In this dissertation I seek to answer the research question of who are those people that have the ability and motivation to facilitate other people’s creative thinking. Actors who are in the creator’s social environment, such as her coworkers and family members, can potentially enhance the creator’s level of creativity. Although these contacts can be active collaborators of the creator’s thinking processes and can eventually have a significant impact on organizational creativity, so far their role in organizational life has been overlooked by researchers. Consequently, in my dissertation I develop a theory of “creativity catalysts”, and define a creativity catalyst as an employee who helps to improve the usefulness and novelty (i.e. creativity) of the ideas and products produced by another employee (i.e. the creator) through direct interpersonal interaction with the creator. I examine two aspects of serving as a catalyst to another’s creativity: the intensity of a creativity catalyst’s contribution and the span of a creativity catalyst’s contribution. Intensity of contribution is conceptualized as the extent to which the creativity catalyst can improve the output generated by the creators to be more novel and useful. Span on the other hand, is the number of people that perceive an individual as a catalyst for her own creative performance. To answer the research question, I develop and empirically test a theory of creativity catalysts by integrating a social capital theory lens (i.e. structural social capital and relational social capital) with a stable motivational orientation (i.e., learning goal orientation). First, I argue that a catalyst’s relational social capital (i.e., quality of relationships with her coworkers) in the organizational communication network determines her motivation to take the role of a creativity catalyst. Second, I argue that the catalyst’s structural social capital (i.e., the extent to which she can connect with the disconnected others in her network structure) underlines her ability to contribute to others’ creativity. Integrating these two arguments, I hypothesize that the catalyst’s relational social capital (i.e., the motivation to become a creativity catalyst) interacts with her structural social capital (i.e., the ability of a creativity catalyst) in predicting both the intensity and span of the catalyst’s contribution to her coworkers’ creativity. Second, I hypothesized that learning goal orientation, a stable motivational orientation, interacts with the situational motivational characteristic of relational social capital in predicting both the span and intensity of a catalyst’s contribution to her coworkers’ creativity. To test my hypotheses, I first ran a pilot study on a sample of full-time MBA students in order to validate the creativity catalyst measure; and then tested my hypothesized model on employees from two companies, using multiple data sources over multiple phases of data collection. Consequently, I found support for both of these interaction hypotheses on the intensity and span of a creativity catalyst’s contribution to her coworkers’ creativity. Theoretical and practical implications of these findings, and future research directions are discussed.

The use of examples in idea generation is a common practice intended to provide inspiration from existing products to the designing of new ones. Examples can be taken from the Internet, engineering textbooks, analogical databases, literature, a company’s prior designs, or from a competitor company, prior work by the designer, and many other sources. These examples are represented in various ways, such as hand sketches, pictures, computer-aided designs (CAD), physical models, activity diagrams, shape grammars, text descriptions, etc. Design representations can also be broken down by function in the form of functional models and decompositions. The use of these visual or physical examples allows engineers to get a clearer picture of how a design or component works and enables them to have a better understanding of the overall design and function. Each representation has inherent advantages and disadvantages in the way that they portray a design. Examples are sources for analogies. Analogies from nature, where biological organisms have solved challenging problems in novel ways, are very useful in engineering idea generation and solution retrieval. This process is called biologically inspired design. Engineers often use biologically inspired design to solve problems while increasing creativity and expanding the solution space. Using this method, engineers are able to learn from nature and apply biological principles to real world engineering problems to make effective designs and produce innovative solutions. It is important to have a clearer understanding of how the use of the representations and characteristics of examples as external stimuli affect the idea generation process in engineering design. Understanding these processes will be invaluable in offering guidelines for how engineering design should be done and what types of external stimuli should be used to allow for innovation and creativity to be enhanced. This dissertation presents four studies that focus on understanding ways that examples can be used to improve the idea generation process. Three of these studies focus on how the representation of externally imposed examples, which may be used as analogues, influences creativity during idea generation while also minimizing design fixation, which occurs when designers adhere to the features of their own initial design solutions or to features of existing examples. The fourth study focuses on the use of examples as sources for analogical mapping and how these examples produce innovative solutions during idea generation. The first study compares CAD, sketch, and photograph representation presented individually. The second study compares CAD and sketch representation presented together, and the third study examines function tree and sketch representations. The fourth study looks at the real-world context and impact of examples used as sources for analogical mapping to inspire innovative solutions. The results of the studies show that CAD representations of good examples are effective in allowing engineers to identify the key working principles of a design and help to develop higher quality design concepts. CAD representations also cause more fixation to the example’s features. Function trees do not cause nor break fixation compared to a control condition, but do reduce fixation compared with sketches. Biological examples can be successfully used as analogues during engineering idea generation to create novel and effective design solutions to relevant and real-world engineering problems.

Abstract The purpose of this study was to examine the phenomenon of what arranging music in the large instrumental ensemble music setting came to mean to the teachers doing the arranging. Four secondary music teachers (N=4) were asked to create a musical arrangement for one of their school ensembles. Over a period of seven weeks, participants rehearsed their arrangement with their students. This study was guided by research on creative identity, the self, and various identity theories from the field of the social sciences. Data were collected by way of in depth semi-constructed interviews, field observations, and journals; and were analyzed Patton's phenomenological method (Patton, 2002). In analyzing the data, five major themes emerged: a) time and preparation, b) pre-service teacher training, c) educational/curricular design, d) professional development, and e) teacher/student relations. The findings suggest that participants created their arrangements with a focus on their students' needs and that arrangements were revised several times over the rehearsal phase of the study. They did not follow on particular teaching model, but rather a combination of teaching models to rehearse their arrangement. The act of arranging music opened new doors to learning for both the participants and their students. They appeared to have increased interactions during rehearsals and participants reported improved personal relations with their students. Participants seemed to find a balance between their teacher and musician identities by molding these identities together to create their music teacher identity. They also reported an increase in knowledge of musical instrument pedagogy.

Lewis Carroll's novels Alice's Adventures in Wonderland and Through the Looking Glass and What Alice Found There share many characteristics with the author's photographs. Both Carroll's portraits and literature utilize dreamlike imagery to move beyond the present time and space into a dream world. The similar imagery demonstrates an important creative link between Carroll's novels and photographs. The creation of Carroll's masterpiece, Alice's Adventures in Wonderland and its sequel, Through the Looking Glass and What Alice Found There, creatively depended on the photographic images Carroll produced. Utilizing the four step process of creativity generally accepted by psychologists, Carroll's photographs are examined alongside his texts. In doing so, modern readers of Carroll's novels can glimpse the creative process that produced Wonderland. To argue the creative relationship between Carroll's photography and literature, R. Keith Sawyer's 2006 text, Explaining Creativity: The Science of Human Innovation is employed. Sawyer describes creativity as a four step process: preparation, incubation, insight, and verification. Using these fours steps as reference points, passages from Alice's Adventures in Wonderland and Through the Looking Glass and What Alice Found There are examined alongside Carroll's photographs in order to demonstrate the creative importance of photography to the creation of the Alice novels.

Numerous researchers have explored the benefit of creative activities for the aging population diagnosed with dementia. However, there is a lack of data available to community administrators and organizers of senior residences about how successful aging may be enhanced, in the relatively healthy older adults, through their participation in creative art-making. Activities that provide mental stimulation, facilitate expression of emotions, and that are related to overall psychological well-being can provide a foundation for healthy aging. Accordingly, the purpose of this study was to explore older adults' subjective experience of engaging in creative artwork. The conceptual framework that guided this phenomenological study was based on Lazarus's cognitive-emotional-relational theory of emotions. The focus of the research questions was on the subjective experience of 10 older adults who participated in 7 weekly art sessions offered at a senior residence. Audiotaped interviews that were held after the last art-making session, together with participants' artwork and field notes, were analyzed, coded, and then categorized into themes. Results indicated the participants learned they can be creative, and that their images became a visual inroad to meaningful expression of emotions, insight, and motivation. The results point to evident social change when community organizers and administrators of senior residences increase activities for residents, especially meaningful activities designed to facilitate expression of emotions and insight during later life. Creative image-making activities can lead to continued learning, heightened social interactions, increased mental fitness, reduced depression, and enhanced healthy aging.

“After the group had played [improvisation] game[s]…colours became brighter, people and spaces seem of a different size, focus is sharper. Our normal thinking dulls perception…” Keith Johnstone (1979, pg. 131) Improvisation is considered to be both the process and product of creativity. It involves the creation of new ideas, on the spur of the moment that are novel and unplanned. Spontaneity, the ability to do something on the spot with no prior preparation is seen as a key element of improvisation and distinction in relation to creativity. The process of improvisation involves thinking in different ways and as a result, could influence our thought processes. It is important to note here that while we are interested in the process of improvisation, it is only possible to measure this through the product. The product is therefore seen as a direct outcome of the process of thinking that occurs during improvisation. It has been suggested that improvisation could relate to cognitive processes (Karakelle, 2009; Schmidt, Goforth & Drew, 1975; Scott, Harris & Rothe, 2001). This program of research therefore aims to identify the cognitive changes in relation to the process of improvisation. This is measured by looking at cognitive tasks pre and post improvisation. Several studies were therefore conducted investigating the effects of improvisation on various cognitive abilities, with a focus on differences between divergent and convergent thinking; (i) the Effect of Verbal Improvisation on Mood, Creativity and Cognition; (ii) verbal improvisation in relation to divergent and convergent thinking; (iii) dance improvisation in relation to divergent and convergent thinking; (iv) Divergent thinking; Differences among expert and novice improvisers and (v) length of Treatment; Cognitive effects following a shorter improvisation treatment length. As a result of the above experiments, results were extended to a clinical sample of Parkinson’s disease. An extensive investigation was also carried out investigating the scoring of method of the Alternative Uses Task (AUT; Guilford, 1957b). Furthermore, the level of cognitive load as a result of improvisation was investigated by observing gesture in improvisation. Taken together, results showed that after a series of verbal improvisation activities, participants improved in scores of divergent thinking tasks. However, this was not observed in scores of convergent thinking tasks. Issues surrounding reliability of the scoring method of the AUT were also discussed. However, this did not affect the consistency of the results observed in this program of research. A theory of schemas was applied to the process of improvisation as a result of the cognitive changes that occured, such that improvisation helps people think in more original and flexible ways by improving access to schemas and working memory.

This thesis reports research undertaken to explore a school community’s imaginings for secondary education for future generations. The research was designed to trouble the seemingly straightforward constructs of imagination and creativity, not merely to trace or audit their inclusion in the secondary curriculum, but rather to invite a secondary school community to put these constructs to work in exploring their imaginings and desires for good education 25-30 years ahead. The objectives used to structure the research involved: tracing the discourses of imagination and creativity in education curriculum policy; exploring a school community’s experiences and perceptions of secondary education; examining a school community’s imaginings for future secondary education; and exploring a school community’s desires for a future ‘curriculum for excellence’. The research was carried out during the development phase of Curriculum for Excellence (Scottish Executive 2004a) in Scotland which is explicit in its desire to provide opportunities for school communities to be/come imaginative and creative. This is not a new aspiration as imagination and creativity are familiar and enduring constructs in education. At a policy level the resurgence of interest in (imagination and) creativity is closely aligned to a desire for economic sustainability. The focus of my study is to explore how the concepts of imagination and creativity might become an impetus for the school community to think differently about good education for future generations. The study took place in a large comprehensive school community in a rural town in Scotland. Groups of participants, including pupils, parents, early-career teachers, mid-career teachers and school managers were drawn from across the school community. The method of data collection was adapted from Open Space Technology (Owen 2008) to provide an unstructured forum for participants to discuss their experiences and imaginings. A theoretical framework which offered a way of thinking differently about the data was devised from readings of concepts drawn from Deleuze (1995) and Deleuze and Guattari (2004) and used to analyse the school community’s perceptions, imaginings and desires. The findings suggest that whilst the new curriculum seems to open up a space for imagination and creativity the school community’s imaginings tend to be orientated to past experiences and/or closely aligned to the policy imaginary which appears to close down openings and opportunities for becoming. However there was a discernible desire in the school community for ‘good’ education in a fair and equitable system which appeared to be less narrowly focused on economic imperatives than that of the policy. I argue that there is a need for a new way of thinking about future education within current structures and systems which I have conceptualised as an ‘edu-imaginary interruption’. The thesis concludes with some reflections on the potential forms of such interruptions to impact on research and professional practice.

This study explores different understandings of culture and creativity in the Finnish urban policymaking. It focuses on the development project of Suvilahti, an old power plant that is transformed into work spaces of cultural producers. As a theoretical background it uses different approaches to culture-led urban development and asks whether a ‘creative policy gap’ exists in Helsinki’s cultural policymaking. By analysing the City of Helsinki’s strategies in the field of cultural policy and semi-structured interviews with a sample of cultural producers, the study finds that a ‘creativity gap’ exists between the understandings of different actors. While planners’ understanding is characterized by the neoliberal understanding of creativity, cultural producers mainly understand creativity through the value of cultural democratization. The study calls for a wider understanding of culture in urban policymaking that recognizes creative activities’ potential also in bringing well-being to the society and understands culture’s intrinsic value.

This dissertation introduces and illuminates the phenomenon of cultural brokerage-- the act of managing cross-cultural interactions in multicultural teams. Across four studies, I develop and test a theoretical model of cultural brokerage, using both qualitative and quantitative methods. I find that members of multicultural teams who have relatively more cross-cultural experience actively engage in cultural brokerage, even without being appointed to do so. Specifically, cultural insiders (those who have deep knowledge of the culture of the other members on the team) and cultural outsiders (those who have deep knowledge of multiple cultures other than the ones represented in the rest of the team) both engage in cultural brokerage, albeit in different ways. Insiders are more likely than outsiders to broker by directly resolving cultural issues; outsiders are more likely to broker by facilitating interactions. Both types of brokerage enhance team effectiveness. A key insight of this dissertation is that while cultural outsiders are generally perceived as being far less valuable than cultural insiders, they are actually equally effective in improving team performance, and even outperform insiders when it comes to enhancing certain aspects of team viability. This work contributes to the literatures on global teams, multicultural individuals, and creativity. In addition, it provides practical implications for effectively composing and managing multicultural teams.

Nowadays, creativity is crucial to implement for the success of companies. Meanwhile, directivity seems to have a very negative reputation in the first sight. The objective of this paper is to identify and present a situation of creativity during the implementation phase of a project where directivity is used. This study consists of two phases. The first one is the ambition to create a primary model based on the present theories which are namely creativity, implementation phase and directivity. The second phase then aspires to draw the potential connections with the help of a qualitative study led on five different projects managers. This should help refine the primary model which will also make it easier to understand such complex notion.