The evaluation of creative ideas is a special case of judgment and decision making. It is difficult to objectively evaluate creative products because most people possess an internalised model of creativity which is usually neither verbalised nor explicitly defined. Also, one of the main assessment dimensions of creativity, originality varies as a function of the evaluator's previous experience. For these reasons, previous research has provided practical rather than theoretical grounds for studying the evaluation process. The present thesis examines the conceptual basis on which people evaluate creative ideas. The aim is to identify factors and conditions which enhance the detection of creative ideas. A novel paradigm was created to test how creativity-related features influence the assessment of creativity. In six experiments, experts' and non-experts' judgment was examined regarding urban design. Two experiments established the expert ratings of the stimuli. Further two experiments explored the extent to which non-experts relied on four features (originality, utility, scalability, and riskiness) for judging the creativity of novel project ideas while the level of motivation was controlled. Overall, the findings show that non-experts' creativity judgment relied on all four characteristic features. Their ratings of the features predicted a substantial part of the variance in the creativity ratings. In another experiment, the effect of providing explicit task-related information was tested. Such information did not make a solid difference in the creativity ratings. A final experiment assessed the differences between making relative and absolute judgments about creativity. There was a large overlap between the selection of best and worst ideas regardless of which way the judgment was made. In conclusion, non-experts were found to possess a robust internal model of creativity and not to make random choices. Experts and non-experts were found to judge creativity vastly differently, they only agreed that utility is the most important criterion.

Traditional instrumental pedagogy depends to a large extent on printed method books. This notation-based approach of current horn pedagogy can benefit from a supplementary and complementary method of aural and creative pedagogy, which enhances learning of aural skills, creativity, musicality, and technique on the horn. This document provides a step-by-step guide for applied horn teachers that will provide them with the necessary tools to teach students using aural and improvisatory techniques without musical notation as well as to become more comfortable with improvisation.

The purpose of this study is to explore understandings of leadership and creativity and how they are seen to connect in particular arts organisations located in Adelaide. Creativity and artistic practice are generally agreed as being at the core of an arts organisation's mission. The subjects of the study are arts organisations in receipt of government subsidy. Given changes to the environment for subsidised arts organisations, particularly over the past decade, the study explores the possible impact of differing expectations of the leadership role of arts organisations and the possible impact on the organisation's creativity.

This thesis is a theoretically based critical analysis that aims to explore the effects of media on young people and provide a deeper understanding of the processes of media education associated with critical thinking, creativity, and identity formation through active engagement of youth in digital media production. This critical analysis is informed by the insights from critical social theory (including Frankfurt Schools critical theory and postmodernist thought), and a Whiteheadian perspective in process philosophy for lifelong learning. This research explores the argument towards different views from different assumptions about media effects on young viewers and alternative approaches to media education. This thesis offers a basis upon which to synthesize positive insights from all current media pedagogical approaches into a more cohesive, critical, exploratory, and creative practices of media education. It can potentially offer possibilities in developing critical thinking, critical creativity, and a sense of fulfillment for lifelong learning. The synthesis of this thesis is towards rethinking the creativity as having a vital role in lifelong learning through the creative process of youth media production.

This art-based research study will examine creativity and the creative process during the production of a cohesive body of work. The author’s auto-ethnographic reflections of her creative process were recorded, and analyzed. The artist/teacher/researcher will provide conclusions based on her art production and self-reflection.

This qualitative research study explores the complex phenomenon of intuition within the Creative Problem Solving process. The first part of the study utilized 100 alumni, students, professors, and visiting professors of the International Center for Studies in Creativity (ICSC). These participants were asked a series of questions in order to help the researcher answer the questions: How do creativity practitioners construe intuition? What role does intuition play in the Creative Problem Solving (CPS) (Miller, Vehar & Firestein, 2001; Noller, Parnes & Biondi, 1976; Osborn, 1953; Puccio, Murdock & Mance, 2006) process? The second part of the study involved eleven graduate students enrolled as Creative Studies majors at ICSC who were participants in a course on holistic approaches to Creative Problem Solving. The study explored the questions: Are intuitive tools and techniques effective in CPS? If so, when are they effective? When CPS is taught from a holistic perspective, is transformation likely to occur? Four theoretical models, including: a definitional model of intuition; a skill set for intuition, a process to improve the effectiveness of intuitive tools; and a transformational model of learning, were developed. These models were designed as a way for creativity practitioners to understand this phenomenon and to incorporate it into their practices.

The purpose of this study is to make sense of the notion of freedom in Bergson&lsquo / s philosophy. Bergson&lsquo / s original approach to the problem of free will is the application of the notion of duration to solve this problem. For Bergson, the problem of free will arises from a misconceived framework which is based on reducing time to space. Throughout the thesis, we tried to show how the notion of duration allows Bergson to reformulate and solve the problem of free will. For that purpose the method of intuition as the method to understand the notion of duration is also elucidated. In the light of the method of intuition and the notion of duration, free acts can be seen as the creative acts of the fundamental self. We arrive at the conclusion that freedom in Bergson&lsquo / s philosophy can be understood as a kind of creativity.

This qualitative research study explores the complex phenomenon of intuition within the Creative Problem Solving process. The first part of the study utilized 100 alumni, students, professors, and visiting professors of the International Center for Studies in Creativity (ICSC). These participants were asked a series of questions in order to help the researcher answer the questions: How do creativity practitioners construe intuition? What role does intuition play in the Creative Problem Solving (CPS) (Miller, Vehar & Firestein, 2001; Noller, Parnes & Biondi, 1976; Osborn, 1953; Puccio, Murdock & Mance, 2006) process? The second part of the study involved eleven graduate students enrolled as Creative Studies majors at ICSC who were participants in a course on holistic approaches to Creative Problem Solving. The study explored the questions: Are intuitive tools and techniques effective in CPS? If so, when are they effective? When CPS is taught from a holistic perspective, is transformation likely to occur? Four theoretical models, including: a definitional model of intuition; a skill set for intuition, a process to improve the effectiveness of intuitive tools; and a transformational model of learning, were developed. These models were designed as a way for creativity practitioners to understand this phenomenon and to incorporate it into their practices.

This thesis is a theoretically based critical analysis that aims to explore the effects of media on young people and provide a deeper understanding of the processes of media education associated with critical thinking, creativity, and identity formation through active engagement of youth in digital media production. This critical analysis is informed by the insights from critical social theory (including Frankfurt Schools critical theory and postmodernist thought), and a Whiteheadian perspective in process philosophy for lifelong learning. This research explores the argument towards different views from different assumptions about media effects on young viewers and alternative approaches to media education. This thesis offers a basis upon which to synthesize positive insights from all current media pedagogical approaches into a more cohesive, critical, exploratory, and creative practices of media education. It can potentially offer possibilities in developing critical thinking, critical creativity, and a sense of fulfillment for lifelong learning. The synthesis of this thesis is towards rethinking the creativity as having a vital role in lifelong learning through the creative process of youth media production.

Since 1950 Guilford promoted creativity research, the quality and quantity of creativity studies have increased substantially. Several programs have been designed for such purpose worldwide. The competitiveness of nations assesses innovation status among different countries as well. However, no study aims to analyze the recent research trends in creativity academic journal since 2000; therefore, this study analyzed three major creativity journals from 2000 to 2011 using the content analysis. This study employed Mayer (1999)¡¦s approach, and integrated the Runco (2004)¡¦s research topics for coding foundation. The uniqueness of this study was to provide the research trend from 760 creativity research literature in the past 11 years, and directions for future development. Results showed that the first three research approaches adopted were psychometric, experimental and contextual approach respectively. As for research topics, most of the articles elaborated on cognitive process, and then on personality. After 2006, however, the topics of personality shifted to education. The participants were mainly from higher education stage but rarely from preschool or retirees. Regarding international comparisons, the USA was the major output country. The rank of publish number in different countries was correlated with the rank of the innovation scores in the Global Competitiveness Report (GCR) of World Economic Forum (WEF). More journals and further investigations are needed for future studies. And also develop the creativity research area in different methodology and cultural system.