In this study I explore the Waterberg plateau, Namibia, through identified sand sites in the area, looking into their ecology, geology, culture, and history. I use sand as an artistic medium, not only for its aesthetic quality, but also as a complex signifier of place. I collected sand samples from the different sites, took photographs, drew and wrote notes, made sand palimpsest scrolls, and conducted interviews with numerous individuals who crossed my path during my studies, including poets and experts in the field. These interviews take the form of conversational transcripts where the stories and reflections of people of the Waterberg are being relayed. I constructed an artist’s workbook of the Waterberg plateau, exploring the different sites continuously deconstructing and reconstructing, inscribing and erasing the written and visual information. Finally, I created an installation of rows and layers of people by making use of the sand taken from the ten selected sand sites and based on the geological layers of the Waterberg plateau. I animated this through video and sound in the form of poetry and chants. Together, these outputs comprise the practice-based research component of the study. The thesis component of my study explores the journey of practice-based research. It reflects on a performative practice-based approach woven throughout the submission. Each chapter in this thesis is titled a story, and through progression, forms layers of palimpsests. I begin with written documentation on and exploration of the palimpsest. Layers of information begin developing into a tangible palimpsest of layered images, texts and concepts. I drew inspiration from Elizabeth Grosz’s writing on “Nietzsche and the Choreography of Knowledge” in her book Volatile Bodies (1994), which covers the history of the concept of the palimpsest and its applications with regard to eco-feminism and the corporeality of the female body. I apply this to the land. This is followed with an inquiry into the geological origins and material nature, as well as the sentiment, of sand. Sand is explored both as a signifier of eco-geo culture and identity, as well as an aesthetic material. The latter is supported by visual examples of artists and their artworks using sand as an aesthetic medium. Through sand, I then discover and investigate the Waterberg, Namibia, my chosen oasis, as a manifestation of a palimpsest – sand sites of ecology, geology, culture, history and identity. I begin with the historical and cultural background to the Waterberg, using visual documentation and brief descriptions of the geology of each site. The focus then shifts to the present, where the Waterberg is now a protected national Namibian Wildlife resort, which in theory, belongs to the nation. The emphasis is on ecological awareness from post-colonial, feminist perspectives. The creative exploration as process conducted throughout the study is documented through studio work, comprising The artist’s workbook of the Waterberg as object, sand palimpsests and the installation of different sand people. This culminates in documentation of the exhibition, and installation with performance ““EHI” WATERBERG, NAMIBIA Ehi - Sand/Land Rights/Rites”. The installation is discussed as expression of the Waterberg as an eco-geo-cultural historical palimpsest of identity. / Thesis (PhD Fine Arts (Creative Production))--University of Pretoria, 2021. / University of Namibia; National Arts Council of Namibia; South African National Institute for the Humanities and the Social Sciences (CRP20-1032). / Visual Arts / PhD Fine Arts (Creative Production) / Unrestricted

It is evident that educators and industrial psychologists alike recognize the effect that situational climate may have upon creative production. The present study will, hopefully, contribute some useful information leading to a better definition of the relationship between anxiety and creative production, which will lead in time to suggestions regarding the essential conditions of an optimum creative climate. The exploration of some of the aspects involved in situational climates is the point of departure for the present study.

This PhD study examines some of what happens in an individual’s mind regarding creativity during problem solving within an organisational context. It presents innovations related to creative motivation, cognitive style and framing effects that can be applied by managers to enhance individual employee creativity within the organisation and thereby assist organisations to become more innovative. The project delivers an understanding of how to leverage natural changes in creative motivation levels during problem solving. This pattern of response is called Creative Resolve Response (CRR). The project also presents evidence of how framing effects can be used to influence decisions involving creative options in order to enhance the potential for managers get employees to select creative options more often for implementation. The study’s objectives are to understand: • How creative motivation changes during problem solving • How cognitive style moderates these creative motivation changes • How framing effects apply to decisions involving creative options to solve problems • How cognitive style moderate these framing effects The thesis presents the findings from three controlled experiments based around self reports during contrived problem solving and decision making situations. The first experiment suggests that creative motivation varies in a predictable and systematic way during problem solving as a function of the problem solver’s perception of progress. The second experiment suggests that there are specific framing effects related to decisions involving creativity. It seems that simply describing an alternative as innovative may activate perceptual biases that overcome risk based framing effects. The third experiment suggests that cognitive style moderates decisions involving creativity in complex ways. It seems that in some contexts, decision makers will prefer a creative option, regardless of their cognitive style, if this option is both outside the bounds of what is officially allowed and yet ultimately safe. The thesis delivers innovation on three levels: theoretical, methodological and empirical. The highlights of these findings are outlined below: 1. Theoretical innovation with the conceptualisation of Creative Resolve Response based on an extension of Amabile’s research regarding creative motivation. 2. Theoretical innovation linking creative motivation and Kirton’s research on cognitive style. 3. Theoretical innovation linking both risk based and attribute framing effects to cognitive style. 4. Methodological innovation for defining and testing preferences for creative solution implementation in the form of operationalised creativity decision alternatives. 5. Methodological innovation to identify extreme decision options by applying Shafir’s findings regarding attribute framing effects in reverse to create a test. 6. Empirical innovation with statistically significant research findings which indicate creative motivation varies in a systematic way. 7. Empirical innovation with statistically significant research findings which identify innovation descriptor framing effects 8. Empirical innovation with statistically significant research findings which expand understanding of Kirton’s cognitive style descriptors including the importance of safe rule breaking. 9. Empirical innovation with statistically significant research findings which validate how framing effects do apply to decisions involving operationalised creativity. Drawing on previous research related to creative motivation, cognitive style, framing effects and supervisor interactions with employees, this study delivers insights which can assist managers to increase the production and implementation of creativity in organisations. Hopefully this will result in organisations which are more innovative. Such organisations have the potential to provide ongoing economic and social benefits.

Made available in DSpace on 2016-04-04T18:29:41Z (GMT). No. of bitstreams: 1 Regina Lara Silveira Mello.pdf: 1410113 bytes, checksum: c67fbc8b540a6639a5a284b3635ea0bd (MD5) Previous issue date: 2008-02-28 / This study aims to investigate the creative process and dynamics of art production from the point of view of visual artists. The subjects were eight renowned Brazilian male and female visual artists between the ages of 44 and 62, with a solid career of at least 20 years in the art system. Each artist selected one of his works to analyze the process of creation. The interviews were semi-structured, and were video recorded in the artists' ateliers, at art exhibits, in galleries or museums where the artist was next to the artwork chosen for this study. The results show that the visual artist enters into a state of flow of ideas, and maintains his involvement focused on the artistic creation. He organizes his time in a manner compatible with his personal life, intrinsically motivated by the theme of the work and by his research of formo The artist notebook was shown to be an instrument that enables the creative process, and contributes to insight, not only for perceiving images but also as a way to record unexpected occurrences, the choice of materials, techniques, and working partnerships. As to the art system, the interviewees stated that artists have a role in broadening cultural horizons in spite of the art critics' opinions of their work. In conclusion, the creative process is put into motion by perceptual as well as affective aspects, which in turn influence creative production in varied intensities. / O trabalho visa investigar o processo criativo e sua din?mica segundo a percep??o de artistas visuais. Entrevistamos oito artistas visuais brasileiros renomados, ambos os sexos, faixa et?ria de 44 a 62 anos, com experi?ncia m?nima de 20 anos de carreira consolidada no sistema da arte. Foram realizadas entrevistas livres, filmadas nos ateli?s, exposi??es de arte, galerias ou museus onde estivessem juntos o artista e sua obra, que escolhemos para esta pesquisa. Os resultados demonstram que o artista visual entra no estado de fluir de id?ias correntes, mantendo o envolvimento focado na cria??o art?stica, organizando o tempo de maneira compat?vel com a vida pessoal, intrinsecamente motivado pelo tema da obra e pela pesquisa da forma. Foi observado que o caderno de anota??es do artista ? um elemento facilitador no processo criativo, contribuindo para o insight, tanto na percep??o de imagens como no registro de acasos, escolha de materiais, t?cnicas e parcerias de trabalho. Quanto ao sistema da arte, foi afirmado que o artista trabalha ampliando os horizontes da cultura, por?m a despeito da cr?tica. Conclui-se que o processo criativo ? animado por aspectos perceptuais e afetivos que por sua vez influenciam na cria??o em diferentes intensidades.

Made available in DSpace on 2016-03-15T19:24:13Z (GMT). No. of bitstreams: 1 Henny Aguiar Bizarro Rosa Favaro.pdf: 5699174 bytes, checksum: 81c8f7863f88587f613459cf9f8ebafa (MD5) Previous issue date: 2013-06-17 / Fundo Mackenzie de Pesquisa / This reflection takes place in the contest of the FAU-Mackenzie and takes as substrate the author s experience in Design course as a supervisor in the (TCC) Final Graduation Project in the area of jewelry. Part of reflection on how the graduate works are analysed, seeking to explain and develop its conceptual and practical tools. Takes as its theoretical basis, the study of history, arts, crafts and design, in order to contribute to the definition of a field, specifically regarding the building of knowledge in the area of design practice and jewelry design research. The context is presented in a brief review of the literature on inadequacies in the use of terms design, craft and art, with focus in the area of jewelry design, which mobilize the categories or confuse and complicate the discourses based on the conventional definitions and distinct studies of visual and material practice. At first we assume that academic research in areas of design practice, similarly to what happens, for example, with the arts, it is usually described, explained, discussed and read through the vocabulary stemming from the theory of traditional science, focusing on aspects as method and content. However, we are often not satisfied with a terminology that does not capture the events we experience as being essential and fascinating in design. In the proposed study, some aspects of this dissatisfaction are discussed and as well as a reflection on the issue is performed of process to the design procedures of jewelry in the academic realm. The research infers, from the proceedings in a selection of TCC, which can lead to the solution of problems via design tools, not be so closely linked to the academic literature. As a resource for this research, we used concepts from articles such as Eight criteria of academic research in areas of practice projetual , from authors such as Michel Biggs and Daniela Büchler, as well as works by Ana Gabriela Godinho Lima and Steven Scrivener, in a discussion of academic research techniques regarding the design methods in the academic research based on jewelry design. / Essa reflexão se dá no contexto da FAU-Mackenzie e toma como substrato a experiência da autora no curso de Design, como orientadora de Trabalhos de Conclusão de Curso (TCC) na área de joalheria. Parte da reflexão sobre o modo como os trabalhos de graduação são elaborados, que buscam explicar e desenvolver as ferramentas práticas e conceituais. Toma como fundamentação teórica, o estudo da história, artes, artesanato e design, com a finalidade de contribuir para a delimitação de um campo disciplinar: formação do conhecimento na área da prática projetual e pesquisa em design de joia. É apresentada uma rápida revisão da literatura sobre inadequações quanto ao uso dos termos design, artesanato e arte, e as especificidades que se apresentam na área de joalheria, que mobilizam ou confundem as categorias e complicam os discursos baseados em definições convencionais e distintas a partir de estudos de casos de prática visual e material. A princípio assumimos que a pesquisa acadêmica na área de design, similarmente ao que ocorre, por exemplo, com as artes, é usualmente descrita, explicada, discutida e lida através do vocabulário provindo da teoria da ciência tradicional, ou seja, com foco no método e no conteúdo. Entretanto, frequentemente não nos satisfazemos com uma terminologia que não captura o que experimentamos como sendo eventos essenciais e fascinantes das artes, e acrescentamos: do design. No estudo proposto, são abordados alguns aspectos dessa insatisfação, e na reflexão sobre a questão de processo ao método projetual de joalheria em âmbito acadêmico. A pesquisa faz recurso à análise de processos de projeto com uma seleção de Trabalhos de Conclusão de Curso (TCC), em que aspectos práticos, o saber fazer do design de joias é convocado como parte principal do trabalho. Ou seja, servem como base útil para a reflexão sobre aspectos da pesquisa acadêmica em design de joias e a projeção sobre como esse tipo de pesquisa pode avançar para os níveis de mestrado e doutorado. Como recurso necessariamente complementar para essa investigação, empregou-se referencial teórico constituído por trabalhos de autores mais especificamente voltados à pesquisa acadêmica em áreas de prática projetual em âmbito de pós-graduação stricto sensu, tais como: Michel Biggs, Daniela Büchler, Ana Gabriela Godinho Lima, Steven Scrivener e é uma discussão de pressupostas técnicas de pesquisa acadêmica pensada nesta tese, para a questão do processo ao método projetual de joalheria em âmbito acadêmico.

Die doel van hierdie kreatiewe produksieprojek was om ruimtelike grafiese ontwerp-toepassings te skep vir die Ferdinand Postma-biblioteek van die Noordwes-Universiteit (Suid-Afrika) en om verslag te lewer ten opsigte van die toepassing van Scrivener se Kreatiewe Produksiestruktuur op die kreatiewe- en navorsingsprosesse. Om dié doelwitte te bereik moes navorsing met betrekking tot twee aspekte geskied. Eerstens is teorieë met betrekking tot ruimtelike grafiese ontwerp en verskeie ontwerpbenaderings wat die ontwerpdissipline betrek (identiteitsontwerp, inligtingsontwerp en wegwysingsontwerp) ondersoek. Tweedens is die aard en toepassing van praktykgebaseerde navorsing onder die loep geneem. Die literatuurstudie het gelei na die keuse van Scrivener se Kreatiewe Produksiestruktuur as 'n metode om praktykgebaseerde navorsing te benader. Deur die Kreatiewe Produksiestruktuur wat uit vyf stappe bestaan, toe te pas, was dit moontlik om aan die gevarieerde behoeftes en vereistes van die akademiese konteks waarbinne die projek geloods is, te voldoen: Eerstens is betrokke skeppings- en navorsingsprosesse volledig, rasioneel en reflekterend gedokumenteer en sodoende kon die navorsingsbenadering en geakkrediteerde navorsingstegnieke wat toegepas is, duidelik en deursigtig uiteengesit word. Tweedens het die toepassing van die Kreatiewe Produksiestruktuur gelei tot 'n gestruktureerde geskrewe argument waarin die navorsingsveld en konteks van die studie aangespreek is. In die derde plek het die betrokke skeppings- en navorsingsprosesse gelei na suksesvolle ruimtelike grafiese ontwerptoepassings wat die konteks van die Ferdinand Postma-biblioteek in ag neem en die navorsing beliggaam. Die studie se bydrae tot die veld van ruimtelike grafiese ontwerp is geleë in die wyse waarop dit toon hoe Scrivener se Kreatiewe Produksiestruktuur as 'n metode van praktykgebaseerde navorsing toegepas kan word om suksesvolle en konteksgerigte ruimtelike grafiese ontwerptoepassings te skep. / Thesis (M.A. (Graphic Design))--North-West University, Potchefstroom Campus, 2011.

Die doel van hierdie kreatiewe produksieprojek was om ruimtelike grafiese ontwerp-toepassings te skep vir die Ferdinand Postma-biblioteek van die Noordwes-Universiteit (Suid-Afrika) en om verslag te lewer ten opsigte van die toepassing van Scrivener se Kreatiewe Produksiestruktuur op die kreatiewe- en navorsingsprosesse. Om dié doelwitte te bereik moes navorsing met betrekking tot twee aspekte geskied. Eerstens is teorieë met betrekking tot ruimtelike grafiese ontwerp en verskeie ontwerpbenaderings wat die ontwerpdissipline betrek (identiteitsontwerp, inligtingsontwerp en wegwysingsontwerp) ondersoek. Tweedens is die aard en toepassing van praktykgebaseerde navorsing onder die loep geneem. Die literatuurstudie het gelei na die keuse van Scrivener se Kreatiewe Produksiestruktuur as 'n metode om praktykgebaseerde navorsing te benader. Deur die Kreatiewe Produksiestruktuur wat uit vyf stappe bestaan, toe te pas, was dit moontlik om aan die gevarieerde behoeftes en vereistes van die akademiese konteks waarbinne die projek geloods is, te voldoen: Eerstens is betrokke skeppings- en navorsingsprosesse volledig, rasioneel en reflekterend gedokumenteer en sodoende kon die navorsingsbenadering en geakkrediteerde navorsingstegnieke wat toegepas is, duidelik en deursigtig uiteengesit word. Tweedens het die toepassing van die Kreatiewe Produksiestruktuur gelei tot 'n gestruktureerde geskrewe argument waarin die navorsingsveld en konteks van die studie aangespreek is. In die derde plek het die betrokke skeppings- en navorsingsprosesse gelei na suksesvolle ruimtelike grafiese ontwerptoepassings wat die konteks van die Ferdinand Postma-biblioteek in ag neem en die navorsing beliggaam. Die studie se bydrae tot die veld van ruimtelike grafiese ontwerp is geleë in die wyse waarop dit toon hoe Scrivener se Kreatiewe Produksiestruktuur as 'n metode van praktykgebaseerde navorsing toegepas kan word om suksesvolle en konteksgerigte ruimtelike grafiese ontwerptoepassings te skep. / Thesis (M.A. (Graphic Design))--North-West University, Potchefstroom Campus, 2011.

[pt] O mercado tecnológico é movido pela demanda por inovações frequentes e substanciais e a consequente agilidade dos processos. Em busca de inovação, não raro as empresas se contentam com melhorias incrementais para apresentar produtos antes de seus concorrentes e garantir o retorno esperado pelos investidores. Com o objetivo de incrementar a criatividade das equipes desenvolvedoras essa pesquisa se concentrou na seguinte hipótese: se a produção criativa do brainstorming com crianças fosse utilizada nos processos de design de produtos o grau de inovação e a quantidade de produtos inovadores aumentaria. Os métodos e técnicas utilizados para essa investigação foram: entrevistas com CEOs de empresas de tecnologia digital; questionário para desenvolvedores de produtos desse tipo; entrevistas com professoras e psicopedagogas; experimento no qual crianças, equipe de desenvolvimento e designers experientes foram envolvidos. Os resultados dessa pesquisa apontaram para a refutação da hipótese, já que o processo de design do desenvolvimento de produtos digitais inovadores não foi otimizado com a produção criativa das crianças. Apesar dos resultados a inserção da variável fez com que fosse gerada uma maior quantidade de boas ideias. Foi possível criar um passo-a-passo para que o brainstorming com a influência da produção criativa das crianças possa ser replicado em processos de Design. / [en] The demand for frequent and substantial innovations and the consequent agility of the processes is driven by the technological market. In search of innovation, companies are often content with incremental improvements to present products before their competitors and to ensure investors expected return. In order to increase the creativity of the creative teams, this research focused on the following hypothesis: if the creative production of brainstorming with children was used in the Design processes, the degree of innovation of the products and the number of solutions for innovative digital products would increase. The methods and techniques used for this investigation were: interviews with CEOs of digital technology companies; questionnaire for developers of such products; interviews with teachers and psycho-pedagogues; experiment in which children, development team and experienced designers were involved. The results of this research pointed to the refutation of the hypothesis, since the design process of the development of innovative digital products was not optimized with the creative production of the children: in spite of the results, the insertion of the variable resulted in the generation of more good ideas. It was possible to create a step-by-step approach so that brainstorming with the influence of children s creative output can be replicated in Design processes.