This diploma thesis deals with the creativity and the options of its development. Creativity is part of everyday human life. The prosperity of any business organization depends on its innovative capabilities. The main source of innovation are company employees, especially those who raise most the creative potential of the company. A partial goal of this work is to theoretically describe the topic of creativity and its importance for business organization. Theoretical pieces of knowledge in area of creativity are followed by their practical application in concrete organization. The main objective of this thesis is to analyze the creative environment of the selected company. This company is a market leader in dairy products in the Czech Republic. Necessary informations to determine the strengths and weaknesses of the company in the area of creativity were obtained by the method of interview and questionnaire On the basis of received informations are suggested personal recommendations to the company.

<p>Sammanfattning</p><p>Studien undersökte hur ledarskap och gränslöshet i arbetsförhållanden påverkade kreativiteten på fem svenska reklambyråer respektive fem svenska kulturskolor. Deltagarna angav i vilken utsträckning 61 påståenden stämde med deras upplevelse av gränslöshet rörande arbetet respektive sin chefs ledarbeteenden. Ledarbeteenden togs upp som, baserat på tidigare forskning, gynnar kreativitet. Arbetsplatsens kreativitet självskattades. Två frågor med öppna svar belyste faktorer som påverkat kreativiteten positivt respektive negativt. Statistisk analys visade positiv korrelation mellan ledarskap och kreativitet, ingen korrelation mellan gränslöshet och kreativitet. De öppna svaren analyserades kvalitativt vilket belyste gränslöshetens inverkan både positivt och negativt på kreativitet samt samverkan med ledarskapet. Sambandet åskådliggjordes i ”Gränslöshet-Strukturmodellen” som introduceras i studien. Resultatet bidrar till djupare förståelse för gränslöshetens inverkan på kreativitet på moderna arbetsplatser. I övrigt bekräftades tidigare forskning om faktorer som gynnar kreativitet.</p> / <p>Abstract</p><p>The study explored the influence of leadership behaviour and boundaryless work on creativity at five Swedish advertising agencies and five schools of art at compulsory level. The participants indicated to which extent 61 statements were in accordance with their experience of boundaryless work and the behaviour of their leader. Leadership behaviours benificial to creativity, validated through earlier research, was evaluated. Creativity was measured through self evaluation. Two openended questions surveyed factors that respectively influenced creativity positive and negative. Statistic analysis showed a positive correlation between leadership and creativity. No significant correlation between boundaryless work and creativity. A qualitative method of category analysis showed boundaryless work influence on creativity as both positive and negative and in cooperation with leadership behaviours. The study present the relation between boundaryless work and leadership behaviour through the ”Boundaryless-Structure model”. The result contributes to understanding how boundaryless work influence creativity in modern workingplaces. Remaining result confirmed earlier findings of factors benificial for creativity.</p>

Sammanfattning Studien undersökte hur ledarskap och gränslöshet i arbetsförhållanden påverkade kreativiteten på fem svenska reklambyråer respektive fem svenska kulturskolor. Deltagarna angav i vilken utsträckning 61 påståenden stämde med deras upplevelse av gränslöshet rörande arbetet respektive sin chefs ledarbeteenden. Ledarbeteenden togs upp som, baserat på tidigare forskning, gynnar kreativitet. Arbetsplatsens kreativitet självskattades. Två frågor med öppna svar belyste faktorer som påverkat kreativiteten positivt respektive negativt. Statistisk analys visade positiv korrelation mellan ledarskap och kreativitet, ingen korrelation mellan gränslöshet och kreativitet. De öppna svaren analyserades kvalitativt vilket belyste gränslöshetens inverkan både positivt och negativt på kreativitet samt samverkan med ledarskapet. Sambandet åskådliggjordes i ”Gränslöshet-Strukturmodellen” som introduceras i studien. Resultatet bidrar till djupare förståelse för gränslöshetens inverkan på kreativitet på moderna arbetsplatser. I övrigt bekräftades tidigare forskning om faktorer som gynnar kreativitet. / Abstract The study explored the influence of leadership behaviour and boundaryless work on creativity at five Swedish advertising agencies and five schools of art at compulsory level. The participants indicated to which extent 61 statements were in accordance with their experience of boundaryless work and the behaviour of their leader. Leadership behaviours benificial to creativity, validated through earlier research, was evaluated. Creativity was measured through self evaluation. Two openended questions surveyed factors that respectively influenced creativity positive and negative. Statistic analysis showed a positive correlation between leadership and creativity. No significant correlation between boundaryless work and creativity. A qualitative method of category analysis showed boundaryless work influence on creativity as both positive and negative and in cooperation with leadership behaviours. The study present the relation between boundaryless work and leadership behaviour through the ”Boundaryless-Structure model”. The result contributes to understanding how boundaryless work influence creativity in modern workingplaces. Remaining result confirmed earlier findings of factors benificial for creativity.

Today scholars give particular emphasis to creativity. A definite part of scholarship inquiring particularly into the problem of human creative power covers a wide range of aspects of training for creative thinking. The present work seeks to explore the chances of fostering the cognitive and the personality components of creativity in university students. Creativity means one’s ability to perceive a problem and to generate new ideas, or to think independently and deal quickly and easily with a problem situation, or to find an original way of solving a problem, or to create novel things (Guilford, 1968b; Torrance, 1974; Sternberg, O’Hara, 1999; Sternberg et al., 2005). Ability to think creatively depends not only on one’s knowledge and skills. Rather, it is determined by one’s special ability to distinguish a problem, and to utilise, speedily and in multiple ways, information contained in tasks one has been set (Guilford, 1968; Torrance, 1962). Research outlined in the present dissertation is based on theoretical assumptions advanced by cognitive (J. P. Guilford, E. P. Torrance), humanistic, and Gestalt psychology. The present work regards divergent thinking as a cognitive component of human creative power. Divergent thinking parameters covered by the present research include the fluency, the flexibility, and the originality of thinking. Thus, this particular aspect of creativity is highlighted in this work in order to verify the chances of training for divergent thinking by... [to full text]

Creativity is highly sought after in our society, but that is far from obvious what is really meant by it. Many researchers in the field of creativity stress the lack of clarity, and it is described as a divided felt. The aim of this thesis is to clarify the meaning structure of the phenomenon of creativity, i.e. those distinguishing features that together form the experience of creativity.  The individual’s experience of creativity is studied in two different contexts, individually and in-group collaboration. The research object is adult people’s experience of creativity in its natural expression in the everyday world. Data have been collected from open interviews, and is constituted of descriptions of a particular situation when the participants experienced creativity. The results consist of the meaning structures for the phenomenon of being creative individually respectively in-group collaboration. In the analysis it has emerged that the creative process is both creating meaning and producing a product at the same time. The three main distinguishing features of the experience of creativity are: 1) an experienced discrepancy between the existing and the possible; 2) a special alertness that surfaces during the creating; 3) a progression which occurs under the process and cannot be completely ruled. The creative process includes thoughts, acts, feelings, body, material and communicative processes; and it results in new knowledge, a new approach, a change in emotion and new constituted gestalts. The experience of creativity individually and in-group collaboration is different, among other things, in that the later is more complex, and that the group makes extra efforts to deal with the higher complexity.

Denna studie syftar till att undersöka kreativitetens betydelse och vilka förutsättningar som skapar kreativitet för att lindra arbetarnas stress och hur det kan förbättra deras hälsa. Detta görs för att underlätta arbetet för både ledarna, medarbetarna och främst av allt uppnå till en bättre hälsa inom organisationen. / This study aims at examining the importance of creativity and the conditions that create creativity to relieve the stresses of workers and how it can improve their health. This is done to facilitate the work of both leaders, employees and, above all, to achieve a better health within the organization.

Denna studie syftar till att undersöka kreativitetens betydelse och vilka förutsättningar som skapar kreativitet för att lindra arbetarnas stress och hur det kan förbättra deras hälsa. Detta görs för att underlätta arbetet för både ledarna, medarbetarna och främst av allt uppnå till en bättre hälsa inom organisationen. / This study aims at examining the importance of creativity and the conditions that create creativity to relieve the stresses of workers and how it can improve their health. This is done to facilitate the work of both leaders, employees and, above all, to achieve a better health within the organization.

abstract: With the rapid growth of mobile computing and sensor technology, it is now possible to access data from a variety of sources. A big challenge lies in linking sensor based data with social and cognitive variables in humans in real world context. This dissertation explores the relationship between creativity in teamwork, and team members' movement and face-to-face interaction strength in the wild. Using sociometric badges (wearable sensors), electronic Experience Sampling Methods (ESM), the KEYS team creativity assessment instrument, and qualitative methods, three research studies were conducted in academic and industry R&D; labs. Sociometric badges captured movement of team members and face-to-face interaction between team members. KEYS scale was implemented using ESM for self-rated creativity and expert-coded creativity assessment. Activities (movement and face-to-face interaction) and creativity of one five member and two seven member teams were tracked for twenty five days, eleven days, and fifteen days respectively. Day wise values of movement and face-to-face interaction for participants were mean split categorized as creative and non-creative using self- rated creativity measure and expert-coded creativity measure. Paired-samples t-tests [t(36) = 3.132, p < 0.005; t(23) = 6.49 , p < 0.001] confirmed that average daily movement energy during creative days (M = 1.31, SD = 0.04; M = 1.37, SD = 0.07) was significantly greater than the average daily movement of non-creative days (M = 1.29, SD = 0.03; M = 1.24, SD = 0.09). The eta squared statistic (0.21; 0.36) indicated a large effect size. A paired-samples t-test also confirmed that face-to-face interaction tie strength of team members during creative days (M = 2.69, SD = 4.01) is significantly greater [t(41) = 2.36, p < 0.01] than the average face-to-face interaction tie strength of team members for non-creative days (M = 0.9, SD = 2.1). The eta squared statistic (0.11) indicated a large effect size. The combined approach of principal component analysis (PCA) and linear discriminant analysis (LDA) conducted on movement and face-to-face interaction data predicted creativity with 87.5% and 91% accuracy respectively. This work advances creativity research and provides a foundation for sensor based real-time creativity support tools for teams. / Dissertation/Thesis / Ph.D. Computer Science 2011

abstract: For the past three decades, the design of an effective strategy for generating poetry that matches that of a human’s creative capabilities and complexities has been an elusive goal in artificial intelligence (AI) and natural language generation (NLG) research, and among linguistic creativity researchers in particular. This thesis presents a novel approach to fixed verse poetry generation using neural word embeddings. During the course of generation, a two layered poetry classifier is developed. The first layer uses a lexicon based method to classify poems into types based on form and structure, and the second layer uses a supervised classification method to classify poems into subtypes based on content with an accuracy of 92%. The system then uses a two-layer neural network to generate poetry based on word similarities and word movements in a 50-dimensional vector space. The verses generated by the system are evaluated using rhyme, rhythm, syllable counts and stress patterns. These computational features of language are considered for generating haikus, limericks and iambic pentameter verses. The generated poems are evaluated using a Turing test on both experts and non-experts. The user study finds that only 38% computer generated poems were correctly identified by nonexperts while 65% of the computer generated poems were correctly identified by experts. Although the system does not pass the Turing test, the results from the Turing test suggest an improvement of over 17% when compared to previous methods which use Turing tests to evaluate poetry generators. / Dissertation/Thesis / Masters Thesis Computer Science 2016

Made available in DSpace on 2014-12-17T14:53:17Z (GMT). No. of bitstreams: 1 MarcelaSGF_DISSERT.pdf: 4058741 bytes, checksum: b2317f25e59f7736d3520d838395e8f4 (MD5) Previous issue date: 2014-12-02 / Creativity is a skill found in all individuals and one of the strategies used to intensify it is through the application of creativity techniques. In order to propose a new technique for generating new crafts product ideas, this dissertation, which is part of a research project of the Federal University of Rio Grande do Norte, through action research, intervened in three state communities artisans - Lajes Pintada, Massaranduba and Vera Cruz - to develop the artisans creative potential. Based on the techniques studied in the literature, we selected three techniques for interventions, composing two dynamics - one to improve features and functionalities of existing products, with the technique of SCAMPER; and the other to generate ideas for creating new products, with techniques Listing and Random Words / Figures. These latter techniques were not satisfactory in its objective by presenting constraints, not covered in the description, for the participant group. Thus, it was necessary to propose a new technique for the same purpose, the technique CREATION Clarify technique, Realized creativity, Explain, Apply for word, Think fast, Interpret, Organize ideas, Now evaluate, composed of twelve steps. To use the new technique requires that it be used by a dynamic that takes into account three phases: Planning, Application and Analysis. In the new technique application were generated around 30 ideas, regarded as new, in six sessions, from test pilot to interventions in artisans communities / A criatividade ? uma habilidade presente em todos os indiv?duos e uma das estrat?gias utilizadas para potencializ?-la ? por meio da aplica??o de t?cnicas de criatividade. Com o objetivo de propor uma nova t?cnica para gera??o de ideias de novos produtos artesanais, esta disserta??o, que faz parte de um projeto de pesquisa da Universidade Federal do Rio Grande do Norte, por meio de uma pesquisa-a??o, interveio em tr?s comunidades artes?s do estado Lajes Pintada, Massaranduba e Vera Cruz a fim de desenvolver o potencial criativo das artes?s. A partir das t?cnicas estudadas na literatura, foram selecionadas para as interven??es tr?s t?cnicas, compondo duas din?micas uma para melhorar caracter?sticas e funcionalidades dos produtos existentes, com a t?cnica do SCAMPER; e a outra para gerar ideias para cria??o de novos produtos, com as t?cnicas Listing e Palavras/Figuras Aleat?rias. Essas ?ltimas t?cnicas n?o foram satisfat?rias em seu objetivo por apresentarem restri??es, n?o contempladas em sua descri??o, para o grupo participante. Assim, foi necess?ria a proposi??o de uma nova t?cnica com a mesma finalidade, a t?cnica CREATION Clarify technique, Realized creativity, Explain, Apply for word, Think fast, Interpret, Organize ideas, Now evaluate, composta por doze etapas. Para aplica??o da nova t?cnica requer-se que seja utilizada mediante uma din?mica que leva em considera??o tr?s fases: Planejamento, Aplica??o e An?lise. Na aplica??o da nova t?cnica foram geradas em torno de 30 ideias, consideradas novas, em seis sess?es, do teste piloto ?s interven??es nas comunidades artes?s