Informacinių technologijų, rinkos ekonomikos, globalizacijos amžiaus pamatas - žmogaus kūrybiškumas, tai jis lemia mokslo, verslo, technologijų, menų - visų žmogaus siekių - pažangą. Sportas nėra didžiausia, tačiau sparčiausiai auganti laisvalaikio industrijos sudedamoji dalis, todėl kūrybiškas, rezultatyvus sporto darbuotojų darbas įvardijamas kaip vienas svarbiausių šiandieninės sporto rinkos uždavinių. Čia išryškėja analizuotina problema – kokie veiksniai skatina sporto centro darbuotojų kūrybiškumą. Todėl šio darbo tikslas yra ištirti veiksnius, skatinančius Ukmergės sporto centro darbuotojų kūrybiškumą. Tyrimo uždaviniai: 1. Atskleisti teorinę kūrybiškumą skatinančių veiksnių sampratą. 2. Pristatyti patį Ukmergės sporto centrą ir veiklos organizavimą. 3. Ištirti darbuotojų kūrybiškumo ir naujovių taikymo situaciją Ukmergės sporto centre. Išvados. Sporto srityje dirbančiųjų kūrybiškumo pagrindinės raiškos sritys yra sporto paslaugų teikimas bendruomenės nariams ir individuali veikla. Kūrybiškumo raišką skatina aukšta darbuotojų profesinė savimonė ir aktyvi sąveika bendrakultūriniu požiūriu. Tirtų Ukmergės sporto centro darbuotojų kūrybiškumą skatina didžiąja dalimi vidiniai veiksniai (asmenybiniai ir motyvaciniai): bendruomenės nuomonė apie sporto centro darbuotojus, konkurencija darbe, kolegų pripažinimas, įvertinimas, skatinimo sistema - administracijos įvertinimas, skatinimas ir palaikymas. Daugeliui, ypač moterims, patinka ieškoti naujų idėjų (iššūkių) ir jas... [toliau žr. visą tekstą] / Information technology, innovation, market economy, globalization old foundation - human creativity, it is determined by science, business, technology, the arts - all human aspirations - progress. Sport is not the largest, but the fastest growing leisure industry ingredient, so creative, efficient sports staff work named as one of the most important challenges of today's sports market. Scientific problem - what are the main factors which are driving a sports center employees creativity in their performance Research aim: to explore main factors which are stimulating Ukmergės sports center staff creativity. The tasks of the research: 1st - Reveal the theoretical concept of creativity . 2nd - to introduce the Ukmergės sports center and organization . 3rd - to investigate staff creativity and inventory innovation at Ukmerges sports center. Conclusions. People who work in sports area main creativity expressions are rendering services to community members and individual activity. High proffesional self-consciousness of emlpoyees and active interaction in multicultural view encourages creativity expression. The bigger part of Ukmerge sports center staff creativity stimulates inner factors (personal and motivational): community opinion about the Ukmerges sports centre employees, competition at workplace, appreciation of collegues, rating, encouragement system - evaluation of administration, encouragement and support. Majority, especially women, likes to search new ideas... [to full text]

The aim of this research was to determine the role of the school principal in fostering the creativity and innovativeness of educators. This aim was explored by: determining the nature of creativity and innovativeness; determining the role of the principal in fostering the creativity and innovativeness of educators at schools; and investigating how the creativity and innovativeness of educators is currently fostered at schools. The literature survey on the nature of creativity and innovativeness revealed creativity as the generation of novel and useful ideas and the ability to combine them in a unique way, while innovativeness is the ability to be innovative, i.e. to implement creative outcomes to benefit an organisation or the practical application of ideas towards the organisation's objectives. Creativity and innovativeness can thus be fostered by creating a stimulating work environment that advocates enriched jobs and supporting management practices, an organisational culture that supports innovativeness and an environment that provides adequate resources. Therefore, creativity and innovativeness are a function of an organisational climate that promotes nine dimensions, namely, challenge and involvement, freedom, trust and openness, idea time, idea support, debate, risk-taking, conflict management and humour and playfulness. The empirical survey found that school-organisational climates generally foster educators' creativity and innovativeness in terms of the dimension thereof.-How it was found that some dimensions enjoy more prevalence at schools than others. It was also found that some aspects of these dimensions were inconsistent with the general finding that schools portray climates conducive to educators' creativity and innovativeness. For instance, the involvement of educators in vision review as a way of setting standards or as a pace-setter for performance, and educators having to seek permission before implementing their creative ideas were seen as not fostering creativity and innovativeness at schools. Although there were statistical differences in responses between principals and educators on all creativity and innovativeness dimensions, it was found that these were of no practical significance and thus could be attributed to chance or coincidence. This study therefore recommends that principals should adopt a holistic approach to school organisational creativity and innovativeness. In this way, all the dimensions will be fostered, thus creating school organizational climates that engender the creativity and innovativeness of all educators and focusing on all aspects of their work. Principals should also receive capacity building exercises, initiated both at school and at departmental levels. These exercises should focus on staff development that relates creativity and innovativeness to the achievement of teaching and learning outcomes. / Thesis (M.Ed.)--North-West University, Vaal Triangle Campus, 2005.

Many organisations use strategic management as an imperative to gain competitive advantages. Theorists have not been able to ascertain whether prescriptive or emergent strategic approaches will be most suitable within an organisational climate for sustaining these competitive advantages. The notion of creativity has been identified as a source of competitive advantage that organisations may make use of within their strategic frameworks. However, within the organisational climate, there may be various barriers to creativity that will impede performance outcomes, efficiency and potential competitive advantage for an organisation. The study concerns itself m d y with an investigation into the strategic and organisational climates within selected higher education institutions in South Africa, as these institutions are in need of an assessment regarding potential sources of competitive advantage, in order to survive. The imperative to remain competitive is primarily due to the turbulent and changeable environments that these institutions find themselves in. This instability has occurred as a result of various changes in higher education due to the merging of several higher education institutions and the changes in the configuration of others. The study has shown that creativity is a source of competitive advantage. This was done by determining which barriers to creativity were present within the organisational climates of the selected institutions, as well as which strategic management approaches were being employed by the said institutions. The information obtained from the data gathered was compared to two competitive advantage measures (throughput and research output rates) of those higher education institutions. Three pivotal questions were asked and answered by the study in this regard. What are the prevalent prescriptive strategy dimensions and processes being employed by selected South African public higher education institutions? What are the prevalent creativity barrier dimensions that exist with selected public higher education institutions in South Africa? What relationships can be observed between the prescriptive strategy dimensions, the creativity barrier dimensions and the organisational competitive advantage performance output dimensions of throughput rate and research output in selected public South African higher education institutions? Non probability, judgment sample was obtained from four selected higher education institutions located in the Gauteng province in South Africa during the latter half of 2004. The survey requested certain biographical information on respondents (who had to fulfill the criteria of being full-time academic employees working for the institution in question), information on the strategic climate and barriers to creativity with the organisational climate. The last section of the questionnaire contained open-ended questions. Data on the throughput and research output rates of the institutions was obtained separately from the South African Department of Education (DOE), and correlated against the data obtained from the questionnaire. The questionnaire was testing for eight pre-determined creativity factors within the organisational climate (identified from the literature review and previous studies), and a separate dimension of prescriptive strategic planning. Overall only five of the creativity barriers were found to be most predominant within the selected higher education institutions, namely: Insufficient Resources; Lack of Team Unity; Lack of Organisational Support; Organisational Hindrances and Workload pressure. The factors were compared to the measures of competitive advantage and it was determined that there was a positive correlation between a higher prevalence of barriers and a lower performance output, which indicated that creativity could be identified as a source of competitive advantage within those institutions. This lent evidence to support the initial, first hypothesis of the study. Furthermore, it was discovered that those institutions that were utilising prescriptive strategic management approaches were more inched to achieve higher performance in terms of their throughput rates. Refuted the second hypothesis of the study that was advocating that emergent strategy was more likely to result in competitive advantage. More education institutions, known for their typically bureaucratic approaches might be more able to utilise formal procedures to obtain increased competitive advantage than utilising a more informal, emergent approach, as academic employees might more freely be able to explore creative alternatives under the security of prescriptive strategic approaches. It is likely that any organisation would wish to improve their competitive performance in order to be more effective. Higher education institutions also need to be concerned about their performance in order to continue operating effectively. It is necessary, then for those higher education institutions, to take note of these potential barriers to creativity with their organisational climates, which were highlighted by the study and to proactively remove them to ensure they remain competitive into the future. In addition, these institutions should consider which strategic management approaches they are currently utilising and streamline them to cement the competitive advantage. It was advocated that South African higher education institutions should be adopting formalised strategic management approaches in this regard. / Thesis (Ph.D. (Business Management))--North-West University, Vaal Triangle Campus, 2005.

In this thesis I suggest that the work of the four contemporary poets studied manifests the vital role perceptual experience plays in the creation of literary texts. I engage primarily in the analysis of particular texts in order to argue for a shift in critical focus away from the explicit manipulation or exteriorization of the physical aspects of poetry (for example versification and explicit visual presentation) in order to concentrate on the role sensory aspects of thought play within it. Emphasis is therefore put on the way these poets draw from sensory experience, and the effect this has on the way their poetry functions. A shift away from traditional critical vocabulary is considered necessary in part due to the fact that discussions of the physical aspects of poetry often carry with them a variety of preconceptions concerning the nature of language, thought and the thinking subject. The tendency to pose dividing lines between mind and body, word and image, the physical and non-physical aspects of language has characterized the history of Western thought, and neither literature nor literary criticism have been exempt from the conceptual presuppositions inherent in such binary systems. Here, I consider how the work of Pierre Alferi, Valère Novarina, Anne Portugal and Christophe Tarkos transcends such dualisms, using the analysis of specific works to develop a critical approach that reflects their exploration of the ambiguity of the boundaries that separate different sorts of experience and means of expression. The thesis is therefore structured around the development of three concepts, ‘pensée-vue’, ‘pensée-voix’ and ‘pensée-toucher’, inspired directly by the texts studied, that are intended to indicate the vital role different forms of perception play in both the creation and experience of poetic texts. It is hoped that the development of an approach that emphasizes the connection between thought, perception and creativity will suggest the fertility of a shift in critical focus in domains beyond that of contemporary French poetry.

In this thesis I cover the theoretical framework and the practice based implications of bringing the fundamental principles of a cybernetic art educational strategy, the Groundcourse, which was developed and taught during the 1960’s in England by Roy Ascott, into the virtual, three dimensional builder’s world of the metaverse; to be implemented there as a non-institutional, voluntary, self-directed, adult oriented learning system for avatars – one which is expected to be taught by avatar instructors who will formulate the specifics of their curriculum and their methods based upon the cardinal tenets of the Groundcourse, which have been summarized by Roy Ascott as a flexible structure, “within which everything can find its place, and every individual his way,” which would give dimension and substance to the will to create and to change. In order to be able to set the groundwork for the adaptation of the Groundcourse’s principles to my model I have conducted literature reviews in experiential learning theories, with an emphasis on self-directed learning; as well as cybernetic learning. These I have combined with a survey of play theory and virtual world studies, particularly those focusing upon the avatar and metaverse creativity. From all of these I have woven together a foundation which I have combined with a visual documentation which may serve as case studies for my proposal. The new knowledge embodied through this thesis is a learning system for the creative fields that is designed specifically for the residents of online virtual worlds, and yet has its foundations in an earlier, well established and well regarded model.

This study explored how a teacher-training course helped secondary art student teachers in Taiwan to develop their perceptions and practice of creativity and creative pedagogy [CPed]. A series of CPed workshop sessions, based on the Western theoretical framework of possibility thinking [PT] and its pedagogy [PTCPed], were designed to introduce to the twelve secondary art teacher training students in an arts university in Taiwan. Through adopting an action-based case study approach, qualitative data were collected from the participants’ interviews together with the reflective documents of the participants and the researcher, and any possible visual materials. Observations were also video-recorded. The analytical methods focused on both inductive and deductive approaches to explore how student teachers developed their perceptions of creativity and CPed and the possible influences in practice. Adopting the idea of “contextualising” one set of cultural values in another, a new landmark of PTCPed emerged. This study confirmed most features of PT, but found question-posing and question-responding to be intriguingly absent in the participants’ definitions of creativity (PT) and their practice of CPed; and it also, significantly, identified several emerging PT characteristics and attitudes: originality, confidence, no limitations, and problem-solving. These features were fostered by teacher’s creative teaching [CT] and learners’ creative learning [CL] in an enabling and effective context in which teachers offered the learners’ opportunities (including time, space and challenges) to develop ideas and confidence to play with the materials, prioritised learners’ agency (including individual and group activities), and stood back to offer freedom, and at the same time moved step forward to observe the learners’ engagement and check when to offer help. Finally, this study also highlighted the implications for the practice in the Taiwanese initial art teacher education [IATE], in which teacher educators are suggested to appreciate this complexity, and to understand and allow student teachers to interact with different perspectives or approaches when interpreting their pedagogy through reflective practice.

Keen efforts have been put by Taiwanese government into creative education projects; however, possible paradoxes resulting from adopting the ethos behind the Western theories and practices have not been considered. Questions of how creativity and creative education should be defined in the Taiwanese educational context, how compatible the Taiwanese school cultures are with the objective of enhancing creativity, or how teachers and pupils cherish creativity, have not been asked. Within the reformed curriculum and creative education projects, there is no clear picture of what kind of creative capacity should be developed through education, nor guidelines of what pedagogical strategies to adopt for promoting creativity. In this research the responses of pupils and teachers are investigated through designing and teaching a series of drama lessons based on the school curricula in the two cases under study. The approaches to teaching drama are linked with a framework of creative pedagogy informed by theories of fostering creativity in educational settings. A descriptive case study approach was employed to capture the dynamics, modes of involvements, and subtle relationships of the participants, whose accounts were collected concerning their views of the lessons, the evaluation of the ways of teaching and learning, and the ethos behind the pedagogy. Key issues in adopting creative pedagogy in Taiwan context are discussed, and implications for contextualizing creative pedagogy are proposed. Suggestions for future research in creative pedagogy are also provided.

New product ideation is the transformation of a raw idea into a robust concept with consideration of fit and feasibility of technologies, customer benefits, and market opportunity. Although the ideation process often involves ambiguous processes, it is the most critical activity in new product development (NPD). As a creativity task, the ideation process is considered heuristic rather than algorithmic. However, managing the ideation process as either a completely heuristic or an entirely algorithmic procedure leads to just conventional outcomes. Rooted in cognitive psychology, this study proposes that ideation activities in NPD should be pursued as Simonton's "constrained stochastic behavior." An ideation task not only needs good componential factors but also requires constraint to frame the task by precluding unwieldy ideas while promoting high variability of ideas. Focusing on the inputs and attempting to strike a balance between algorithmic and heuristic ideation process may provide the mechanisms to manage the psychological perceptions with an aim to stimulate and orchestrate the ideation staff's cognitive efforts to generate the creative idea. To achieve this goal, new product idea creativity is considered as the ideas that could turn out to be products that are novel to and useful for customers, and appropriate to firms' existing production systems. In addition, the study asserts that componential factors include two factors: specialization representing idea creators' depth of NPD knowledge, experience, and skills in a product domain, and diverse expertise representing the breadth of ideation team's knowledge, experience, and skills concerning the same domain of NPD. These factors are essential and collectively can enhance creativity in the development of new product ideas. Finally, goal constraint is defined, operationalized, and incorporated in the NPD ideation framework. This constraint encapsulates the overall criteria and stylistic principle for a particular product domain and reflects the frame of reference for new product idea development. The findings provide mixed results, and yield at least three new concepts. First, the process of new product idea development truly requires specialization and diverse expertise if its ultimate goal is creativity. Both componential factors are essential and together can enhance new product ideas on all important dimensions. Second, goal constraint exhibits a linear relationship, rather than an inverted U-curve relationship, with idea newness and usefulness-two dimension of creativity important for customers. Finally, goal constraint can enhance creative outcomes of new product ideas, especially in the ideation team exhibiting a low level of specialization.

This thesis aims to discuss three main categories such as: leadership, working environment and followers’ creativity. Particularly, the general principle of the work is to define how those notions are intertwined. Having used the principles of the Grounded theory (Corbin & Strauss, 2008), we conducted our research with the main emphasis of originating theory from the data that was collected from empirical and theoretical materials. In particular, we found out that leadership factors classified as “work-related” influence the “organizational culture”. Similarly, “management skills” of the leader are closely interrelated with “organizational structure”. Finally, “team-related” leadership traits have their immediate effect on “organizational climate”. Consequently, we can state leadership is able to set up a creative working environment that fosters individual’s creativity. Later forward, the creative working environment is believed to be an ultimate prerequisite that fosters individuals’ creativity. However, it is pertinent to note that leadership as such, can directly influence employees’ creativity as well. As a final analysis, we claim that authentic leadership due to its indispensable attributes is an ultimate prerequisite that enhances individual’s creativity based on the findings of our research.

An exploration of introversion and creativity through collage, digital assemblage, and curation