This study explores a model for the creative process to facilitate an honest, individualistic, empowering human experience for the dancers and choreographer in the Higher Ed dance studio. I investigated the role of choreographer as facilitator/collaborator and dancer as creator/co-owner to formulate a model aimed at developing connection. Over the course of eight weeks, I facilitated a creative process workshop. Eight undergraduate dance majors volunteered to be a part of the study. My evaluation was conducted through pre and post workshop interviews, self-journaling, group discussions, as well as video documentation. As a result, three themes and six sub-themes emerged from the data: Self-Realization with sub-themes of self-reflection, self-acceptance, and confidence; Safe Open Environment with sub-themes of group empathy and connection; and Using the Voice with a sub-theme of vulnerability. This model offers a safe environment geared toward using the voice, practicing vulnerability, and making individual artistic decisions.

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In this thesis I have examined how to transcribe sounds from our everyday environments and use them as a tool in composition. The sounds that I transcribed, mainly human speech, make up the basis for two approximately twenty-minute-long original compositions or suites and one shorter piece meant for improvising over a selection of recorded city background noises. The music was written for a “chordless” jazz-quartet, and had its premiere on the 1st of March, 2022.  In the first chapter, I explain how I first came to think of this idea, what other musicians and composers already have done in the area, and what the purpose of this thesis is. In the second chapter, I go through my way of both recording and transcribing the sounds and the challenges I met in the process. In chapter three, I cover the compositional process regarding all three pieces, and my thought process regarding the concert. In the fourth chapter, I discuss and problematize the different thoughts and reflections during the project. In the fifth and final chapter, I summarize the project with what I’ve learnt and how I could make use of it in the future. / <p>Medverkande musiker:</p><p>Andreas Lundblom - trumpet</p><p>Marius Zeeberg - tenorsaxofon</p><p>Olle Lannér Risenfors - kontrabas</p><p>Kristian Remnelius - trummor</p><p></p><p>Kompositioner:</p><p>Flight Attendant - Kristian Remnelius</p><p>Promenadpotpurri - Kristian Remnelius</p><p>Tunnelbaneresa - Kristian Remnelius</p>

In this project, Gustav Renberg has explored new methods of integrating different musical influences into his compositions. He examines how incorporating rules and criteria can affect the creative process, as well as the result. Some of his main goals with the project has been to broaden his perspective and to strengthen his own musical voice. Renberg describes the creative process of each composition, as well as the methods he used. He also conducted two separate interviews with two established and renowned musicians to dwell even deeper into the subject. Furthermore, he describes the process of putting his group together and the results of his final concert. Renberg concludes that the project has given him new tools for composing, and that it has strengthened him as a writer, as well as a musician in whole. He has created a method that has expanded his frame of reference, and he expresses how he looks forward to further develop it in the future. / <p>Medverkande musiker: </p><p>Gustav Renberg - gitarr</p><p>Sebastian Jonsson - saxofon</p><p>Britta Virves - piano</p><p>Tomas Sjödell - kontrabas</p><p>Jonas Bäckman - trummor</p>

Analysing human creativity has always been a difficult undertaking. The reason for this is the vagueness of the term creativity itself. Philosophers and Researchers have tried to unveil the secrets behind creativity since centuries. Besides some principles e.g. defined by Finke, Ward, and Smith, there is no holistic understanding about term creativity and there will always be discussions between researchers of different disciplines about how creativity is achieved. Current approaches try to understand creativity through studying the creative artifact or the creative human himself. These approaches have not lead to any promising results. Instead of focussing on creativity itself, it is more promising to look at the creative process of creators. Through this, it is possible to analyse what happened during the creation of an artefact. The aim of the analysis is the identification of certain behaviours within the creative process, which lead to very creative results or in opposite hinder creativity. The gained knowledge is used for the creation of patterns, describing this specific behaviour. The analysis of the creative process is not only interesting for artists, but also for engineers, researchers, students and many others. Important target groups for this approach are schools and universities. Being able to early recognise problems in the learning curve of a student will enable a directed support, in order to improve the student's performance. Until now, the main problem for analysing the creative process of a creator is the lack of information on how an artefact was created. Most creators tend not to make many notes during their creative phase, even if there are famous exemptions like Beethoven who left behind a huge amount of notices and marked changes in his work. Hence, the challenge is the development of a powerful framework, which can cope effectively with the recording and presentation of this creative process, in order to enable detailed analyses. Modern computer technology fosters the recording of the creative process of a person. Much of today's creative work is achieved with computers and powerful software applications. Computer networks and the internet enable new ways of collaboration. The creation of a flexible, collaborative tool-set is the ideal approach for the mapping and analysis of the creative process. A novel approach, based on these ideas, was developed by the members of the Creative Technologies Research Programme at the Software Technology Research Laboratory (STRL). The central aim of the approach is the mapping of the human creativity with so-called creativity maps. A creativity map is basically transition system, which allows to store and represent the creative process as well as to hold each version of the artefact. The developed De Montfort Creativity Assistant (DMCA), is a collaborative, web-enabled state-of-the-art software framework, realising the theoretical concepts. This thesis represents a substantial contribution to the research project. The focus of the presented work lies on the analysis and the support of the creative process. Several novel techniques for the analysis of massive data sets have been developed. The presented techniques enable a domain-independent analysis and support of the creative process. This is huge improvement over previous concepts, which are highly specialised and focus on the creative artefact itself. The presented approach required the development of several novel techniques. The major contributions of the presented research are: - Behavioural Patterns Enable the description of constructs inside the creativity map. These constructs represent the creative behaviour of the creator. - Techniques for a Computer-supported Information Extraction A pattern description language enables the computer-supported information extraction from creativity maps. - Knowledge Repository Knowledge, gained through the analysis processes, is stored centrally and shared with other creators in order to stimulate further growing of knowledge. - Concepts for the Analysis and Support of the Creative Process Novel concepts allow the structured analysis and support of the creative process, regardless of the creator's domain. All developed techniques have been implemented in several tools, which aim to enrich the DMCA with the ability of a computer-supported analysis and support of the creative process.

While the visual arts and technology development map oppositionally in our culture, there are similarities in work. Visual artists and technology developers imagine, conceptualize, design, and build artifacts and then release them into the world. As part of this work, many artists and technologists develop high levels of conceptualization, technical, and fabrication skill. While artists have always worked with industrial technologies such as paint and pigment chemistry, metalworking equipment, heavy machinery, and kilns, for example, many postindustrial artists are using high technology both as medium and highly-charged cultural material. These artists work with similar materials as technology developers: electronics, computation, robotics, bioengineering materials, and smart materials, for example. Their work often bleeds into technological development as they create new technologies and new interactions with technologies in the course of their projects. This dissertation traces the evolution of the ideas of art and technology from foundations in ancient Greece through the present. There are tensions between technological art, or art that uses high technologies as a medium, and the contemporary art world, as well as between technological art and engineering practice. This dissertation locates technological art along a spectrum between traditional fine art and engineering practice, in a third space of both artistic production and technological R&D. Through examples from my work and the work of others, I surface the dynamics of practice in this third space and how these practices can lead to emergent art and technology.

Este trabalho analisa as relações entre os processos de criação nas áreas da Joalheria e da Arquitetura. Desde o esboço, passando pelos desenhos, croquis, maquetes e até as modernas formas de representação computacional, o processo criativo deve levar em conta sempre fatores como expressão de uma visão particular do mundo e referências e condições estéticas, práticas e históricas. Leva-se em conta o caso do arquiteto Frank Gehry, que desenvolveu projetos de renome em ambas as áreas. Observa-se a trajetória dessas áreas, desde seus primórdios, e as soluções encontradas pelo homem, através do tempo, para a interferência nos objetos e nos espaços, a fim de deixar sua marca e proporcionar progressos na vida humana. Por fim, detalham-se as novas tecnologias empregadas nas criações e representações de formas complexas, com destaque para os softwares em 3D, que propiciam a evolução dos projetos com melhora em custos e prazos nos projetos multimilionários na atualidade. / This research presents the relations among the many process of creation in the jewellery and architecture areas. Starting with the outline, passing on the drawings, sketches and getting through the modern ways of computer representation, the creative process must consider the reasons like a private vision of the world, historical references, esthetic conditions and practices. Frank Gehry developed renowned projects in both areas. The trajetory of these areas can be observed since their beginning. The solutions found by the human being through the time, for the interference in the objects and in many places in order to mark and propose every kind of progress for human lives. Lastly, this research details the new tecnologies which were used in creations and in the complex ways of representation, like the 3D softwares, which range the evolution of the projects, together with the improvement in costs and time for the present multimillionaire projects.

O sistema dos Viewpoints é o ponto de partida para uma investigação teórico-prática que transita por entre a bibliografia desenvolvida por Anne Bogart e a experiência prática em sala de ensaio. O objetivo principal é apontar algumas pistas para o trabalho do ator a partir de três recortes: o mapeamento inicial do sistema, a descrição das práticas realizadas em sala de ensaio e, ainda, a exploração do conceito de escuta-ação enquanto estratégia metodológica para a criação atoral. Os Viewpoints são compreendidos como um dispositivo a ser difundido, e a metodologia procurou friccionar o procedimento em questão com alguns dos temas presentes na cena contemporânea, como a performatividade e o desempenho espetacular. A análise do papel determinante da escuta-ação, na hipótese original da pesquisa, afirma ser a dramaturgia do ator o espaço da experiência, uma atividade permanentemente provisória, propositadamente lacunar e, em suma, ensaística, vista aqui a partir da perspectiva de Jorge Bondía. / The Viewpoints System is the starting point for a theoretical-practical investigation that includes the bibliography developed by Anne Bogart and the practical experience in rehearsals. The main objective of this study is to indicate some signs to the actor\'s work through three approaches: the initial mapping of the system, the description of practices applied in rehearsals, and the exploration of the listeningaction (escuta-ação) concept as a methodological strategy for acting creation. The Viewpoints are understood as a device yet to be disseminated, and the methodology has sought to relate this procedure with some subjects present in the contemporary scene, such as performativity and perfomative performance. The analysis of listenact\'s determinant role, according to the original hypothesis of this research, sustains that the dramaturgy of the actor is the experiencing space, a permanent provisional activity, purposely empty, and essentially essayistic, viewed here from Jorge Bondía\'s perspective.

"Jo Carson lays bare her personal investigation into her own creative process after a spider bite on her back begins a series of life-altering events. Spider Speculations applies cutting edge mind-body science, quantum physics and ancient shamanistic techniques to describe how stories work in our bodies and our lives, and what happens when real stories are used in a public way. Carson, whose ability to capture the spoken word hallmarks her community-based work, sets down this story in her own distinctive voice, interspersing the journey with examples of her performance work. This truly original American book will speak to anyone thinking about art and community or engaging with people's stories"--Publisher description. / https://dc.etsu.edu/alumni_books/1019/thumbnail.jpg

By reflecting upon the works I make and my thoughts surrounding them I've been looking to develop my way of understanding and working with art. By looking at both creative and emotional aspects underlying the artistic process I try to understand what impact they have on both the art and the artist. Through my working process and by writing about my thoughts and emotions during this project I come to the conclusion that this is what can be referred to as a cathartic experience for me.