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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. 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.

Titel: Innovationsprogrammets betydelse för dess studenter - Värdefulla kriterier för en innovationsutbildning utifrån ett näringslivsperspektivFörfattare: Kristina Gern och Jesper ModighHandledare: Peter Selegård, Mälardalens HögskolaÄmne: InnovationsteknikNyckelord: Innovation, utbildning, entreprenörskap, kreativitet Problem:Innovationsprogrammet har ett problem med att många studenter är osäkra på om deras program är en bra grund för att söka jobb inom det aktuella segmentet i framtiden. Detta grundar sig i samtal med innovationsstudenter och författarnas egna erfarenheter. Syfte:Syftet med denna uppsats är att klargöra innovationsprogrammets värde för dess studenter när de ska ut på arbetsmarknaden. Lärare och programansvariga skall även få ett lättare sätt att förklara innovationsprogrammet och dess mål och de framtidsutsikter som finns för innovationsstudenterna. Genom detta hoppas författarna att innovationsstudenternas oro för framtiden minskar. Metod:De metoder som används i denna uppsats är dels en kvalitativ intervju men även kvantitativa enkätundersökningar bland studenter och från arbetsmarknaden. Slutsats:Innovationsprogrammets studenters osäkerhet ligger i att det inte finns en tydlig bild av vad de kan tänkas jobba med i framtiden. Detta är på grund av att innovationsprogrammet erbjuder så pass många olika inriktningar att nästan varje examen från programmet är unik. Detta gör i sin tur att de jobb som studenterna tillslut får skiljer sig stort från varandra. I slutändan är det studenterna själva genom hur de inriktar sig genom programmets gång och vad de söker sig till efter examen som bestämmer vad de kan bli och det är inget som personal på IMTO kan förutspå.Genom en företagsundersökning utlästes att arbetsmarknaden eftertraktar tekniker och innovatörer med inriktning mot produkt innovation. För att täcka dessa kriterier så ska studenter välja inriktningen industridesign eller IT entreprenör inom innovationsprogrammet. Arbetsmarknaden anser att kunskap inom olika CAD- och CAM-program är viktiga. Dessa program får studenter lära sig som går industridesign. Däremot är det fortfarande oklart vilka jobb studenter som valt andra inriktningar kan få. IMTO kan använda sig av de slutsatser och den analys som finns för att på ett bättre sätt beskriva den framtida marknaden för dess studenter.   Slutsatsen i praktiken: Innovationsprogrammet är ett unikt program som ger studenter möjlighet till att få två examen vilket ger en konkurrensfördel och goda anställningsmöjligheter vid avslutade studier. För arbetsmarknaden är innovationsprogrammet värdefullt eftersom det ger den en ström av välutbildade entreprenörer som genom företagsekonomi, psykologi, industridesign och IT varvat med innovation har en unik kunskap av både de traditionella disciplinerna men också nytänkandet från innovation.IMTO kan använda sig av de slutsatser och den analys som finns för att på ett bättre sätt beskriva den framtida marknaden för dess studenter. / Title: The Innovation program's importance for its students - Valuable criteria for an innovation education from a business sector perspective.Author: Kristina Gern and Jesper ModighTutor: Peter Selegård, Mälardalen UniversitySubject: Innovation ManagementKeywords: Innovation, Education, entrepreneurship, creativityProblem:The Innovations program  has a problem with that many students are unsure whether their programs are a good basis to apply for jobs in the current segment in the future. This is based on conversations with students of the Innovation program and the authors own experiences. Purpose:The purpose of this paper is to clarify the value of the innovation program for its students when they enter the labor market. Teachers and program managers must also have an easier way to explain the innovation program and its objectives and the prospects that exist for innovation students. By this the authors hope that innovative student anxiety about the future decreases.Methodology:The methods used in this paper is a qualitative interview as well as quantitative surveys among students and the labor market.Findings/Conclusion:The Innovation programs students' uncertainty lies in that there isn’t a clear picture of what they might work with in the future. This is because the innovation program offers so many different directions that almost every graduate of the program is unique. This in turn means that the jobs that students eventually may find differ greatly from each other. In the end, it’s the students themselves through their focus through the program and what they seek out after graduation that determines what they can become and that’s something no staff at IMTO can predict.In a company survey it was read that the labor market desires engineers and innovators with a focus on product innovation. To meet these criteria students should choose the direction industrial design or IT entrepreneur in the innovation program. Labor market believes that knowledge of different CAD and CAM programs are important. These programs are educated at industrial design. However, it remains unclear what jobs students get who have chosen other specializations. IMTO can use the conclusions and the analysis is to better describe the future market for its students.Practical implications:  The Innovation program is a unique program that gives students the opportunity to receive two degrees, which gives a competitive advantage and good employment opportunities at graduation. For the labor market, the Innovation program is valuable because it gives a stream of well-educated entrepreneurs that through business economics, psychology, industrial design and information technology combined with innovation has a unique knowledge of both the traditional disciplines but also the rethinking of innovation.IMTO can use the conclusions and the analysis is to better describe the future market for its students.

Kreativitet är resultatet av personliga egenskaper, kognitiva förmågor och sociala miljöer. Studiens syftet var att undersöka hur kreativitet är relaterat till självkänsla, ålder och genus hos gymnasieungdomar. 111 deltagare varav 77 flickor, 17-21 år deltog. Ett tredelat test användes med frågor om fritidsaktiviteter (aktivitet), ett självkänslatest (”Jag tycker jag är”) samt ett kreativitetstest (Unusual Uses test). Resultatet av undersökningen visade inget samband mellan kreativitet och självkänsla men visade att ålder är relaterat till kreativitet. Yngre gymnasieungdomar var mer kreativa än äldre. Äldre hade högre självkänsla än yngre. Variabeln aktivitet kan ses som ett kreativitetsmått. Liksom variabeln kreativitet och visade variabeln aktivitet ett samband med ålder, yngre var mer aktiva än äldre. Det fanns inget statistiskt säkerställt samband mellan kreativitet och genus dock fanns en tendens till att pojkar kunde förutsägas vara något mer kreativa än flickor i undersökningen. Kreativitet kräver mod och för att våga vara kreativ behövs ett visst mått av självkänsla och självförtroende i en miljö som främjar aktiviteter som styrs av eget intresse och inre motivation.

For as long as computers have been around, people have looked for ways to involve them in music. Research in computer music progresses in many varied areas: algorithmic composition, music representation, music synthesis, and performance analysis to name a few. However, computer music research, especially relating to music composition, does very little toward making the computer useful for artists in practical situations. This lack of consideration for the user has led to the containment of computer music, with a few exceptions, to academia. <br /><br /> In this thesis, I propose a system that enables a computer to aide users composing music in a specific setting: soundtracks. In the process of composing a soundtrack, a composer is faced with solving non-musical problems that are beyond the experience of composers of standalone music. The system I propose utilizes the processing power of computers to address the non-musical problems thus preventing users from having to deal with them. Therefore, users can focus on the creative aspect of composing soundtrack music. <br /><br /> The guiding principal of the system is to help the composer while not assuming any creative power and while leaving the user in full control of the music. This principal is a major step toward helping users solve problems while not introducing new ones. I present some carefully chosen tasks that a computer can perform with guidance from the user that follow this principal. For example, the system performs calculations to help users compose music that matches the visual presentation and allows users to specify music, using the idea of <strong>timed regular expressions</strong>, so that a computer can fill arbitrary amounts of time with music in a controlled manner. <br /><br /> A prototype application, called <strong>EMuse</strong>, was designed and implemented to illustrate the use and benefits of the proposed system. To demonstrate that the system is capable of serving as a tool to create music, two soundtracks were created for two sample animations. It is beyond the scope of the work presented here to evaluate if the system achieves the goal of being a practical tool for composers. However, the innovations herein discussed are analyzed and found to be useful for soundtrack composition and for future user-centered computer-music research.

The study focuses on the use of poetry in language teaching in the lower grades in the Swedish school. Poetry has a reputation of being an art form with such specific rules and structures that children and teachers think that it is something that they do not have the ability to work with.  The purpose of this study is to get an understanding of how poetry is used in educating children. My research is based on the following questions.  To which extent is poetry being used in schools and how is it being used? Can you as a teacher see any effects on childrens language development by using poetry? As a part of my study I have met with and interviewed four different people, who in one way or another is involved in teaching children. Two working teachers in the lower grades, one pedagogical resource and one artist that work with teachers in reaching different goals through the help of aesthetic processes. My goal with the interviews was to get a sense of the way poetry is portrayed in schools and to see if it is a genre that is incorporated in teaching the Swedish language. Poetry has not always been mentioned in the Swedish curriculum as something children has to know about. However in the most recent curriculum poetry is brought up as something every child should know and recognize by the end of the third schoolyear.

AbstractMaster thesis in marketing at the Linnaeus University School of Businessand Economics in Växjö, spring 2012. Authors: Kristian Gjurovski &amp; Jasenko Arsenovic Examinator &amp; Tutor: Mosad Zineldin Title: Creativity in the digital world of Advertising - A study within the Swedishadvertising agencies. Purpose: The purpose of this paper will be to examine how the Internet and itspossibilities has affected the creativity in teams for creating advertising andalso to find which are the most vital qualities for the organisation to possesswithin to be able to succeed in the creative work. Research question: How has the creativity in Swedish advertising organisationschanged with the intrusion of Internet and what qualities are the most vital tosucceeding with creative advertising with the increased technologicaldevelopment in society through the Internet? Methodology: The research that has been conducted in this thesis iscategorized by an inductive reasoning. Information and data that was obtainedwas gained through semi-structured interviews and a survey. Hence, bothqualitative and quantitative research was performed. Conclusion: The culture in Sweden is defining the creativity and the hierarchicstructure in the organisations creates a need for structure. The core2competences should stay in the organisations as well as the weak competencesshould be outsourced. Suggestion for further research: A deeper insight into the componentscreating creativity could have been done, (individual creativity, group creativity,and organisational theory, with the aspect from the environment) would havegiven an interesting results. Also combining the creative concept in psychologywith creativity in computer science and find the correlation would probably havegiven interesting results.

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.

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. 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. 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.

Abstract The cultural creativity industry has become a key indicator of national competitiveness; this can be seen from the cultural competition through creativity in major events such as the Olympics and the World Expo. However, culture and artistic creativity cannot be cultivated within short periods of time, and does not lead to accomplishments quickly like technological, economic, or political activities. The primary spirit of the cultural creativity industry should be in disseminating cultural elements and materials, followed by the process of creativity, and finally resulting in economic benefit. Museums are the greatest physical manifestation of cultural imagery. Museums¡¦ six major functions, which are collection, research, education, exhibition, leisure and entertainment, and exchange, indicate that they provide a high quality environment for cultural preservation. Cultural relics are the most important carriers of cultural knowledge; they represent a segment of history, and reflect contemporary customs and lifestyles. Many cultural relics contain stories in their existence, and may easily create interesting topics on an artistic foundation. Thus, museums provide a very important source for enhancing the quality and quantity of cultural meaning. Additionally, museums also provide a stage for the performance of cultural creativity products, such as exhibition-planning, exhibition design, design planning for related media, and the exhibition and sale of industrial art products. The purposes of this study are: 1) to understand the actual conditions of cultural knowledge transmission by museums, and existing correlation to the cultural creativity industry; 2) to collect the more comprehensive actions or projects in providing cultural creativity by museums, to serve as the basis of whether it is necessary to construct a cultural knowledge provisional platform, or how to construct it; and 3) to construct hypotheses on creating a platform organization for museums to provide cultural knowledge. Research subjects include the National Palace Museum (national level), the National History Museum (Ministry of Education), the National Museum of Taiwan Literature (Council for Cultural Affairs), the National Science and Technology Museums (Ministry of Education), the Broadcasting Museum (non-profit corporation). In-depth interviews and questionnaires are used for data collection. Conclusions of this study include: 1. Museums can certainly provide abundant cultural knowledge. 2. Digital archives of museums can certainly be converted to added value for cultural knowledge, and in turn, convert to creative and design knowledge. 3. Digital archives and activity processes and records formed through museum functions are preserved within museums, but are not all open to the public. 4. In order to convert museum digital archives and activity processes and records into externally visible cultural knowledge with creative usage value, it is necessary to use systematic design to stimulate the internal knowledge of museums. In turn, the external and internal knowledge interactive cycle can produce added value in cultural knowledge functions. 5. Since there are great differences among museums in terms of their resources, most museums are unable to convert internal cultural knowledge resources into design knowledge with value added to knowledge. Thus, in order to allow creative personnel to broadly utilize cultural knowledge within various museums, it is necessary to create a feasible platform organization to integrate all cultural knowledge resources within museums. This study suggests that a cultural knowledge platform institution based on museums should be constructed, and the institution should have the following characteristics: 1. A standing and independent organization with long-term and stable funding for operation, with significant public confidence, and can assuredly obtain all knowledge resources of museums. It is possible to collect information hubs of cultural knowledge from various museums, and systematically construct cultural knowledge databases. This organization is not affiliated to any museum and does not exist within government administrative organizations. 2. A friendly and convenient museum knowledge database. Its data should include data in existing domestic museum digital archives, as well as data not provided by museums in the exhibition-planning process. The database should also comprehensively collect creative works derived from museums in various countries, such as exhibitions, films, industrial artworks, operas and music, multimedia, gaming software, museums and urban tourism, apparel, special culture and foods, among others, in order to construct the largest museum knowledge platform database. All databases need to have a powerful base of professional consultants to guide usage, and to have convenient search facilities. 3. A professionally trained and powerful group of creative consultants who can research and develop various projects for converting cultural knowledge into creativity. 4. Multimedia rooms and conference rooms with sufficient cultural atmosphere and seating to allow cultural workers to congregate, comfortable environment for them to discuss their creative ideas. 5. To have several exhibition spaces for standing exhibitions and special exhibitions, to create experimental exhibition rooms that allow museums to serve as a source for creative knowledge, allowing cultural creators to have a concrete place to exchange their ideas. 6. Various stable and continued theme events, including different themes for different cultural creative groups, so they can have events to elicit cultural creativity. An official website could provide various types of up-to-date cultural knowledge, corporate matching information, cultural creation competitions, and information on observations. Unlike most museum websites, this website would be primarily focused on interaction and learning. 7. The platform organization should not belong to any single museum or be directly under the organization of Council for Cultural Affairs, in order to avoid jurisdictional problems. 8. There should be an ability to arrange exhibitions, and the main points of cultural knowledge application should be evinced in the exhibitions. There should be clear instruction on understanding and applications of cultural knowledge of museums by various industries. 9. Location of the platform organization should be easy to reach, within the most popular commercial leisure area (such as department stores), so that more people and cultural creative workers can conveniently reach it. The organization should contain a creative and attractive gift shop and food court area, and the creative products should be related to museums. 10. The organization should be able to invite international creative workers (and groups) by successfully selecting those who create works relating to museum-related issues for exchange and to make lectures. 11. The platform organization can provide creators with supplemental knowledge in exhibition technology, manufacturing and production, and financial management. 12. A membership system for domestic people, cultural creative workers, and corporations, but foreigners should be able to view exhibits once by using their passports. Tourism promotions can quickly transmit information about Taiwanese museums and to rapidly promote creative works in museums. Here, it is possible to refer to a successful example in the Thailand Creative and Design Center in Bangkok. 13. Different associations can be established within the platform organization, in order to promote further exchange of knowledge and experiences. Keyword: museum, cultural creativity industry, cultural knowledge, digital archives