Creative development in students is an important aim for the art educator. The visual arts class can be a realm for exploring and nurturing creativity in students. While all students may not grow up to produce works of art outside the classroom, visual arts education can impact a student’s understanding of their own creativity. This paper explores the creativity beliefs of elementary students. The research seeks to understand the implicit theories or beliefs of creativity that shape creative self-efficacy and what factors may influence these beliefs in students.

Abstract Competitions between the brands of the real estate commodity are intense. With regard to sales, the advertisement must bring into full play in the marketing situation which engages in hand-to-hand combat. Goal of the creativity person in message designs of the advertisement is trying to have the consumers sharing same feeling. Allow the advertising creativity has more accurate effect, the appeal strategy complement each other reduces the advertisement being invalid and waste. This research is aimed at the advertisement of the real estate. It is to discuss what level does combination influence of the advertising creativity and the advertising appeals have effect on the consumer¡¦s interest in product. There are two goals in this research, first is to discuss combination influence of the advertising creativity and the advertising appeal. How advertising creativity high-low level, different advertisement combinations of perceptual appeal and rational appeal show their effects. Second is to discuss how the consumer¡¦s interests are arisen from the advertisement combination of the advertising creativity and the advertising appeal. Through advertising creativity level, different advertisement combinations of perceptual appeal and rational appeal show their effects. To understand different interest degrees that the consumers have toward the product. This research uses experimentation and profound interview, to discuss how interest effect that the advertisement combination of the advertising creativity and the advertising appeal has on the consumers. In order to understand how these four variables affect the consumers in product results the varying degree of interests, the partial experimentation was designed to 12 groups of hypothesized board advertisements, through out prior consumers 4 groups of hypothesized board advertisements combinations were selected, carries on the official experimentation. There are 111 questionnaires returned, 99 are valid, effective returns-ratio is 89%. The material analysis adopts one way ANOVA analysis, finally conclude: 1.There are obviously differences toward trust attitude between four groups of different advertisements combinations. 2.There are obviously differences toward preference between four groups of different advertisements combinations. 3.The advertisement combination "High creativity - perception" effectively increase the consumer's interests surpasses "the low creativity-perception" the advertisement combination, "the high creativity-rationality" advertisement combination and "low creativity-rationality" advertisement combination.

Previous research on the scientific creativity of children has been limited. The most salient limitations of previous literature have been: (a) narrowness of theoretical frameworks, (b) limitedness in using a variety of science process skills, (c) ignorance of the gender differences in scientific creativity, and (d) ignorance of elementary school students. The purpose of this study was to develop and validate the Scientific Creativity Test for fifth-grade students to identify scientific creativity in those students. A related purpose was to investigate the gender differences in scientific creativity. The Scientific Creativity Test consisted of three subtests: Problems and Solutions, Grouping of Flowers, and Design an Experiment. The test was administered to 138 fifth-grade students from six different elementary schools. The reliability analysis showed that the Scientific Creativity Test had a .89 coefficient as a consistency of scores. The concurrent validity analysis indicated that the Scientific Creativity Test had medium correlations with Teachers' Ratings of students' Scientific Ability (r = .42), Science Content Knowledge (r = .42), and Scientific Creativity (r = .51). The interrater reliability of the three items rated by two independent raters [1C (designing a construction about a solution), 2D (drawing a diagram about the relationships among the groups of flowers), and 3B (drawing an experiment to develop a solution for the environmental problem)], using the Consensual Assessment Technique showed medium to high correlations. The General Linear Modeling (GLM) Repeated Measures Two-Way Analysis of Variance indicated no overall significant differences between males and females. An interaction effect, however, was found. Females performed better than males in Subtest II (Grouping of Flowers) and slightly better in Subtest III (Design an Experiment). The analysis using the independent-samples t test indicated no significant differences between females and males in the scientific creativity test except in four items: 2A (grouping flowers) Fluency, 2A Flexibility, 2A Originality, and 2A Complexity. These differences were in favor of females. The findings present support of the psychometric properties of the Scientific Creativity Test in the identification of scientific creativity in children.

An individual-differences model of managerial creativity was developed. Based on a review of the creativity literature, four traits and abilities were identified as having relevance for creativity in managers: divergent thinking, evaluative thinking, work motivation, and openness to change, risk and ambiguity. The model was constructed by specifying behavioural descriptions of the creative management types that were predicted to arise from various combinations of high and low standing on these four traits and abilities. The initial model was presented to groups of managers in order to get their input and feedback. Moving forward with a model that met the approval of practicing managers, a concurrent validity study was designed. Tests and questionnaires designed to measure Divergent Thinking, Evaluative Thinking, Work Motivation, and Openness to Change, Risk and Ambiguity were administered to 223 incumbent managers, and criterion ratings of on-the-job creative behaviour were provided by the supervisors of these participating managers. Results of the research indicated that the traits and abilities included in the Creative Management Model were, indeed, important to managerial creativity. Managers who were consulted about the model fully endorsed the importance of these traits and abilities. Furthermore, two of the traits and abilities, Divergent Thinking and Openness to Change, Risk and Ambiguity, demonstrated solid validity in predicting prototypical aspects of creative management behaviour. In combination, these two variables provided a level of validity of sufficient magnitude (in the high .40's) to provide substantial utility to organizations seeking to increase the creativity of their management ranks by using this predictor combination for personnel-selection purposes. Despite the importance of the traits and abilities specified in the Creative Management Model, the empirical linkages between these individual-difference factors and the behavioural descriptions of the creative management types provided in the Creative Management Model were not strong. These weak linkages are largely attributed to inaccuracy in the behavioural descriptions. Psychometric weaknesses in some of the variables also contributed. Recommendations are made for revising the Creative Management Model and some of its concomitant measures. The implications of the research findings for management selection and creativity training are also discussed.

<p>One important aspect of enhancing creativity in organizations is to measure and reward creativity. However, not every creative process can be immediately tied to and measured by numerical standards. In such cases, the manager's subjective impression of employee creativity may replace objective measures as the basis for decision-making. In an organizational context, the social context in which the work occurs must be thoroughly considered as employees often work in groups on major products. As such, this paper examines two questions on how the social setting affects the observer's creativity assessment. Firstly, I demonstrate that observers use surface features of groups to infer the creativity of group output: they expect demographically diverse groups to be more creative than homogeneous groups and this difference in expectation biases the evaluation. Secondly, when observers form impressions of individual creativity based on group output, I demonstrate that they commit the fundamental attribution error in partitioning credit between others in the group and the target individual. In turn this either benefits or costs the perceived creativity of the target, depending on the objective quality of group output. Taken together, the two questions addressed in this paper emphasize the need for further research on factors that influence the observer's perception of creativity in an organizational context.</p> / Dissertation

A possibilidade de se medir ou avaliar a criatividade foi apresentada por Joy Guilford, na década de 1950, gerando uma grande quantidade de métodos que permitissem sua avaliação, sob diferentes pontos de vistas. Através da pesquisa, identificou-se uma lacuna referente ao uso de atributos intrínsecos, criatividade e a possível correlação com o sucesso. Desta forma, buscou-se, como objetivo geral, correlacionar a criatividade em atributos de forma e de função com o sucesso dos produtos no contexto de empresas desenvolvedoras de produtos de bem de consumo. A criatividade é analisada por meio de uma pesquisa experimental que avaliou a criatividade em atributos de forma e função em produtos provenientes de três empresas A, B e C situadas no Estado do Rio Grande do Sul. Esta pesquisa é parte do projeto desenvolvido pelo NDP (Núcleo de Desenvolvimento de Produtos) vinculado ao departamento de Design e Expressão Gráfica da Faculdade de Arquitetura da UFRGS. A abordagem foi feita inicialmente por uma introdução sobre temas como criatividade e principais termos relacionados a este assunto, buscando a elucidação do tema e formação de corpo teórico. A pesquisa bibliográfica abordou temas como fatores de sucesso e insucesso de produtos, formas de se medir a criatividade e por fim atributos de forma e função. Após o estudo sobre medidas de criatividade optou-se pelo teste adaptado de Christiaans (1992) que propõe julgar produtos utilizando um comitê de avaliação composto por 34 juízes, aplicando notas aos produtos selecionados e de acordo com atributos de forma e função. Os resultados obtidos por meio da coleta de dados apresentaram indícios de correlação entre criatividade em atributos de forma e função com o sucesso de faturamento. Também foi apresentada a atuação do marketing e sua influência no sucesso dos produtos. Com a aplicação do teste na empresa A, observaram-se indícios de correlação estatisticamente significante da criatividade em atributos com o sucesso porém não conclusiva. Assim para que fosse possível afirmar que produtos bem sucedidos também são criativos foi necessária uma coleta de dados maior. Com a base de dados completa advinda da aplicação do teste nas empresas B e C, chegou-se a uma correlação estatisticamente significante demonstrando que produtos com a criatividade em atributos de forma são também bem sucedidos. Cabe ressaltar que a amostra da pesquisa não representa a indústria como um todo, sendo caracterizada pelas empresas envolvidas na pesquisa, portanto, não pode ser generalizada. / The ability to measure or evaluate creativity was presented by Joy Guilford, in 1950, generating a lot of methods that allow their evaluation under different viewpoints. Through research, we identified a gap regarding the use of intrinsic attributes, creativity and the possible correlation with success. Thus, we sought as a general goal, to correlate the attributes of creativity in form and function to the success of products in the context of companies that develop products for consumer goods. Creativity is analyzed through an experimental study that evaluated the attributes of creativity in form and function with products from three companies A, B and C located in the state of Rio Grande do Sul. This research is part of the project developed by the NDP (Núcleo de desenvolvimento de Produtos) linked to the Expression Graphic Design and the School of Architecture department of UFRGS. The approach was initially made by an introduction on topics such as creativity and key terms related to this subject, seeking to elucidate the subject and body of theory formation. The literature addressed topics such as success factors and failure of products, major ways to measure creativity and ultimately attributes of form and function. After the study on major measures of creativity it was decided to take the test from Christiaans (1992) which proposes that judging product using an evaluation committee composed of 34 judges, applying notes to selected products and according to attributes of form and function. The results obtained through the data collection showed evidence of correlation between creativity attributes of form and function with the success of sales. The role of marketing and its influence on the success of the product was also presented. With the application of the test in the company, there were indications of statistically significant correlation of creativity with attributes but not conclusive success. So to make it possible to assert that successful products are also a creative it was necessary an collection of a bigger data. With a comprehensive database arising from the application of the test in companies B and C, it reached a statistically significant correlation in demonstrating that creative attributes so products are also successful. Importantly, the survey sample does not represent the industry as a whole, is characterized by companies involved in the research, therefore, can not be generalized.

This thesis investigated shared creative processes and the role of flow experience in group dance improvisation. A literature review suggested that dancers associate high-quality performance with 'being in the flow', and that group flow is a peak experience when a group is performing at its highest level. The first study explored the role of flow in dance creative practice and improvisation through qualitative content analysis of individual interviews with six dancers. Absorption with activity and enjoyment were themes in dancers' reports of flow. Group improvisation facilitated flow and creativity through maintaining desired focus for longer, lowering self-judgment and inspiring novel solutions. The second study investigated the occurrence of flow and its shared character within group improvisation using video-stimulated recall and questionnaire methods (n=16, 4 groups of four dancers). It showed that group flow was rather rare and it was more likely when a group had worked together for longer. Dancers reported that a group in a high-flow state engaged with a task in a more complex way, sharing, transforming and supporting each other's ideas, while low-flow groups worked more with mimicry and bodily manipulation. Dancers perceived tasks performed in a high-flow state as more creative. The third study explored the relationship between dancers' flow experience and creative outcomes from a third person perspective. A total of 203 participants (77 experts and 126 nonexperts) rated excerpts of high- and low-flow dance improvisation (five each) using Consensual Assessment Technique. Experts judged high-flow collaborations as more creative, and more coherent, technically advanced, aesthetically appealing and meaningful, however there were no significant differences in nonexperts' ratings. The fourth study explored whether synchronous arousal, measured by cross-recurrence quantification analysis of heart and breathing rate, was a physiological basis for group flow (n=8 group, 4 dancers per group). Although no relationship between synchronous arousal and flow was found, spontaneous synchronization of dancers' heart and breathing rate in improvisational group tasks was observed, unrelated to synchronized activity. Overall, the studies conducted confirmed that flow was a highly creative state for dancers, in which they performed better. The presence of others and quality of group collaboration supported the occurrence and amount of flow. However, group flow occurred rarely and was more likely when a group had worked together for longer.

A possibilidade de se medir ou avaliar a criatividade foi apresentada por Joy Guilford, na década de 1950, gerando uma grande quantidade de métodos que permitissem sua avaliação, sob diferentes pontos de vistas. Através da pesquisa, identificou-se uma lacuna referente ao uso de atributos intrínsecos, criatividade e a possível correlação com o sucesso. Desta forma, buscou-se, como objetivo geral, correlacionar a criatividade em atributos de forma e de função com o sucesso dos produtos no contexto de empresas desenvolvedoras de produtos de bem de consumo. A criatividade é analisada por meio de uma pesquisa experimental que avaliou a criatividade em atributos de forma e função em produtos provenientes de três empresas A, B e C situadas no Estado do Rio Grande do Sul. Esta pesquisa é parte do projeto desenvolvido pelo NDP (Núcleo de Desenvolvimento de Produtos) vinculado ao departamento de Design e Expressão Gráfica da Faculdade de Arquitetura da UFRGS. A abordagem foi feita inicialmente por uma introdução sobre temas como criatividade e principais termos relacionados a este assunto, buscando a elucidação do tema e formação de corpo teórico. A pesquisa bibliográfica abordou temas como fatores de sucesso e insucesso de produtos, formas de se medir a criatividade e por fim atributos de forma e função. Após o estudo sobre medidas de criatividade optou-se pelo teste adaptado de Christiaans (1992) que propõe julgar produtos utilizando um comitê de avaliação composto por 34 juízes, aplicando notas aos produtos selecionados e de acordo com atributos de forma e função. Os resultados obtidos por meio da coleta de dados apresentaram indícios de correlação entre criatividade em atributos de forma e função com o sucesso de faturamento. Também foi apresentada a atuação do marketing e sua influência no sucesso dos produtos. Com a aplicação do teste na empresa A, observaram-se indícios de correlação estatisticamente significante da criatividade em atributos com o sucesso porém não conclusiva. Assim para que fosse possível afirmar que produtos bem sucedidos também são criativos foi necessária uma coleta de dados maior. Com a base de dados completa advinda da aplicação do teste nas empresas B e C, chegou-se a uma correlação estatisticamente significante demonstrando que produtos com a criatividade em atributos de forma são também bem sucedidos. Cabe ressaltar que a amostra da pesquisa não representa a indústria como um todo, sendo caracterizada pelas empresas envolvidas na pesquisa, portanto, não pode ser generalizada. / The ability to measure or evaluate creativity was presented by Joy Guilford, in 1950, generating a lot of methods that allow their evaluation under different viewpoints. Through research, we identified a gap regarding the use of intrinsic attributes, creativity and the possible correlation with success. Thus, we sought as a general goal, to correlate the attributes of creativity in form and function to the success of products in the context of companies that develop products for consumer goods. Creativity is analyzed through an experimental study that evaluated the attributes of creativity in form and function with products from three companies A, B and C located in the state of Rio Grande do Sul. This research is part of the project developed by the NDP (Núcleo de desenvolvimento de Produtos) linked to the Expression Graphic Design and the School of Architecture department of UFRGS. The approach was initially made by an introduction on topics such as creativity and key terms related to this subject, seeking to elucidate the subject and body of theory formation. The literature addressed topics such as success factors and failure of products, major ways to measure creativity and ultimately attributes of form and function. After the study on major measures of creativity it was decided to take the test from Christiaans (1992) which proposes that judging product using an evaluation committee composed of 34 judges, applying notes to selected products and according to attributes of form and function. The results obtained through the data collection showed evidence of correlation between creativity attributes of form and function with the success of sales. The role of marketing and its influence on the success of the product was also presented. With the application of the test in the company, there were indications of statistically significant correlation of creativity with attributes but not conclusive success. So to make it possible to assert that successful products are also a creative it was necessary an collection of a bigger data. With a comprehensive database arising from the application of the test in companies B and C, it reached a statistically significant correlation in demonstrating that creative attributes so products are also successful. Importantly, the survey sample does not represent the industry as a whole, is characterized by companies involved in the research, therefore, can not be generalized.

A possibilidade de se medir ou avaliar a criatividade foi apresentada por Joy Guilford, na década de 1950, gerando uma grande quantidade de métodos que permitissem sua avaliação, sob diferentes pontos de vistas. Através da pesquisa, identificou-se uma lacuna referente ao uso de atributos intrínsecos, criatividade e a possível correlação com o sucesso. Desta forma, buscou-se, como objetivo geral, correlacionar a criatividade em atributos de forma e de função com o sucesso dos produtos no contexto de empresas desenvolvedoras de produtos de bem de consumo. A criatividade é analisada por meio de uma pesquisa experimental que avaliou a criatividade em atributos de forma e função em produtos provenientes de três empresas A, B e C situadas no Estado do Rio Grande do Sul. Esta pesquisa é parte do projeto desenvolvido pelo NDP (Núcleo de Desenvolvimento de Produtos) vinculado ao departamento de Design e Expressão Gráfica da Faculdade de Arquitetura da UFRGS. A abordagem foi feita inicialmente por uma introdução sobre temas como criatividade e principais termos relacionados a este assunto, buscando a elucidação do tema e formação de corpo teórico. A pesquisa bibliográfica abordou temas como fatores de sucesso e insucesso de produtos, formas de se medir a criatividade e por fim atributos de forma e função. Após o estudo sobre medidas de criatividade optou-se pelo teste adaptado de Christiaans (1992) que propõe julgar produtos utilizando um comitê de avaliação composto por 34 juízes, aplicando notas aos produtos selecionados e de acordo com atributos de forma e função. Os resultados obtidos por meio da coleta de dados apresentaram indícios de correlação entre criatividade em atributos de forma e função com o sucesso de faturamento. Também foi apresentada a atuação do marketing e sua influência no sucesso dos produtos. Com a aplicação do teste na empresa A, observaram-se indícios de correlação estatisticamente significante da criatividade em atributos com o sucesso porém não conclusiva. Assim para que fosse possível afirmar que produtos bem sucedidos também são criativos foi necessária uma coleta de dados maior. Com a base de dados completa advinda da aplicação do teste nas empresas B e C, chegou-se a uma correlação estatisticamente significante demonstrando que produtos com a criatividade em atributos de forma são também bem sucedidos. Cabe ressaltar que a amostra da pesquisa não representa a indústria como um todo, sendo caracterizada pelas empresas envolvidas na pesquisa, portanto, não pode ser generalizada. / The ability to measure or evaluate creativity was presented by Joy Guilford, in 1950, generating a lot of methods that allow their evaluation under different viewpoints. Through research, we identified a gap regarding the use of intrinsic attributes, creativity and the possible correlation with success. Thus, we sought as a general goal, to correlate the attributes of creativity in form and function to the success of products in the context of companies that develop products for consumer goods. Creativity is analyzed through an experimental study that evaluated the attributes of creativity in form and function with products from three companies A, B and C located in the state of Rio Grande do Sul. This research is part of the project developed by the NDP (Núcleo de desenvolvimento de Produtos) linked to the Expression Graphic Design and the School of Architecture department of UFRGS. The approach was initially made by an introduction on topics such as creativity and key terms related to this subject, seeking to elucidate the subject and body of theory formation. The literature addressed topics such as success factors and failure of products, major ways to measure creativity and ultimately attributes of form and function. After the study on major measures of creativity it was decided to take the test from Christiaans (1992) which proposes that judging product using an evaluation committee composed of 34 judges, applying notes to selected products and according to attributes of form and function. The results obtained through the data collection showed evidence of correlation between creativity attributes of form and function with the success of sales. The role of marketing and its influence on the success of the product was also presented. With the application of the test in the company, there were indications of statistically significant correlation of creativity with attributes but not conclusive success. So to make it possible to assert that successful products are also a creative it was necessary an collection of a bigger data. With a comprehensive database arising from the application of the test in companies B and C, it reached a statistically significant correlation in demonstrating that creative attributes so products are also successful. Importantly, the survey sample does not represent the industry as a whole, is characterized by companies involved in the research, therefore, can not be generalized.

An individual-differences model of managerial creativity was developed. Based on a review of the creativity literature, four traits and abilities were identified as having relevance for creativity in managers: divergent thinking, evaluative thinking, work motivation, and openness to change, risk and ambiguity. The model was constructed by specifying behavioural descriptions of the creative management types that were predicted to arise from various combinations of high and low standing on these four traits and abilities. The initial model was presented to groups of managers in order to get their input and feedback. Moving forward with a model that met the approval of practicing managers, a concurrent validity study was designed. Tests and questionnaires designed to measure Divergent Thinking, Evaluative Thinking, Work Motivation, and Openness to Change, Risk and Ambiguity were administered to 223 incumbent managers, and criterion ratings of on-the-job creative behaviour were provided by the supervisors of these participating managers. Results of the research indicated that the traits and abilities included in the Creative Management Model were, indeed, important to managerial creativity. Managers who were consulted about the model fully endorsed the importance of these traits and abilities. Furthermore, two of the traits and abilities, Divergent Thinking and Openness to Change, Risk and Ambiguity, demonstrated solid validity in predicting prototypical aspects of creative management behaviour. In combination, these two variables provided a level of validity of sufficient magnitude (in the high .40's) to provide substantial utility to organizations seeking to increase the creativity of their management ranks by using this predictor combination for personnel-selection purposes. Despite the importance of the traits and abilities specified in the Creative Management Model, the empirical linkages between these individual-difference factors and the behavioural descriptions of the creative management types provided in the Creative Management Model were not strong. These weak linkages are largely attributed to inaccuracy in the behavioural descriptions. Psychometric weaknesses in some of the variables also contributed. Recommendations are made for revising the Creative Management Model and some of its concomitant measures. The implications of the research findings for management selection and creativity training are also discussed. / Arts, Faculty of / Psychology, Department of / Graduate