<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

L'objectif général de cette thèse est d'étudier l'évaluation de la créativité dans le domaine du design. Plus précisément, ce travail se centre sur l'évaluation de productions créatives en design graphique et il repose sur des méthodes complémentaires d'analyse des critères utilisés par des juges. L'approche adoptée vise à explorer les variations de jugements, dans différents contextes d'évaluation, afin d'identifier les facteurs influant sur les critères (ou les « référents évaluatifs ») qui sont pris en considération par les juges. Deux facteurs ont plus particulièrement été pris en compte : les points de vue adoptés par les juges en fonction de leur parcours professionnel (designers, directeurs artistiques, enseignants en design et public visé) et le niveau d'expertise en design (experts affirmés, experts intermédiaires et non-experts).Cette recherche a été réalisée dans différents contextes d'évaluation et elle tente d'identifier les éléments caractéristiques des jugements, selon le profil des juges émettant ces jugements. La première étude vise à comprendre les représentations mentales des juges, en explorant les critères qu'ils déclarent importants pour la créativité. La seconde étude analyse les corrélations entre les scores attribués aux productions en design sur un ensemble des critères, ainsi que les niveaux d'accords inter-juges pour chacun de ces critères. La troisième étude permet une analyse qualitative des verbalisations spontanées exprimées par des juges durant leurs évaluations de productions en design. / The present thesis aims to study creativity assessments in design. More precisely, this research focuses on the evaluation of creative productions in graphic design area and it is based on complementary methods of analysis of used criteria and "evaluative referents". It aims to identify, in various assessment contexts, factors that exert an influence on the judgments of creative productions. It develops a multiple feedback approach by exploring assessments made by judges with different professional backgrounds (designers, art directors, design teachers and targeted audience) and levels of experience in design (asserted experts, intermediary experts and laypeople).The research frame includes different contexts of assessment situations and tries to capture the characteristics of judges' approaches to creativity in design, on the basis of three complementary studies. The first study focusses on judges' mental representations by exploring criteria they declare important to creativity in design. The second study allows an analysis of correlations between scores attributed to design productions with regard to different criteria as well as an analysis of inter-judge agreement on them. The third study aims to perform qualitative analyses of spontaneous verbalizations expressed by judges during their analyses of design outcomes.

This research investigates the position of creativity within graphic design education in general, and within the Omani educational context specifically. It situates itself among three realms: education, design, and creativity, investigating the relationships, effectiveness, and interrogations among these three topics. Creativity is defined within this research and in relation to graphic design education as problem solving , which is explained also as a cultural activity, or a cultural production. Graphic designers can involve themselves effectively in solving communication, social, and cultural problems that are classified as wicked problems , which usually require creative solutions. It is argued that Omani graphic designers should be creative problem solvers and able to find effective solutions for these problems. Yet this is not the case in Oman, at least from an educational point of view. The research problem is that the Omani design education system lacks a framework that recognises creativity as an important concept in education. Such a lack creates a twofold problem: 1) underestimating the importance of creativity in Omani design education; and 2) a shortage of pedagogical structured programmes that can enhance students creativity. It is argued that this problem is a result of the neglected situation of creativity in Arabic traditional education in general. Traditional education usually does not support creative thinking in design students, which consequently minimises their roles in social and cultural change. Based on the above, this research aims to develop a pedagogical model that can enhance and promote creative potential within Omani graphic design students. This aim can be achieved through re-establishing the position of creativity within Omani design education and valuing creativity as integrated part of graphic design. It proposes that the pedagogical model can offer a systematic approach for lecturers, to guide them into the best practice to enhance the creative potential of their students. Therefore, this research, and the proposed model, is the first step towards improving the position of creativity in Omani design educational systems in general. The model would propose to help Omani graphic design students to develop their creative problem solving abilities, which can allow them to effectively find solutions for several social and cultural wicked problems faced in Oman, such as the increased rate of car accidents nationally). The model will contain some creative-thinking techniques, and some pedagogical strategies that are already used internationally in education to improve creativity. The relevant literature has been reviewed to study the techniques and strategies used internationally to improve the creative potential of graphic design students. A qualitative interpretative methodology was used to answer the research questions and fulfil the aims. A survey approach was used for this research, implementing two methods: questionnaires and interviews. The online questionnaire was conducted with 33 international participants. It investigated how creativity is defined within graphic design contexts; whether creativity can be taught or enhanced; if yes, How, and by which techniques and strategies? Which curriculum contents are most suitable and effective? And how to assess creativity within graphic design education?. The same set of questions was asked in face-to-face interviews conducted with 39 design lecturers. The participants in these interviews were local lecturers who teach graphic design courses at six Omani institutions. All of the collected data were analysed by a thematic analysis method, by coding and categorising them according to different themes that had been extracted earlier from the literature. The contribution of this research is in defining the concept of creativity through scientific research; more specifically by practical research conducting an international survey and local interviews. Through this approach, this research has collected ideas, insights and trends about creativity in graphic design and how it can be developed. Also, this research has advanced knowledge of the relationships among graphic design, creativity, and education, specifically in the Arabic region. It is an attempt to emphasise this new field. Moreover, this research has given a snapshot of differing views regarding creativity in design education as perceived by international lecturers versus Omani lecturers, through conducting a cross-cultural study by asking these two groups the same questions, which was an interesting comparison. Finally, the collected data were utilised to develop the proposed pedagogical model designed for graphic design lecturers who teach design courses within Omani design education. The pedagogical model is the main contribution of this research. It would be suggested to the Omani Ministry of Higher Education that the model should be part of the Omani undergraduate graphic design curriculum.

This study on technology in the South African school curriculum investigates the nature and value of this subject as a catalyst in developing Foundation Phase learners’ creative thinking skills Technology as school subject is defined as the use of knowledge, skills and available resources to develop solutions to meet human needs and wants, taking social and environmental factors into account. Central to this subject, is the design process of investigating, designing, making, evaluating and communicating solutions to problems identified in the environment. The notion and nature of creativity as researched by respected psychologists and researchers over the last few decades, with particular reference to Matlin’s theory of problem-solving and creativity, provides a theoretical underpinning with the aim of linking the problem-solving nature of technology with creative thinking. A qualitative case study research project, comprising a sample of six Foundation Phase learners at an independent school, has been conducted. Key characteristics of qualitative educational research such as sensitivity, precision, verification, empiricism, natural setting, inductive data analysis, validity and reliability and triangulation, have been taken into consideration. This study highlights the potential of technology as a school subject that provides learners with the opportunity to solve problems in creative ways and use authentic contexts rooted in real life situations. In addition, learners are afforded the opportunity to work collaboratively with others and engage in meaningful activities in the indoor and outdoor environment. Technology as a school subject in the Foundation Phase catalyzes learners’ creative thinking and problem-solving skills and provides a solid foundation for preparing young citizens for the demands and challenges of the 21st century. / Curriculum and Instructional Studies / D. Ed. (Didactics)

Prominent definitions and theories of 'Creativity' provide core data for themes that frame the Creative Process Assessment Matrix (CPAM). Its framework is based on Wallas' stages of the creative process and the P theory (Person, thinking Process, Press/Persuasion and Product). The CPAM's structure and content was derived from current, reliable and valid research. Issues relating to assessment procedures, as well as psychological factors (blockers and stimulators) gave rise to the Creative Assessment Test Questionnaire (CATQ#4), containing questions that document creative assessment prerequisites. Recognized creativity tests (Word-Association, Instances and TCT-DP) were evaluated to determine whether they successfully address and test for relevant creative process criteria. Results indicated that all three tests only addressed a minority of CPAM's 60-point criteria. CPAM offers understanding of the environmental impact and influence on creativity, and renders it measurable. Finally, the CPAM measures the setting, sensory stimulation and what postulates the initial spark of creativity. / Psychology of Education / M. Ed. (Psychology of Education)

Prominent definitions and theories of 'Creativity' provide core data for themes that frame the Creative Process Assessment Matrix (CPAM). Its framework is based on Wallas' stages of the creative process and the P theory (Person, thinking Process, Press/Persuasion and Product). The CPAM's structure and content was derived from current, reliable and valid research. Issues relating to assessment procedures, as well as psychological factors (blockers and stimulators) gave rise to the Creative Assessment Test Questionnaire (CATQ#4), containing questions that document creative assessment prerequisites. Recognized creativity tests (Word-Association, Instances and TCT-DP) were evaluated to determine whether they successfully address and test for relevant creative process criteria. Results indicated that all three tests only addressed a minority of CPAM's 60-point criteria. CPAM offers understanding of the environmental impact and influence on creativity, and renders it measurable. Finally, the CPAM measures the setting, sensory stimulation and what postulates the initial spark of creativity. / Psychology of Education / M. Ed. (Psychology of Education)

This study on technology in the South African school curriculum investigates the nature and value of this subject as a catalyst in developing Foundation Phase learners’ creative thinking skills Technology as school subject is defined as the use of knowledge, skills and available resources to develop solutions to meet human needs and wants, taking social and environmental factors into account. Central to this subject, is the design process of investigating, designing, making, evaluating and communicating solutions to problems identified in the environment. The notion and nature of creativity as researched by respected psychologists and researchers over the last few decades, with particular reference to Matlin’s theory of problem-solving and creativity, provides a theoretical underpinning with the aim of linking the problem-solving nature of technology with creative thinking. A qualitative case study research project, comprising a sample of six Foundation Phase learners at an independent school, has been conducted. Key characteristics of qualitative educational research such as sensitivity, precision, verification, empiricism, natural setting, inductive data analysis, validity and reliability and triangulation, have been taken into consideration. This study highlights the potential of technology as a school subject that provides learners with the opportunity to solve problems in creative ways and use authentic contexts rooted in real life situations. In addition, learners are afforded the opportunity to work collaboratively with others and engage in meaningful activities in the indoor and outdoor environment. Technology as a school subject in the Foundation Phase catalyzes learners’ creative thinking and problem-solving skills and provides a solid foundation for preparing young citizens for the demands and challenges of the 21st century. / Curriculum and Instructional Studies / D. Ed. (Didactics)