A criatividade no design envolve um processo, que inclui tanto o processo cognitivo do indivíduo, quanto os processos de criação, de projeto e de comunicação. O pensamento criativo do indivíduo, com suas operações cognitivas e conhecimentos armazenados, permite a criação de novas conexões entre ideias. Entretanto, considerando uma perspectiva contextual e sistêmica, os pensamentos individuais serão também estimulados e influenciados por contextos sociais e trabalhos em grupos, nos quais as ideias são desenvolvidas também a partir da expressão e comunicação do pensamento do outro. Neste processo, o pensamento por analogias mostrou-se como um procedimento cognitivo fundamental para a formação de combinações e novas relações que são percebidas e então reorganizadas em uma ideia nova. Contudo, há lacunas a respeito do assunto, sobre como auxiliar esse tipo de pensamento nos indivíduos e que estratégias, métodos e estímulos podem ser utilizados em processo criativos em grupo. Nesse sentido, o objetivo desta tese é desenvolver um framework para auxiliar o processo criativo em design, centrando-se no pensamento por analogias, que identifique estratégias e mecanismos que apoiem esse processo em indivíduos e grupos de projeto. Para tanto, foi realizada uma revisão de literatura sobre criatividade, processo e pensamento criativo, bem como a respeito do pensamento por analogias e a sua ocorrência enquanto no pensamento criativo em design. A seguir, a fim de compreender o entendimento dos designers sobre o processo criativo e os facilitadores do pensamento por analogias na prática e no ensino do design, realizou-se a coleta de dados da investigação. A coleta foi realizada através de questionários virtuais para estudantes e docentes de design e de entrevistas semiestruturadas em escritórios de design. O grupo de sujeitos da pesquisa compreendeu designers brasileiros e portugueses, com diferentes níveis de experiência. Os dados obtidos foram analisados e triangulados com a análise da literatura, o que possibilitou o desenho de um modelo contendo os fatores críticos que influenciam a criatividade em grupos e indivíduos, um modelo do processo e pensamento criativo, a identificação de estratégias e mecanismos que podem auxiliar esse tipo de pensamento e, por fim, diretrizes para o desenho do framework conceitual. Com isso, foi desenvolvida uma primeira versão do framework, que foi avaliada com a realização de workshops com três grupos distintos de participantes, incluindo docentes, estudantes e profissionais de design. A partir das avaliações, aprimorou-se o framework conceitual, organizado em cinco etapas e contendo estratégias, ações, mecanismos, recomendações e sugestões de métodos, técnicas e ferramentas para auxiliar o processo criativo e o pensamento por analogias para a criação de conceitos em grupos de design. Dentre as ferramentas sugeridas, foi também desenvolvido um mapa visual, denominado canvas, a exemplo de ferramentas similares, contendo recomendações e questões-chave geradas a partir das estratégias do framework, a fim de auxiliar a sua aplicação na prática projetual. / Creativity in design involves a process that includes both the individual cognitive process as the creative, design and communication processes. The individual creative thinking, with their cognitive operations and knowledge stored, allows the creation of new connections between ideas. However, considering a contextual and systemic perspective, individual thoughts will also be stimulated and influenced by social context and work in groups in which ideas are also developed from the expression and communication of thought the other. In this process, the analogical thinking proved to be a key cognitive procedure for the formation of combinations and new relationships that are perceived and then reorganized into a new idea. However, there are gaps on the subject, how about helping this kind of thinking in individuals and strategies, methods and stimuli can be used in creative group process. In this sense, the objective of this thesis is to develop a framework to assist the creative process in design, focusing on thinking by analogies, identifying strategies and mechanisms to support this process in individuals and project groups. Therefore, there was a review of literature on creativity, process and creative thinking as well as about the thinking by analogies and their occurrence as cognitive process of design creative thinking. Next, in order to identify the understanding of the designers on the creative process and the facilitators of thinking by analogies in practice and design education, held the collection of research data. Data collection was conducted through virtual questionnaires for students and teachers design and semi-structured interviews in design offices. The sample consisted of Brazilian and Portuguese designers with different levels of experience. The data were analyzed and triangulated with the analysis of the literature, which enabled the design of a model containing the critical factors that influence creativity in individuals and groups, a model of the process and creative thinking, the identification of strategies and mechanisms that can assist this kind of thinking, and finally, guidelines for the design of the conceptual framework. Thus, a first version of the framework was developed, which was evaluated by conducting workshops with three different participating groups, including teachers, students and design professionals. From the assessments, improved the conceptual framework, organized into five steps and containing strategies, actions, mechanisms, recommendations and suggestions of methods, techniques and tools to assist the creative process and the thinking analogies to create concepts in groups of design. Among the suggested tools was also developed a visual map, called the canvas, like similar tools, containing recommendations and key issues generated from the framework of the strategies in order to assist their application in design practice.

A criatividade no design envolve um processo, que inclui tanto o processo cognitivo do indivíduo, quanto os processos de criação, de projeto e de comunicação. O pensamento criativo do indivíduo, com suas operações cognitivas e conhecimentos armazenados, permite a criação de novas conexões entre ideias. Entretanto, considerando uma perspectiva contextual e sistêmica, os pensamentos individuais serão também estimulados e influenciados por contextos sociais e trabalhos em grupos, nos quais as ideias são desenvolvidas também a partir da expressão e comunicação do pensamento do outro. Neste processo, o pensamento por analogias mostrou-se como um procedimento cognitivo fundamental para a formação de combinações e novas relações que são percebidas e então reorganizadas em uma ideia nova. Contudo, há lacunas a respeito do assunto, sobre como auxiliar esse tipo de pensamento nos indivíduos e que estratégias, métodos e estímulos podem ser utilizados em processo criativos em grupo. Nesse sentido, o objetivo desta tese é desenvolver um framework para auxiliar o processo criativo em design, centrando-se no pensamento por analogias, que identifique estratégias e mecanismos que apoiem esse processo em indivíduos e grupos de projeto. Para tanto, foi realizada uma revisão de literatura sobre criatividade, processo e pensamento criativo, bem como a respeito do pensamento por analogias e a sua ocorrência enquanto no pensamento criativo em design. A seguir, a fim de compreender o entendimento dos designers sobre o processo criativo e os facilitadores do pensamento por analogias na prática e no ensino do design, realizou-se a coleta de dados da investigação. A coleta foi realizada através de questionários virtuais para estudantes e docentes de design e de entrevistas semiestruturadas em escritórios de design. O grupo de sujeitos da pesquisa compreendeu designers brasileiros e portugueses, com diferentes níveis de experiência. Os dados obtidos foram analisados e triangulados com a análise da literatura, o que possibilitou o desenho de um modelo contendo os fatores críticos que influenciam a criatividade em grupos e indivíduos, um modelo do processo e pensamento criativo, a identificação de estratégias e mecanismos que podem auxiliar esse tipo de pensamento e, por fim, diretrizes para o desenho do framework conceitual. Com isso, foi desenvolvida uma primeira versão do framework, que foi avaliada com a realização de workshops com três grupos distintos de participantes, incluindo docentes, estudantes e profissionais de design. A partir das avaliações, aprimorou-se o framework conceitual, organizado em cinco etapas e contendo estratégias, ações, mecanismos, recomendações e sugestões de métodos, técnicas e ferramentas para auxiliar o processo criativo e o pensamento por analogias para a criação de conceitos em grupos de design. Dentre as ferramentas sugeridas, foi também desenvolvido um mapa visual, denominado canvas, a exemplo de ferramentas similares, contendo recomendações e questões-chave geradas a partir das estratégias do framework, a fim de auxiliar a sua aplicação na prática projetual. / Creativity in design involves a process that includes both the individual cognitive process as the creative, design and communication processes. The individual creative thinking, with their cognitive operations and knowledge stored, allows the creation of new connections between ideas. However, considering a contextual and systemic perspective, individual thoughts will also be stimulated and influenced by social context and work in groups in which ideas are also developed from the expression and communication of thought the other. In this process, the analogical thinking proved to be a key cognitive procedure for the formation of combinations and new relationships that are perceived and then reorganized into a new idea. However, there are gaps on the subject, how about helping this kind of thinking in individuals and strategies, methods and stimuli can be used in creative group process. In this sense, the objective of this thesis is to develop a framework to assist the creative process in design, focusing on thinking by analogies, identifying strategies and mechanisms to support this process in individuals and project groups. Therefore, there was a review of literature on creativity, process and creative thinking as well as about the thinking by analogies and their occurrence as cognitive process of design creative thinking. Next, in order to identify the understanding of the designers on the creative process and the facilitators of thinking by analogies in practice and design education, held the collection of research data. Data collection was conducted through virtual questionnaires for students and teachers design and semi-structured interviews in design offices. The sample consisted of Brazilian and Portuguese designers with different levels of experience. The data were analyzed and triangulated with the analysis of the literature, which enabled the design of a model containing the critical factors that influence creativity in individuals and groups, a model of the process and creative thinking, the identification of strategies and mechanisms that can assist this kind of thinking, and finally, guidelines for the design of the conceptual framework. Thus, a first version of the framework was developed, which was evaluated by conducting workshops with three different participating groups, including teachers, students and design professionals. From the assessments, improved the conceptual framework, organized into five steps and containing strategies, actions, mechanisms, recommendations and suggestions of methods, techniques and tools to assist the creative process and the thinking analogies to create concepts in groups of design. Among the suggested tools was also developed a visual map, called the canvas, like similar tools, containing recommendations and key issues generated from the framework of the strategies in order to assist their application in design practice.

The thesis describes research investigating differences between the two hemispheres in automatic and in attentionally controlled processes. It is suggested that the interaction between these two processes may be a source of hemispheric differences. Three different paradigms that each imply different definitions of automatic and attentionally controlled processes are used: A paradigm used to demonstrate illusory conjunctions, a modified priming paradigm and a modified Stroop-task. Converging evidence from all three paradigms indicates that automatic processes are common to both hemispheres. Lateral asymmetries only emerge in attentional effects. For verbal information, selective attention mechanisms in the left hemisphere are found to be selective for left hemisphere items only, whereas right hemisphere mechanisms are sensitive to information from both hemispheres. The right hemisphere appears to be able to give some automatic support to attended verbal processing in the left hemisphere, while the reverse seems to be more difficult. / Arts, Faculty of / Psychology, Department of / Graduate

Scratch is one of the most popular ways to teach younger children to code in K–8 throughout the U.S. and Europe. Despite its popularity, Scratch lacks a formative feedback tool to inform students and teachers of a student's progress in coding ability. Dr. Scratch was built to fill this need. This study seeks to answer if using Dr. Scratch as a formative feedback tool accelerates the students' progress in coding ability and Computational Thinking (CT). Forty-one 4th-6th grade students participated in a 1-hour/week Scratch workshop for nine weeks. We measured pre- and posttest results of the Computational Thinking Test (CTt) between control (n = 18) and treatment groups (n = 23) using three methods: propensity score matching (treatment = .575; control = .607; p = .696), information maximum likelihood technique (treatment effect = -.09; p = .006), and multiple linear regression. Both groups demonstrated significant increased posttest scores over their pretest (treatment = +8.31%; control = +5.43%), though which group improved the most varied depending on which test was run. We discuss the implications of using Dr. Scratch as a formative feedback tool and recommend further research on the use of such tools in elementary coding experiences.

This dissertation's urban vision looks at the environmental issues of land, water and the health of the people of Vanderbijlpark, all of which have been affected by heavy industry. The study sets out to address the deteriorating quality of the Vaal River's water and how this is affected by the tributaries feeding into it. This dissertation will focus on the remediation and monitoring of the contaminated water through an ecosystemic approach. The programme involves the removal of heavy metals from the industrial effluent from the surrounding heavy industry that flows into the Rietspruit Canal. The potential of micro-organisms, plants and insects will be explored as elements of a natural treatment system of the contaminated water. The site identified for the remediation processes is an abandoned parcel of land - a remnant of the natural landscape after urban sprawl. The algae and wetland treatment system will run through the facility, becoming the spine for the remediation process and movement through the facility. The production of silk, its uses and by-products will be integrated to support the overall system which treats the contaminated water. The facility aims to address the community's need to express their voice on environmental and health issues by integrating a community auditorium and exhibition space. The construction and materiality is grounded in the premise that the local companies will remain supportive and collaborative in the environmental intervention in the Rietspruit Canal system, into which they contribute considerable effluent. It will also be proposed that the local companies will fund and supply various steel products for the construction of the intervention. This will form part of the company's corporate social responsibility and a way of giving back to fringe communities affected by industry. / Die stedelike visie vir hierdie verhandeling fokus op die omgewingskwessies van grond, water en die gesondheid van die mense van Vanderbijlpark wie almal geraak word deur swaar nywerhede. Die studie spreek die verswakkende kwaliteit van die Vaalrivier se water aan en hoe dit geraak word deur sytakke wat daarin vloei. Die verhandeling sal fokus op wyses waarop besoedelde water deur middel van 'n ekosistemiese benadering herstel en gemonitor kan word. Die program behels die verwydering van swaar metale uit die industri?le uitvloeisel van die omliggende swaar nywerhede wat in die Rietspruit-kanaal vloei. Die potensiaal van mikro-organismes, plante en insekte as elemente van 'n natuurlike stelsel vir die behandeling van die besoedelde water, word ondersoek. Die terrein wat geidentifiseer is vir die herstelprosesse is 'n verlate stuk grond, 'n oorblyfsel van die natuurlike landskap na stadspreiding. Die stelsel vir die behandeling van alge en vleilandhabitatte sal deur die fasiliteit loop en die ruggraat van die herstelproses vorm. Die produksie van sy en die gebruike en neweprodukte daarvan sal geintegreer word om die totale sisteem wat die besoedelde water behandel, te ondersteun. Die fasiliteit het ten doel om die behoefte van die gemeenskap om hul stemme oor omgewings- en gesondheidskwessies te verhef, aan te spreek deur die gemeenskapsamfiteater en uitstalruimte te integreer. Die konstruksie en materialiteit is gegrond op die veronderstelling dat die grootste staalnywerheid, ArcelorMittal, ondersteunend en samewerkend sal wees ten opsigte van die omgewingsingryping in die Rietspruit-kanaalsisteem, waartoe hul aansienlike uitvloeisel bydra. Daar sal ook voorgestel word dat die swaar nywerhede die befondsing asook verskeie staalprodukte vir die oprigting van die fasiliteit sal verskaf. Dit sal deel uitmaak van die maatskappy se korporatiewe sosiale verantwoordelikheid en is 'n manier om aan gemeenskappe wat deur die industrie geaffekteer word, terug te gee. / Mini Dissertation (MArch (Prof))--University of Pretoria, 2016. / Architecture / MArch (Prof) / Unrestricted

The aim of this qualitative study is to explore and describe the mathematical thinking skills that students require for a first level programming subject that forms part of the National Diploma in Information Communication Technology (ICT) at a University of Technology (UoT). Mathematics is an entry requirement for many tertiary programmes, including ICT courses, unfortunately the poor quality of schooling in South Africa limits learners' access to higher education. From the literature it is evident that students lack fluency in fundamental mathematical and problem-solving skills when they enter higher education. In this study, the concept of programming thinking skills is explored, described and linked to mathematical thinking skills. An instrument (Mathematical and Programming Thinking Skills Matrix for the Analysis of Programming Assessment) has been developed and used to analyse examination papers of a first-year programming subject (at TUT) in order to identify mathematical skills as these appear in programming assessments. Semi-structures interviews were conducted with first-year programming lecturers, examiners and moderators. The literature as well and the results of the analysed data indicated and confirmed that mathematical thinking skills are extremely important when learning to program. The results of the study indicate a strong relationship between mathematical thinking skills and programming thinking skills. The outcome of this study is therefore a set of mathematical thinking skills that needs to be developed when compiling a mathematics curriculum for first level programming students studying towards a National Diploma in ICT. / Dissertation (MEd)--University of Pretoria, 2016. / Science, Mathematics and Technology Education / MEd / Unrestricted

Past research suggests that concrete ad stimuli generate more imagery than abstract stimuli. However, this finding may not be culturally universal. Our research suggests that East Asians tend to generate more imagery than Westerners when exposed to abstract advertising messages, but these differences in imagery generation tend to subside when both cultural groups are exposed to concrete stimuli. Exposure to abstract stimuli while limiting mental resources results in narrowing the differences in number of images generated by Westerners and East Asians as does providing subjects with instructions to imagine.

This study examines the effect of culture on imagery generation and ad attitudes. Although research suggests that concrete stimuli generate more images than abstract stimuli, our study shows that this finding is not universal across cultures. Chinese generate more imagery than Americans when encountering abstract stimuli because Chinese tend to think concretely. Moreover, Chinese and Americans have different attitudes toward different stimuli. While Chinese prefer concrete stimuli to abstract stimuli, Americans have the same attitudes toward concrete and abstract stimuli.

In this study, we attempted to separate the effects of culture and language on imagery generation. By asking subjects from China, Singapore and the US to read Chinese and/or English messages, we found that culture, as opposed to language of the message, drives Chinese people's imagery-generation capabilities. Indeed, people from mainland China generated more images than both Singaporean Chinese people and Americans, even when tested in English. This is because their dominant way of thinking is concrete. Bilingual Singaporean Chinese subjects generated the same number of images when exposed to English and Chinese stimuli because they are equally adept at abstract and concrete thinking. However, their imagery-generation ability could be manipulated by priming abstract or concrete thinking.

The effect of teaching critical thinking as part of a continuous progress packet in American history was studied at Cedar High School during the 1969-70 school year. An experimental group using the critical thinking packet was compared with a control group that used a continuous progress packet that taught only American history. The dependent variables for the study were the STEP (Sequential Test of Educational Progress), Social Studies portion, and the Watson-Glaser Critical Thinking Appraisal. No statistically significant differences were found between the groups in either American history or critical thinking. Differences in critical thinking ability, though not significant statistically, seemed to indicate the desirability of further research in this area. It was also recommended, as a result of this study, that further research be conducted to develop and evaluate new methods of assessing student competence in seminar situations.