Introduction: Today creativity is a very crucial part in many organizations. Media companiesneed to be creative in order to satisfy customers and therefore there's a need to constantlydevelop the products and services as the competition gets harder and the demandsincreases. The leadership has an important role when it comes to motivating the creativityamong employees. Purpose: The purpose of this thesis was to explore how the leadership looks like in anorganization where creativity is very important. We wanted to enhance our knowledge abouthow leadership affects the creative motivation. Problem statement: How does leaders in an organization work with creativity? Whatmethods are used by the leader in order to motivate the creativity in the organization?How does the leadership affect the creativity? Approach: We have done a case study of Acne Digital with a qualitative approach for thisthesis. We've conducted five interviews at Acne Digital and a small observation. Conclusions: Our conclusions are that Acne Digital is a successful company regardingmanagement of creativity. The leadership has a very important role when it comes tomotivating the creativity in different manners. Our thesis shows that participation andoperating freedom are factors among others that are important for creative motivation.

In recent years, the field of design has met new grounds with the growing awareness among design researchers of the potential relationships between cognitive studies of creativity and computational modeling. The turn of the studies has given rise to the emergence of a new paradigm of modeling and understanding mental processes in creative design. This study tries to gain further insight into the creative occurrence by blending virtual experiences with designer actions in a model of creative thinking in concept generation phase based on the Geneplore Model by Finke et al. (1995) and supported by analogy construction incorporating the implementation of a computer based tool (Black Box) running on PC platform as a potential immanent part of the concept generation phase. Black Box is devised in such a way that the core of the constructive process of the analogy relies on the designer&amp / #8217 / s expressional, perceptual and conceptual actions which are presented in the traditional methods of sketching and writing, whereas the change and expansion of the design space is realized through the virtual worlds the tool offers via the computer screen. The research method is based on the development of Black Box tool and its subsequent implementation in a study with eight experienced design consultants, utilizing a procedure composed of preliminary interview, observational protocol analysis, questionnaire and retrospective interview. Through encoding actions of individual designers by means of their maps in the computational tool, the study yields significant results in revealing differing thinking maps of different designers which have been used to propose a general creative thinking map of concept generation in Black Box presented in a way to be adapted for further studies. Moreover, the study provided insight on the methods used to assist creativity in concept generation by different designers, on the selection of inspirational material and on the integration of analogies as knowledge transformers to evoke design concepts.

Lietuvai įsitvirtinant Vakarų Europos erdvėje, vienas svarbiausių švietimo tikslų tampa visuomenės kūrybinių galių stiprinimas. Muzikinis ugdymas kūrybiškumo plėtotei turi ypač palankias sąlygas. Kompleksinis muzikinių veiklų, kuriose gali būti plėtojamas kūrybiškumas, taikymas nėra naujiena bendrojo lavinimo mokyklų muzikos pamokoms. Tačiau muzikos mokyklose mokant groti muzikos instrumentu, tradiciškai didžiausias dėmesys yra kreipiamas tik į reproduktyvų muzikos atlikimą. Todėl, nepakankamas dėmesys kūrybiškumo plėtotei muzikiniame ugdyme, šiame darbe apibrėžiamas kaip problema. Šis mokslinis tiriamasis darbas – tai galimybė išbandyti kūrybiškumo skatinimo galimybes muzikos instrumento pažinimo pamokose, integruojant visas 3 muzikines veiklas: muzikos improvizavimą – komponavimą; muzikos klausymą – vertinimą ir muzikos atlikimą – interpretavimą. Tyrimo objektas – kūrybiškumo plėtotė muzikiniame ugdyme. Šio darbo tikslas - atskleisti kūrybiškumo plėtotės galimybes individualiose muzikos instrumento pažinimo pamokose. Siekiant tikslo numatyti šie uždaviniai: 1. Atskleisti kūrybiškumo sampratą ir jo svarbą šiandieninėje visuomenėje; 2. Išryškinti kūrybiškumą ugdančius veiksnius ir plėtotės būdus muzikiniame ugdyme; 3. Parengti teoriškai pagrįstą priemonių sistemą, skatinančią kūrybiškumą instrumento pažinimo pamokose; 4. Įvertinti kūrybiškumą plėtojančių priemonių sistemos efektyvumą mokinių kūrybinei raiškai; 5. Parengti praktines- metodines rekomendacijas muzikos... [toliau žr. visą tekstą] / As Lithuania is consolidating in the space of Western Europe, the reinforcement of society’s creative powers is becoming one of the most important objectives of education. Musical development has particularly favourable conditions for the development of creativeness. The application of combined musical activities, where creativeness can be developed, is not a new thing in music lessons at secondary schools. However, at music schools, when teaching to play a musical instrument, the greatest attention is traditionally paid only to the reproductive performance of music. Therefore the insufficient attention to the development of creativeness in musical training is defined as a problem in this paper. This paper deals with the opportunity to try the possibilities of the stimulation of creativeness in the lessons of the perception of a musical instrument, integrating all the 3 musical activities, i.e. music improvisation-creation; listening to music-evaluation and the performance of music – interpretation. The object of this study is the development of creativeness in musical training. The objective of this paper is to reveal the possibilities of the development of creativeness in individual lessons of the perception of a musical instrument. In order to achieve this objective, the following tasks are planned: 1. to reveal the apprehension of creativeness and its importance in today’s society; 2.to show the factors that develop creativeness and the ways of creativeness development in... [to full text]

World-wide research has shown that educators are suffering physical as well as psychological symptoms because of their experiences in their school environment. A large body of legislation, including the Bill of Rights, general and education legislation protect the rights of educators to working conditions which are safe and healthy. It seems clear from the literature that protecting the security of the educator implies the inclusion of psychological security. One of the aims of this research was to establish to what extent legislation succeeds in protecting the psychological security of educators at school. The study showed that although a large body of legislation exists, a lacuna exists in the application of this legislation. Furthermore, the research showed that educators are not experiencing this protection in actuality, are suffering several stress symptoms and are generally not aware of the rights which should protect them. The findings revealed that learner discipline and work overload were experienced as the main causes of psychological insecurity for participating educators. During the research it was investigated whether the development of creative skills could enhance the ability of educators to cope with the psychological insecurities in their workplace. Further aims of the study were to design a theoretical creativity development model and to determine the characteristics of an effective programme to enhance workplace psychological security in education. The literature and findings revealed that creativity programmes which could inter alia enhance attitude and general health should include aspects such as problem solving processes, the development of positive attitudes and the enhancement of the psychological work environment. The study also includes the design of a creativity programme which can be applied in the participating and similar schools in order to develop creativity skills which may be able to assist educators to cope more effectively in their work environment. / Thesis (Ph.D. (Education))--North-West University, Potchefstroom Campus, 2009.

World-wide research has shown that educators are suffering physical as well as psychological symptoms because of their experiences in their school environment. A large body of legislation, including the Bill of Rights, general and education legislation protect the rights of educators to working conditions which are safe and healthy. It seems clear from the literature that protecting the security of the educator implies the inclusion of psychological security. One of the aims of this research was to establish to what extent legislation succeeds in protecting the psychological security of educators at school. The study showed that although a large body of legislation exists, a lacuna exists in the application of this legislation. Furthermore, the research showed that educators are not experiencing this protection in actuality, are suffering several stress symptoms and are generally not aware of the rights which should protect them. The findings revealed that learner discipline and work overload were experienced as the main causes of psychological insecurity for participating educators. During the research it was investigated whether the development of creative skills could enhance the ability of educators to cope with the psychological insecurities in their workplace. Further aims of the study were to design a theoretical creativity development model and to determine the characteristics of an effective programme to enhance workplace psychological security in education. The literature and findings revealed that creativity programmes which could inter alia enhance attitude and general health should include aspects such as problem solving processes, the development of positive attitudes and the enhancement of the psychological work environment. The study also includes the design of a creativity programme which can be applied in the participating and similar schools in order to develop creativity skills which may be able to assist educators to cope more effectively in their work environment. / Thesis (Ph.D. (Education))--North-West University, Potchefstroom Campus, 2009.

In recent years, there has been a strong interest in developing Creativity Support Tools for many exciting areas of research such as art and music. Yet few such tools have been developed to support creativity in advertising. This is unusual since advertising, like art and music, is a highly creative endeavour of the human mind. The goal of advertising is to transform a communicational objective of a product or a service into a creative idea. A tool that would enhance the development of creative ideas in advertising would be highly beneficial for the advertising industry and possibly shed light on the mystery behind creativity. In this thesis, I developed Creative Pad, a new Creativity Support Tool to assist advertising creative in generating creative ideas for advertising. In developing Creative Pad, I studied advertising creativity and human creative thinking. I developed a framework for analysing the advertising process, in which the process is viewed as having three distinct phases: a message, an idea, and an execution. A significant implication of this view is that the process for developing ideas for new advertisements and the process of executing those ideas and turning them into creative products are independent. Each step is the result of a significant creative process. Creative Pad is developed to assist in the development of creative ideas for new advertisements. To assist this creativity, relevant triggers are needed. Research has shown that individuals with high associative skills produce more creative advertising. Creative Pad supports the associative skills of the advertising creative and exploits the use of the Internet as a dynamic database. It finds words and sentences related to the original communicational objective, providing relevant triggers for the associative creative process in the minds of the advertising creative. Several experiments using Creative Pad were conducted with advertising creative and students with no advertising background. The results show that Creative Pad supports the generation of new ideas in two ways. First, and most important, all the subjects were able to develop interesting new ideas. In particular, the advertising creative were able to design a sketch of the advertisement from ideas generated using Creative Pad. Second, I was able to find a connection between the triggers, the words and sentences selected by the user during the creative process, and the ideas generated. Although the connection might be considered a weak one, it nonetheless demonstrates that a connection exists between the ideas developed by the advertising creative and those suggested by Creative Pad.

No ambiente organizacional, o fenômeno criatividade é resultado da interação de fato-res. Cultura organizacional, disponibilidade de recursos, expertise, liderança, motivação, estratégia, formação de grupos, são exemplos de fatores que exercem influência sobre a criatividade nas organizações. Este trabalho teve por objetivo identificar e organizar nos níveis de indivíduo, de grupo e organizacional os fatores que exercem influência sobre a criatividade no ambiente das organizações. O presente estudo foi elaborado com caráter exploratório e pretendeu ampliar o entendimento do fenômeno criatividade em empresas brasileiras. Os fatores foram identificados a partir de revisão de literatura e questionados por meio de ferramenta quantitativa a fim de coletar a experiência e opinião de profissi-onais de organizações brasileiras reconhecidas por sua capacidade inovadora. O estudo de campo realizado confirmou a importância de cada um dos fatores o que permitiu a construção de um conjunto coerente de fatores que influenciam a criatividade no ambi-ente das organizações. Demonstrou-se ainda por meio dos resultados obtidos, que, con-forme a organização, podem ocorrer ênfase em alguns fatores e redução da importância de outros. Desta forma, considera-se que a consolidação dos fatores em uma estrutura possibilita a elaboração de ações com objetivo de desenvolver e incrementar o potencial criativo das empresas. / Creativity, within the organization environment, is a result from the interaction of sev-eral factors such as organizational culture, resources availability, expertise, leadership, motivation, strategy and group formation. This work did aim to identify and organize these factors in individual, group and organization levels. It was conducted as an ex-ploratory study intending to boost organizational creativity understanding in Brazilian companies. Factors identified in the literature were checked against Brazilian innovation professionals of well-known organizations through quantitative interviews. The research data did corroborate the factor’s importance making possible to build a structure of the factors that influence creativity in organizational context. The results have also demon-strated that there is alternation of importance of these factors according to the organiza-tion profile. As a result is possible to say that having a factor’s structure enable organi-zations to improve their creative potential.

Creativity is a phenomenon of human behaviour whereby new and useful things are produced. The products of creativity can be tangible, such as a painting or item of clothing, or they can be intangible, such as an idea or theory. Psychologists recognize that creativity does not exist in a vacuum; instead it is the result of the complex interaction of numerous factors. These factors are both intrinsic and extrinsic. Intrinsic factors relate to inherent aspects of the individual, such as cognitive capability, motivation, and emotional state. Extrinsic factors include environmental influences, such noise, distraction, and social interaction. Certain extrinsic factors also influence intrinsic factors; for example, social interaction, which is extrinsic, can improve mood, which is intrinsic. Organisational psychologists and business researchers have in recent years explored the ways in which the creativity of an individual in a workplace setting is influenced by their environment. The authors of this study have continued that line of research, by performing a qualitative exploratory study into how the business incubator environment influences the creativity of startup employees. Business incubators, organisations that provide office space and development resources to early-stage firms, typically represent themselves as “creative environments” in which creativity can thrive. The researchers conducted in-depth interviews with employees of four different startup companies in two different incubators in Northern Sweden, in order to gauge their experiences of how the incubator environment affected their self-perceived creativity. This study yielded interesting results that to a large degree corroborated extant research, while also raising exciting question for future research. The authors, combining the findings of their study with theories identified in a comprehensive literature review of creativity research, present a conceptual model of creativity in incubators. The model categorises the observed environmental influences of creativity into higher-order and lower-order themes, and discusses the ways in which they affect not just creativity but also each other. The higher order themes are pressure and challenge, affect, and knowledge. The lower order themes are distractions, social interaction, and positive interaction as a reward for creative behaviour. Approach to ideas operates as a mediating theme that influences the relationship between social interaction and knowledge. Business incubators may benefit from the findings and conclusions of this study, as they provide suggestions on how the incubator environment may be modified to better serve the creative needs of their tenants. The relevance of these findings is not limited, however, solely to incubators. Many organisations and institutions recognize the value of creativity, and may be interested to learn of the ways in which the environment interacts with this complex yet crucial phenomenon. Companies, innovators, entrepreneurs, and universities are but a sample of those who might gain from the new perspectives on creativity that this thesis presents.

Made available in DSpace on 2015-05-07T15:08:10Z (GMT). No. of bitstreams: 1 parte1.pdf: 2270534 bytes, checksum: 7391183484cd5cb3b40642d5fb4b2f07 (MD5) Previous issue date: 2008-08-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Creativity has been object of interest of researchers in many branches of knowledge. However, it was only since the 1950's, with Jean P. Guilford, that creativity became an important concept related to the human capacity of thinking, deciding and producing. Until that moment, it was associated to imagination, divine myths, madness signs, witchcraft, or even to the particularity of the high intelligence of scholars. Nowadays the new technology, which challenges human capacity of solving problems quickly, is driving the discussion about creativity and creative action to the center of human affairs. In this contribution, creativity was (re)defined as part of the popular education. The start point was to show the existence of a singularity when creativity is related to popular education; and the finish one was to demonstrate that creativity in popular education needs a kind of liberating creativity. To do so, the theoretical diversity of creativity, popular education, the grounds and principles that delimit the mediator instrument of social transformation were discussed. In this context two issues emerged: Creativity with Paulo Freire and Creativity in popular education, extracted from the Associação Nacional de Pós-Graduação e Pesquisa (ANPEd/GT-06). The first one, because it is part of the ideas that led to the origin of popular education; the second one, because of the scientific representativeness as a forum of discussion about education. The way chosen, as an expression of the dialectic method grounded in Marx perspective, followed a triple movement of theoretical construction, stimulated by the interpretation of Limoeiro Cardoso (1990): a) a real (concrete) way to the abstraction; b) the advance in the abstraction field to new abstractions, without disconsidering the focus on the concrete; c) finally, from these abstractions, it is possible to recover the concrete, which may be called a thought concrete. During the research and the final considerations, it is possible to see that creativity does not delimit the political reason of the educational practice by itself, although it demands human work to create the epistemological, theoretical and philosophical limits, which will give the meaning to the relation of men and women with the world, turning the creative action into a more democratic or authoritarian practice. Therefore, it will be both men s and women s actions that will make the creative action more democratic or oppressive. In popular education, the ethical effort which may show solidarity to the human actions and the freedom of the people, needs the liberating creativity. / Criatividade tem sido objeto de interesse de pesquisadores(as) nas várias áreas de conhecimento. Contudo, foi a partir dos anos 1950, com Jean P. Guilford, que criatividade ganhou relevância condicionada à capacidade humana de pensar, decidir e produzir. Até então esteve associada à imaginação, aos mitos divinos, aos sinais de loucura, às práticas de bruxaria, ou mesmo à particularidade de gênios detentores de alta-inteligência. Atualmente, as novas tecnologias, desafiando a capacidade humana de resolver problemas em alta-velocidade e redes complexas, têm trazido para o centro das relações humanas o debate sobre criatividade e ação criativa. No caso desta pesquisa, criatividade foi (re)significada como constituinte da educação popular. O ponto de partida, mostrar que há uma singularidade quando se pensa criatividade em educação popular. O de chegada, demonstrar que criatividade em educação popular pressupõe criatividade libertadora. Para tanto se percorreu pela diversidade teórica de criatividade e pelas trilhas da educação popular, dos fundamentos e princípios que a delimitam instrumento mediador da transformação social. Neste contexto, dois temas emergiram: Criatividade com Paulo Freire e Criatividade em educação popular, um recorte a partir da Associação Nacional de Pós-Graduação e Pesquisa (ANPEd/GT-06). O primeiro por se tratar de pensamento que deu origem à educação popular, o segundo pela representação científica como fórum privilegiado das discussões atualizadas em educação. O caminho seguido, como expressão do método dialético fundamentado na perspectiva marxiana, seguiu um triplo movimento de construção teórica, estimulado pela interpretação de Limoeiro Cardoso (1990): a) um caminho do real (concreto) para a abstração; b) o avanço no campo da abstração para novas abstrações, sem perder o concreto em análise; c) finalmente, dessas abstrações, recuperando-se o novo concreto, ou, o concreto pensado. No decorrer da pesquisa e em suas considerações finais, pode-se perceber que criatividade não delimitando a razão política da prática educativa por si mesma, exige a força de trabalho humana para criar os limites epistemológicos, teórico-filosóficos que vão atribuir sentidos às relações de homens e mulheres com o mundo, tornando a ação criativa uma prática mais democrática ou mais autoritária. Portanto serão as atitudes de homens, de mulheres que tornarão a ação criativa uma prática mais libertadora ou mais opressora. Em educação popular, o esforço ético que solidariza as práticas humanas à libertação das gentes, pressupõe criatividade libertadora.

No ambiente organizacional, o fenômeno criatividade é resultado da interação de fato-res. Cultura organizacional, disponibilidade de recursos, expertise, liderança, motivação, estratégia, formação de grupos, são exemplos de fatores que exercem influência sobre a criatividade nas organizações. Este trabalho teve por objetivo identificar e organizar nos níveis de indivíduo, de grupo e organizacional os fatores que exercem influência sobre a criatividade no ambiente das organizações. O presente estudo foi elaborado com caráter exploratório e pretendeu ampliar o entendimento do fenômeno criatividade em empresas brasileiras. Os fatores foram identificados a partir de revisão de literatura e questionados por meio de ferramenta quantitativa a fim de coletar a experiência e opinião de profissi-onais de organizações brasileiras reconhecidas por sua capacidade inovadora. O estudo de campo realizado confirmou a importância de cada um dos fatores o que permitiu a construção de um conjunto coerente de fatores que influenciam a criatividade no ambi-ente das organizações. Demonstrou-se ainda por meio dos resultados obtidos, que, con-forme a organização, podem ocorrer ênfase em alguns fatores e redução da importância de outros. Desta forma, considera-se que a consolidação dos fatores em uma estrutura possibilita a elaboração de ações com objetivo de desenvolver e incrementar o potencial criativo das empresas. / Creativity, within the organization environment, is a result from the interaction of sev-eral factors such as organizational culture, resources availability, expertise, leadership, motivation, strategy and group formation. This work did aim to identify and organize these factors in individual, group and organization levels. It was conducted as an ex-ploratory study intending to boost organizational creativity understanding in Brazilian companies. Factors identified in the literature were checked against Brazilian innovation professionals of well-known organizations through quantitative interviews. The research data did corroborate the factor’s importance making possible to build a structure of the factors that influence creativity in organizational context. The results have also demon-strated that there is alternation of importance of these factors according to the organiza-tion profile. As a result is possible to say that having a factor’s structure enable organi-zations to improve their creative potential.