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In spite of the growing popularity of virtual worlds for gaming, recreation, and education, few studies have explored the efficacy of 3D immersive virtual worlds in post-secondary instruction; even fewer discuss the ability of virtual worlds to help young adults develop creative thinking. This study investigated the effect of virtual world education on creative thought for university level students. Over the course of two semesters, a total of 97 university students participated in this study. Forty-six of these participants (experimental group) spent time in a specially designed virtual world environment, the V.I.E.W., while 51 of the participants (control group) met exclusively in a real-world classroom. Creative thought was measured before and after the intervention with the Torrance Test of Creative Thinking Verbal Forms A and B. Although the experimental group's ending scores did not reach the level of the control group's scores, results showed overall statistically significant gains for the experimental group at p = .033. The experimental group also achieved greater gains in the subcategories of fluency and flexibility, with significance at p = .036 and p = .043, respectively. At the end of the course, independent raters measured the creativity expressed in student art critiques, using a scale developed for this study. No overall significant differences between groups were found in the art critiques, except in the category of spatial awareness, where the experimental group's scores were significantly higher than the control group's scores at p = .039. For both instruments, analysis of variance (ANOVA) was used to evaluate statistical data. Results suggest that immersive worlds can be at least as well suited as traditional university classrooms for developing creative thought—particularly in the context of art education. Implications for researchers, students, educators, and administrators are discussed.

In the past two decades, there has been an increased demand for more innovative individuals and organizations. In response to this need, a number of groups have begun to teach innovation courses to improve people's innovation skills. While many of these groups report success in helping people become more innovative, there is no way to test the effectiveness of the innovation courses. This study describes the development and initial validation of an innovation test instrument. It demonstrates how the author identified the content domain of the test and created test items. Then it describes initial validation testing of the instrument. This study found that this assessment is a good first step in creating an innovation assessment that covers more of the full process of innovation than previous tests. It still needs further validation and improvement to make strong claims about its ability to determine the effectiveness of an innovation course.

The aim of this study was to explore how flow theory could be applied to improve the process for completing an application process to a creative education program. This was done by first formulating an approach inspired by flow theory and characteristics that promotes creativity in digital tools. The question was then explored using research through design with the goal of formulating the aspects of the flow theory inspired approach as generative intermediate level knowledge in the form of guidelines. User centered design was applied during the design process, starting with an empathizing phase where fundamental information about the application process and the users was attained. It went on to explore design implementations based on the flow theory inspired approach during a workshop and then on to creating an interactive prototype which was evaluated by six participants, iterated and tested in a second user evaluation. The findings of the study implicate that incorporating the guidelines in the flow theory inspired approach could be helpful when designing supportive achievement-oriented environments. / Syftet med studien var att undersöka hur flow teorin kan implementeras i syfte att förbättra ansökningsprocessen till ett kreativt utbildningsprogram. Detta undersöktes genom att först formulera ett antal riktlinjer inspirerade av aspekter ur flow teorin samt faktorer som främjar kreativitet i digitala verktyg. Forskningsfrågan utvärderades genom en användarcentrerad designprocess, processen började med att förstå användarnas upplevelse och skolans mål med ansökningsprocessen. Under en workshop undersöktes det hur de framtagna riktlinjerna kunde appliceras i ett gränssnitt. Efter denna workshop påbörjades arbetet med att generera en prototyp som sedan utvärderades i ett användartest, itererades och utvärderades i ett andra användartest. Målet med designprocessen var att undersöka huruvida riktlinjerna som formulerats hade potential att användas som generella riktlinjer vid gränssnittsdesign. Resultaten från studien tyder på att riktlinjerna som formulerades har potential att skapa bättre, mer stöttande, upplevelser i prestationsinriktade miljöer.

In our today’s fast-paced and rapidly changing world, innovation became a crucial factor for economic growth and organizational effectiveness [35,37]. Several factors promoting innovation have been discussed in literature, mostly focusing on individual creativity as its main driver. However, the growing interdisciplinarity and complexity of today’s challenges urge for broader knowledge basis and specialized expertise at the same time [17]. This makes the creative potential of a single talent no longer sufficient enough to create the multidisciplinary novel solutions that are needed. Leading innovation companies such as Google have therefore shown that innovation results from a creative collective working together by combining everyone’s “slice of genius” [20:4]. Yet, research on Collective Creativity (CC) is still limited. Just as innovation or creativity itself, it is a process that does not happen automatically, but which needs to be supported and maintained. However, a holistic and comprehensive model of how such a collective creative environment can be promoted is still missing. Therefore, this study aims at analyzing the phenomena of CC in more detail by answering the research question of this studies: What are the factors that contribute to the development of Collective Creativity in an innovation-driven environment? On the basis of an extensive literature analysis, an integrative framework has been developed to identify the factors by which a creative collective environment is performed. Secondly, a multiple case study analysis of the two leading innovation companies Pixar Animation Studios and Volkswagen has been conducted to test the prior developed framework’s validity and refine it with in-depth insights from the field. Combining the findings of both analyses, a comprehensive exploratory framework has been developed that provides an overarching guideline of the factors that should to be considered when practicing CC. Besides the practical implications of this research for both, leadership and teamwork, it further contributes to an advanced understanding of this so far little researched phenomena and presents directions for future studies. / I dagens ständigt skiftande värld är innovation en avgörande faktor för ekonomisk tillväxt och organisatorisk effektivitet [35,37]. Flera faktorer som främjar denna innovation återfinns i litteraturen, främst inom området ’individuell kreativitet’ som den huvudsakliga drivkraften. Den växande tvärvetenskapen kräver dock en bredare kunskapsbas och specialkunskaper [17]. Detta gör den kreativa potentialen hos en enda talang inte längre tillräcklig för att skapa de tvärvetenskapliga romanlösningar som behövs. Ledande innovationsföretag som Google har därför visat innovationsresultat från ett kreativt kollektiv som genom att kombinera allas ”snitt av geni” [20:4]. Ändå är forskningen om kollektiv kreativitet (CC) fortfarande begränsad. Precis som innovation eller kreativitet i sig är det en process som behöver stödjas och underhållas. En heltäckande och övergripande modell för hur en sådan kollektiv kreativ miljö kan se ut saknas fortfarande [6]. Därför syftar denna studie till att analysera fenomenen (CC) mer detaljerat genom att svara på frågeställningen i dessa studier: Vilka är de faktorer som bidrar till utvecklingen av kollektiv kreativitet i en innovations drivande miljö? Genom en omfattande litteraturanalys har en integrerad ram utvecklats för att identifiera de faktorer genom vulkanen kreativ kollektiv miljö utförs. För det andra har har en flerfallstudieanalys av de två ledande innovationsbolagen Pixar Animation Studios och Volkswagen genomförts för att testa den tidigare utvecklande rammens validitet och förfina den med djupgående insikter från området. Genom att kombinera resultaten från båda analyserna har en omfattande undersökningsram utvecklats som ger en övergripande riktlinje över de faktorer som bör beaktas vid utförande av (CC). Förutom det praktiska konsekvenserna av denna forskning för både ledarskap och lagarbete bidrar det vidare till en avancerad förstående av det hittills otillräckligt undersökta fenomenet och ger vägledning för framtida studier.

This thesis explored the application of Media Synchronicity Theory and its potential for translating Critical Pedagogy (specifically Boal's Theatre of the Oppressed) into a computersupported collaborative work (CSCW) environment. It introduces the Maquina dos Oprimidos (Mados) prototype, a CSCW supplement to traditional asynchronous learning networks. Mados operates as a role-playing debate game, in which students debate a pre-selected prompt while performing assigned character roles. The study explores the prototype's potential to affect student's identification with their assigned character and personal attitude toward the prompt, as well as examining the effect of presence on students' performances. The study was performed with 38 8th grade students. Subjects debated a prompt which proposed a banning cell phones from classrooms. Results show that subjects collaboratively constructed solutions that compromised between both positions, while slightly favoring the antiban position. Results also show that subjects experienced gains in character identification after participating in the task regardless of assigned character, hinting at a separation between perceived similarity to characters and affinity for characters' position. The ability of subjects to defend their assigned character's position while inhabiting their own perspective, that of an 8th grade student, also hints at this separation. Additionally, results indicated correlations between subjects' control factors, a subset measure for presence, and total change in prompt agreement. Other positive correlation exist between subject's reprocessing attempts and task performance, as well as total presence and task performance

This dissertation argues that Digital Natives, rather than employing novel ways of thinking (such as those suggested by Walter Ong's concept of Second Orality), are in fact employing a way of thinking that has always existed: repurposing. Ruth Oldenziel discusses how, historically, women used "a kind of mental quality" enabling them to re-use objects in novel ways to accomplish more of life's tasks. My research led me to investigate how a wide variety of people, especially historically marginalized people, used this kind of mental quality. This dissertation explores repurposing's real world uses as well as its uses in narratives, specifically dystopia and apocalyptic narratives. Within these narratives, repurposing plays a similar role to repurposing in the real world, filling the gap between a survival mode of life and a science/technology driven society. The last part of this dissertation explores the place of repurposing among a myriad of current concepts concerning creativity.

This thesis proposes that architectural utopian ideas are the foundation for societal change. The communities that form from utopian ideas act as test sites for societal values on a microscale (Gondolf 1985). When communities work together on a utopian vision through dialogue, they avoid the pitfall of one person’s utopian vision being blanketed over the world (Schneekloth 1998). Utopian communities solve problems through experimentation that create different ways of living which act as visions that can provide hope (ibid). Ruth Levitas, author of The Concept of Utopia, defines utopia as “the expression of the desire for a better way of living” (Gizem Deniz Guneri 2019,155). In this thesis I articulate a framework for understanding utopian societies in sociological terms, as a place or idea created with clearly stated design principles. Utopian communities have clear boundaries and ideological principles that favor the wellbeing of the group above that of the individual (Gondolf 1985). Moreover, social mechanisms in the form of designed social conventions are the traits of successful utopian communities (ibid). The natural settings of utopian artists' retreats and craft schools contribute to creativity, community connection, and an increased appreciation for these natural settings. A comparison of four creative places, Black Mountain College (NC), Haystack Mountain School for Crafts (ME), Pilchuck Glass School (WA), and MacDowell (NH) are used to identify the positive characteristics of natural settings. Using these precedents and associated literature on utopian communities. I have collected a series of features that contribute to the ideal environmental, architectural, and organizational design practices of utopian communities. This thesis then employs a research through design methodology to illustrate and test these features through a single, prototypical project. The findings of this thesis include a list of opportunities and challenges presented by this project, which can be broadly applied to similar endeavors.

The current study examines the effects of idea generation technique (IGT), perceived organizational support (POS), associative problem-solving style (APS), bisociative problem-solving style (BPS), need for cognition (NFC) and satisfaction with idea generation (SJG) on idea generation in a team context. Previous brainstorming research has shown that more ideas are generated when a nominal group IGT is employed, when compared to an interactive IGT. However, the innovation literature suggests the opposite - that more ideas will be generated in an interactive context. To address this theoretical discrepancy, a strong inference approach was used to test competing hypotheses. Results suggest the interactive IGT is optimal for facilitating idea generation. Past research suggests that POS is positively related to idea generation. While the current study predicted this relationship, results indicated that there is a negative relationship between the two. Based on the literature, it was hypothesized that APS would be negatively related to idea generation, while BPS would have a positive affect on idea generation. Results partially supported this pattern in that the role of APS was supported while the effect of BPS was not significant. Past research has found that NFC is positively related to idea generation. This finding was not supported in the current study. NFC literature also suggests that NFC will have a positive effect on satisfaction with idea generation, as idea generation is a cognitive activity. Current results do not support this prediction. The current study also predicted that APS, BPS and NFC would indirectly affect idea generation through POS. Current results partially support this prediction as APS had a negative indirect effect on idea generation through POS. Past research suggests that SIG is significantly related to idea generation and that SIG will be greater for the interactive IGT, when compared to its nominal counterpart Current findings only support this latter prediction as idea generators reported being more satisfied with the interactive IGT than with the nominal IGT. Current results indicate that SIG is not related to idea generation. Possible explanations for current results, implications for past research, caveats for application and suggestions for future research are discussed. / Ph. D.