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<p>This study was undertaken among teachers in different schools of Sweden and among several teachers with experience in teaching drama during February and March 2006. The aim was to explore what the beneficial aspects of working with drama outdoors are and simultaneously to examine any problems that may appear and what kind of activities the teachers believe are more conducive to outdoor settings.</p><p>Qualitative research methods were used for this study. An open questionnaire was sent to eight drama teachers for their opinion on doing drama activities in outdoor environments. Also, activities recommended for using in outdoor settings were prepared and send to several teachers, some of whom had previous experience working outdoors. They were asked later in an open questionnaire to evaluate the relative success of the activities they managed to do and the positive aspects and problems they encountered in doing the activities in outdoor settings. Additionally, some unstructured observations of two different groups took place in two elementary schools. </p><p>The research reveals that in general terms, the teachers encountered many beneficial outcomes of using drama activities in outdoor environments and they encountered some problems as well. </p><p>This study demonstrates the relative success and benefits of drama activities in outdoor environments and addresses some common problems that may appear. It contains a variety of drama activities that can be useful to teachers who are interested in working with drama in the outdoors. The discussion includes some recommendations for teachers.</p>

<p>The purpose of this thesis was to study how creativity can be improved within creative organizations, and the study was made both in Great Britain and in Sweden. We wanted to learn if creative employees have the possibility to use their creativity within their organization or if rules within the organization only hamper their creativity. We conducted interviews in both Sweden and in Great Britain and the focus on the study were on designers and product developers within the fashion industry. The research was a qualitative study consisting of a total of 7 semi-structured interviews. Designers and product developers feel that their creative ability sometimes gets hampered by their organization. We came to the conclusion that the manager need to be good at structure, trust, set up clear goals, conflict solving and communication and by that, let the organizations creative employees within it have the freedom to work at other places but at the office in order to get inspired by the environment.</p>

<p><p>An issue of ‘talented people’ has been discussed for many years. Many companies consider talented employees to be the main factor of gaining competitive advantage over their competitors. This is mostly due to the fact that talented people are perceived as those who are of great value for an organization.</p><p>Nowadays, behaviors such as cooperation and teamwork play an important role, not only among members of an organization but also between organizations. The purpose of my research is to study the characteristics of talented people and their working style in today’s business world. Furthermore, the other aim is to present the method applied with a view to support and stimulate talents to collaborate with others.</p>To answer the research question: ‘Talented people in a today’s organization; in particular, how to support and stimulate them to work in team’, qualitative approach has been adopted. I have collected and analyzed data by having interviews, doing surveys, and gaining knowledge from literature. Most of participants had management positions and supervised an executive team, in particular, from the field of environmental companies. The research has proved that nowadays talented people have specific characteristics and handle matters their own way. In order to support and stimulate them to work in a team, trust and creating motivation are necessary. To some extent, leaders should stimulate talents to collaborate together, but, on the other hand, they ought to allow them to work on their own, depending on their professions and personality. Nevertheless, in my study I focused on the area of team work. A suggestion of team dynamic developing process for talented people to perform successful team work has been concluded in the last part of the thesis.</p>

<p>Educators have an importance for the pupil’s progress, where the individual adjustment tutoring is varying. The pupil’s self-confidence is also individual and can be affected by the humans in the society. To find every pupil’s knowledge and enjoy creating and learning is a big part of an educator’s work. A working method that can rise pupils’ self-confidence and give a zestful tutoring is the aesthetician. </p><p> </p><p>The purpose with this study is to look at the educators’ views on the meaning of aesthetic for self-confidence and how they work with aesthetic in their teaching.</p><p> </p><p>I based my study on qualitative interviews to get an enlarge meaning if aesthetics has an influence the pupils’ self-confidence. The results give a picture of how the educators would like to work with aesthetic in their teaching because pupil’s self-confidence is getting stronger. But the aesthetic has a low value, and therefore there is a reduced selection by the aesthetic in school, which will be at the expense of the pupil.</p>

<p>This thesis presents how and if open innovation software (OIS) supports different types of creativity. The relevant theories and information on how an OIS is designed and, the relevant theories of creativity are used for making a model to test on different OIS.</p><p>The result shows that most OIS functionality supported the structuralist and situationalist school of creativity but it also shows that the inspirationalist school was poorly supported in the current functionality. With the result we discuss the implications of supporting all types of creativity to support the most of the users and in the end enable more innovations.</p>

Thesis (Ph.D. (Clinical Psychology))--North-West University, Potchefstroom Campus, 2006.

Are artists autonomous agents? Are they individuals? Engaging with these seemingly commonsensical questions is the objective of this doctoral dissertation. Moreover, my answer to both questions is: no. My objective herein, then, will be to develop the following argument: that because the individual elements of creative, art-producing networks are so profoundly relational, to speak of individual elements or of agents or artists at all is to describe an incomplete picture. After all, how can any individual action occur or individual element exist in the absence of that upon which that action is enacted, or without that action being made possible by another element or "individual"? By engaging with these questions this dissertation challenges conventional notions of creativity, individuality, and agency by suggesting that creative forms of expression for example: artistic, technological, social, political are always collective enunciations that issue forth and come into being as products of interdependent relationships. I dismantle and then recast how we think about artistic creativity by arguing that if individuals are so intertwined with their networks that their very capacities are produced by the networks relationality itself, they (individuals) might be able to be (categorically) dispensed with entirely. In other words, I begin to ponder the question: How can we think about networks without thinking or making assumptions about individuals? I suggest that emphasizing that relationships are the generative actors that produce actuality compels us to rethink anthropocentric assumptions, and can lead to more open and creative ways of relating to the world around us. I conclude by arguing that since our fate, existence, and identity as creators is inextricably linked to, and determined by, our relations with others, we must predispose ourselves to this co-fatedness by recalling Nietzsches invocation that we embrace and be open to our fate by loving it that we amor fati. In other words, in order to attune ourselves to the fullest range of possibilities in a situation in order to be truly creative and to become-artist we must become open to the creative potential of relationality itself, even if it requires that we assume a more modest view of ourselves. / Cultural Theory and Visual Art

¡@¡@The purpose of this study was to devise the innovative science teaching material and to investigate the instruction effect of innovative science teaching material. Thus, there were two major parts in this study, including the development process of teaching material and the instruction experiment. Firstly, seven award-winning science teachers with average 24 years seniority were gathered and organized as ¡§an innovative science teaching material development team.¡¨ Through regular team discussion and sharing, the team devised three teaching units¡X ¡§the weather variety,¡¨ ¡§simple machine,¡¨ and ¡¨burning¡¨ based on Creative Thinking Instruction Model¡]CTIM¡^. Besides, we used case study as the method and through in-depth interviews, we realized the factors that contribute to an award-winning science teacher' creative teaching material based on Amabile's¡]1997¡^componential model of creativity. ¡@¡@Secondly, the purpose of the instruction experiment was to investigate how the teaching material executed. The experienment group teacher received a 3-day instruction demonstration and reflection from the workshop by the team, while the contrasted group teacher didn¡¦t. We selected 110 sixth graders in one Kaoshiung primary school and proceeded 8-week different instructions. We took a quasi-experiment design and used ¡¨Technology Creativity Test¡¨, ¡§Creative Problem Solving Test¡¨, and self-developed science achievement tests as assessment tools. The applied analysis methods were descriptive statistics, One-Way ANCOVA, One-Way MACOVA, and Rasch-analysis. ¡@¡@The main findings were as follows: (a) the creative product of the award-winning science teacher conformed to Amabile's theory; (b) it seemed that the creative instruction workshop facilitated teachers to learn from award-winning science teacher; (c) the innovative science teaching material had significant effects on enhancing sixth graders¡¦ technological creativity; (d) students in different groups did not perform differently on problem solving abilities; (e) the innovative science teaching material had partial significant effects on enhancing sixth graders¡¦ science academic performance. Finally, some suggestions were proposed for educational instruction and future studies.

This study was undertaken among teachers in different schools of Sweden and among several teachers with experience in teaching drama during February and March 2006. The aim was to explore what the beneficial aspects of working with drama outdoors are and simultaneously to examine any problems that may appear and what kind of activities the teachers believe are more conducive to outdoor settings. Qualitative research methods were used for this study. An open questionnaire was sent to eight drama teachers for their opinion on doing drama activities in outdoor environments. Also, activities recommended for using in outdoor settings were prepared and send to several teachers, some of whom had previous experience working outdoors. They were asked later in an open questionnaire to evaluate the relative success of the activities they managed to do and the positive aspects and problems they encountered in doing the activities in outdoor settings. Additionally, some unstructured observations of two different groups took place in two elementary schools. The research reveals that in general terms, the teachers encountered many beneficial outcomes of using drama activities in outdoor environments and they encountered some problems as well. This study demonstrates the relative success and benefits of drama activities in outdoor environments and addresses some common problems that may appear. It contains a variety of drama activities that can be useful to teachers who are interested in working with drama in the outdoors. The discussion includes some recommendations for teachers.