This research explores how computers may be used by individual researchers engaged in cognitive activity and creating original outputs, specifically, how one of the emerging information technologies, hypertext, is able to provide suggestions for the understanding to support and empower human cognitive activity.The study investigates the possibility of a new model within which to approach that part of research that seeks to make connections to what has been done previously, and to stimulate new thoughts.Imagine swimming in a vast sea of potentially useful information. How can one possibly begin to make sense of it? Engage in a phenomenological experience in which the data is permitted to speak to you. Immerse yourself, navigate around with the ability to backtrack, search, explore trails of associative thought, all with a prepared mind. The mind is prepared, or sensitised, due to the previous research and learning ? the culture to which one belongs. The process will gradually cause an uncluttering of the sea of information resulting eventually in what in this thesis is termed Generative Conceptualisation. The tools and techniques used to do this (for it is impossible to work unaided with large amounts of data) will have provided the empowerment to generate and create. The tyranny of linear order has been replaced by the dynamically varying structure of selected, sometimes hierarchical and othertimes herterarchic or network views of the data, forming or exposing (primarily through juxtaposition) insights, new ideas, and new knowledge. These are some characteristics of working in a hypertext paradigm.Generative Conceptualisation is introduced to describe the intermingling of human mind and computer hypertext, which, it is argued, results in a greater degree of original output by researchers. A hypertext paradigm, the definition of which emerges in the thesis, is ++ / suggested as being an environment for Generative Conceptualisation. A theory (substantive) of knowledge creation is offered in the concluding chapter, in the light of which existing formal theories of knowledge creation may be reviewed or elaborated.

Creativity is increasingly becoming both an important issue in our rapidly changing society, and a popular subject of research. Research findings are beginning to conceptualize creativity as a much more complex process and studies are now focusing on the effects of social interaction and collaborative efforts on creativity as well as the potential impact of technology on collaboration and the creative process itself. This study looks at the influence of both collaboration and technology on the creative process to develop a clearer picture of the way in which they intersect. Due to the complexity of this study, two theoretical frameworks (Communities of Practice and Genex Framework) have been employed to inform the development of the study and to assist in contextualizing the results. To this end, this mixed-methods study collected data both from fashion design students enrolled in the third year of a Bachelor of Fashion Design program, and from their faculty. Data gathering methods included personal semi-structured interviews with both students (n = 13) and faculty (n = 9) and an online questionnaire with a larger group of students (n = 65). The research questions that framed this study focus on developing an initial understanding of the creative process as experienced by these students and then exploring in depth the ways that collaboration and working in community affect the creative process, as well as the impact of technology in supporting both creativity and collaboration. Results suggest that technology was indeed a valuable support in the creative process through its ability to facilitate particular kinds of collaborative practices, including brainstorming, developing and sharing ideas, and giving and receiving feedback. Such practices directly affected the creative process by enhancing the development of more professional sketches as well as facilitating the collaborative efforts of the members of the design community. Finally, the implications of these results for curriculum design and the appropriate choice of pedagogical approaches are discussed. The results presented will help to support curriculum designers and instructors who seek to encourage creative endeavour to focus on effective technological tools as well as strategies that promote collaboration and a sense of community in order to achieve these ends.

Creativity is increasingly becoming both an important issue in our rapidly changing society, and a popular subject of research. Research findings are beginning to conceptualize creativity as a much more complex process and studies are now focusing on the effects of social interaction and collaborative efforts on creativity as well as the potential impact of technology on collaboration and the creative process itself. This study looks at the influence of both collaboration and technology on the creative process to develop a clearer picture of the way in which they intersect. Due to the complexity of this study, two theoretical frameworks (Communities of Practice and Genex Framework) have been employed to inform the development of the study and to assist in contextualizing the results. To this end, this mixed-methods study collected data both from fashion design students enrolled in the third year of a Bachelor of Fashion Design program, and from their faculty. Data gathering methods included personal semi-structured interviews with both students (n = 13) and faculty (n = 9) and an online questionnaire with a larger group of students (n = 65). The research questions that framed this study focus on developing an initial understanding of the creative process as experienced by these students and then exploring in depth the ways that collaboration and working in community affect the creative process, as well as the impact of technology in supporting both creativity and collaboration. Results suggest that technology was indeed a valuable support in the creative process through its ability to facilitate particular kinds of collaborative practices, including brainstorming, developing and sharing ideas, and giving and receiving feedback. Such practices directly affected the creative process by enhancing the development of more professional sketches as well as facilitating the collaborative efforts of the members of the design community. Finally, the implications of these results for curriculum design and the appropriate choice of pedagogical approaches are discussed. The results presented will help to support curriculum designers and instructors who seek to encourage creative endeavour to focus on effective technological tools as well as strategies that promote collaboration and a sense of community in order to achieve these ends.