network, could indicate the sport industry is unique in creativity management. This study is the beginning in understanding the first step of innovation, and the processes that influence employees’ perceptions regarding the ways in which their work environment relate to organizational creativity.

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The purpose of this research was to determine whether an autonomous chamber music project would have a positive effect on band students’ creativity. Two primary research questions guided the study: (1) does engagement in autonomous chamber music increase the creativity of students’ performances of pre-composed music (creative products), and (2) does engagement in autonomous chamber music enhance the manner in which students navigate the creative processes of problem finding, ideation, and evaluation when preparing pre-composed music for performance? It was hypothesized that autonomous chamber music would cause an increase in both creative production and processes. Participants (N = 60) were all enrolled in a band class at one of three participating high schools. Using an experimental randomized block design, participants were evenly divided between an experimental and a control condition. Participants in the experimental condition engaged in an autonomous chamber music project, in which they self-selected into duos, selected a piece of repertoire, analyzed their chosen repertoire, conducted four rehearsals of the repertoire, and recorded a performance of the repertoire. The control group participants did not engage in autonomous music making. All participants continued to engage in all regularly scheduled band class activities during the treatment phase of the study. Creativity was measured twice—in a pretest and posttest—using the Measure of Creativity in Ensemble Collaboration (MCEC), which was designed for the study. The MCEC examines 10 indicators of creative thinking: problem finding fluency, flexibility, elaboration, and collaboration; ideational fluency, flexibility, and collaboration; and evaluation fluency, elaboration, and collaboration. The MCEC also makes use of the Consensual Assessment Technique (CAT) to evaluate the creativity of musical performances. Experimental and control group scores on all 10 indicators of creative thinking and on the CAT were compared to determine the extent to which the autonomous chamber music project increased creativity. No significant differences were found between the experimental and control groups for any of the 10 indicators of creative thinking, indicating that the autonomous chamber music project had no noticeable effect on participants’ creative process. This finding prompted the investigation of potential boundary conditions which may have inhibited participants’ creative abilities. No substantive relationships were found between creativity and either technical proficiency or enjoyment that suggested either limited participants’ ability to be creative. Additionally, the CAT dimensions (creativity, technical correctness, and aesthetic appeal) failed to achieve discriminant validity, making it impossible to draw meaningful conclusions on the effect of the autonomous chamber music project on participants’ creative production. The failure of the autonomous chamber music project to enhance participants’ creativity is likely a function of a number of potentially confounding variables. Task enjoyment, absolute learning, procedural knowledge, and technical proficiency each have the potential to have inhibited participants’ creativity. Though no concrete evidence explicitly implicates any of those variables in the observed lack of creative growth, the results suggest that each might have acted, in some fashion, to inhibit creativity. Each should be thoroughly investigated to provide further information regarding the relationship between autonomous music making and creativity. / Music Education

Divergent thinking (DT) tasks that solicit responses to open-ended stimuli are the most common form of assessment used in creativity research. Intended to measure creative potential, these tasks present researchers with multiple choices throughout administration and scoring that often result in widely varying scores. This study used a combined dataset from 9 independent samples (N = 1,066) containing DT responses (n = 15,935) to the alternate uses task to evaluate substantive validity under different scoring approaches. Human ratings of creative quality were compared to 11 additional quality scores based on statistical infrequency and semantic distance. Psychometric analyses were supplemented by review of response content to assess conceptual and operational correspondence. Results revealed several inconsistencies between and within scoring approaches, including considerable subjectivity required to group semantically equivalent responses before applying objective frequency rules; low reliability estimates for statistically unique responses; dictionary uses for some prompts scored as unique under 5% and 10% infrequency thresholds; variation in semantic distance scores of responses with similar meanings; and large within-subject differences across scoring types. Substantive review also indicated that how the creative dimension of appropriateness is operationalized can play a sizable role in score differences, such as treatment of responses featuring randomness, humor, fantasy, or cultural references. Recommendations for expanded reporting practices to support substantive validity in future DT research are discussed.

Fostering students’ creativity in school subjects has recently become a central focus of educational researchers, educators, and educational policymakers around the world. In Kuwait, educational researchers and teacher educators have supported the need to foster students’ creativity via a national curriculum. Yet, the Ministry of Education has conducted few studies to explore practitioners’ perspectives on how to foster creativity through the current curriculum. The overall aims of this study were to explore science teachers’ pedagogical beliefs and practices in fostering creativity in science classrooms as well as to investigate the influences of sociocultural factors on teachers’ beliefs and practices in fostering creativity. The study also examined the consistency and inconsistency levels between teachers’ beliefs and practices. The study has a qualitative nature that stands on an interpretive worldview. The methodology uses eight case studies, each of which consisted of a male science teacher and one of his classes. Multiple methods were used, including semi-structured interviews (pre- and post-observational interviews), student focus groups, unstructured observations, participants’ drawings, and field notes. The analysis was based on thematic analysis model proposed by Braun and Clarke (2006). Thematic findings and case studies findings were drawn from the analysis of the data collected. In general, the thematic findings indicated that science teachers are able to define the meaning of creativity and its main aspects. Professed pedagogical beliefs enforce four teaching approaches to foster creativity in the science classroom: the teaching of thinking skills, inquiry-based learning, cooperative learning, and practical investigation (experimentation). The teachers believe that these approaches could promote students’ creativity in science classroom when specific sociocultural factors facilitate the effectiveness of such approaches in terms of fostering creativity. Three interdependent categories represent these facilitating factors: (1) educational setting-related factors, (2) teacher-related factors, and (3) student-related factors. Differences and similarities appeared when these professed beliefs were compared to the applied classroom practices. The thematic analysis revealed several themes underlying the main categories. Extensive teacher-centred practices and modest student-centred practices were evident; more specifically, the observations revealed primarily teacher-centred approach inside the science classes. Meanwhile, student-centred approaches were modestly applied in comparison to teacher-centred activities. The teachers justified their practices in accordance with the sociocultural factors that mediate their beliefs and practices as well as the role of their goal orientation. The science teachers perceived the mediating factors as constraints that prevent them from applying their beliefs about fostering creativity in classroom practices. Multiple constraining factors emerged, and they were categorised into personal, external, and interpersonal constraints. Concerning the case study findings, consistencies and inconsistencies were identified using a cut-off point as an analytic technique to classify teachers’ beliefs and practices into traditional (non-creativity fostering), mixed, or progressive (creativity fostering). The case study findings identified four consistency and inconsistency levels characterizing teachers’ beliefs and practices: traditional (consistent level), mainly traditional (inconsistent level), mixed (consistent level), and mainly progressive (inconsistent level). Each level was represented by an exemplary case study. The exemplary case studies revealed that sociocultural contexts influence teacher’s belief-practice relationship with respect to fostering students’ creativity in science classroom. Further, the thematic and case study findings were discussed in relation to the existing body of knowledge, followed by an illustration of significant conclusions, including some implications, contributions, limitations, and future suggestions.