The focus of this study is on creativity and how place can affect it. Previous research on the subject has provided many answers to how and why places affect creativity, much because of the fact that a place can be such many things: a work place, a university, a city, a country – the list is endless. Studies have as such provided different answers in regards to the impact place can have on creativity, because they have investigated the impact of different sorts of places. However, what these studies have failed to clarify or acknowledge is that places exist within the boundaries of other places, and are as such inseparable if one are to ultimately understand the impact place has had on a creative outcome. In order to address this problem I have divided the concept of place into three abstract and physical levels: macro, meso, and micro. By applying this perspective on the historical example of the emergence of the Impressionists in Paris, France during the latter half of the 19th century I was able to distinguish how France as a nation, Paris as a city, and buildings such as cafés, artistic studios, and museums all contributed in different, but equally important, ways to the formation, cohesion and creative output of the Impressionists. As such, this study serves as an example that shows how collaborative creativity emerges within the boundaries of several places positioned on different abstract and physical levels; thus, it is only when we combine the different ways that each of these places contribute to creative collaboration that we are able to make any conclusions in regards to the impact place has had on its formation and creative output.

Managed clinical and care networks (MCNs) have emerged in Scotland as a collaborative form of organising within health and between health and social services. Bringing together disparate disciplines and professions their aim has been to allow work across service and sector boundaries to improve care for patients. Whilst MCN prevalence has increased and policy has moved to centralise this method of organising, many research questions remain. These include: how can we understand the form, function and impact of MCNs, and further, what are the underlying motivations for practitioners and managers to organise in this way? Focussing in on the work of 3 voluntary MCNs operating in Scotland, the centrality of practice emerges. Practice is defined broadly to encompass both the interactions between practitioner-patient and practitioner-population. From this, the MCN becomes conceptualised as a set of activities focussed around ground-level clinical MCN service issues and top-level policy direction. Through considering work the interplay between ethics and scientific evidence emerges. The inherent uncertainty and suffering of daily practice comes to the fore, these concepts are brought together within a framework, morals-in-practice. Further, using the hermeneutic dynamics of alterity, openness and transcendence, MCNs can be understood as providing a space to foster creative responses to the wicked problems created by health and social service design and delivery. The organising opportunities provided by MCNs thus arguably serve several organisational and social functions, providing a forum to: mutually support and respond to the intrinsically challenging nature of practice understood; debate morals-in-practice helping to ensuring collective clinical governance; sharing of organisational knowledge; planning, delivery and audit of services; and creatively respond to wicked problems. By focussing in on the work, the practice particularities of each individual MCN are resultantly emphasised, whilst still maintaining recognition that much of the NHS operational context is more widely shared. Through this these voluntary MCNs, at least, can be viewed as an organising form which has emerged in response to the complexities of modern health and social service, care, design and delivery.

Neste trabalho, pretendemos contribuir a uma ampliação do conhecimento sobre a criatividade, a partir de um estudo dialógico, que tem como bases: registros do percurso criativo do escritor João Guimarães Rosa e a teoria psicológica de Carl Gustav Jung. No primeiro capítulo, realizamos uma revisão do conceito de criatividade na obra de Jung, buscando demonstrar como se deu a elaboração de tal conceito e como este se relaciona com outras formulações teóricas fundamentais ao pensamento junguiano. No segundo capítulo, ancorados em estudos sobre a obra rosiana e em depoimentos do próprio Rosa, apresentamos características da criação do escritor. Ao estudarmos os registros de Rosa intencionando compreender o seu percurso criativo, não empregamos categorias de compreensão predefinidas. Mas, conforme estudávamos os registros, três imagens nos foram suscitadas: brincadeira, pacto e luta. Isto é, segundo nos pareceu, o processo criativo do autor de Minas envolve algo de lúdico, algo de pacto e algo de luta. Então, em nosso terceiro capítulo, valendo-nos sobretudo de um pensar abdutivo e amplificador, tomamos essas três palavras-imagens como pontos de partida para elaborações compreensivas sobre o criar rosiano / In this work, we intend to contribute to a broadening of knowledge about creativity, with on a dialogical study, based on the records of the creative career of writer João Guimarães Rosa and the psychological theory of Carl Gustav Jung. In the first chapter, we review the concept of creativity in Jung\'s work, trying to demonstrate how this concept was elaborated and how it relates to other theoretical formulations fundamental to Jungian thinking. In the second chapter, anchored in studies on the Rosian work and in Rosa\'s own testimonies, we present characteristics of the writer\'s creation. As we study Rosa\'s records intending to understand her creative course, we do not employ predefined categories of understanding. But, as we studied the records, three images were raised: to play, pact, and struggle. That is, as it seemed to us, the creative process of the author of Minas involves something of playful, something of pact and something of struggle. So, in our third chapter, relying primarily on abductive and amplifying thinking, we take these three words-images as starting points for understanding elaborations on the Rosian creation

Summary: Title: Creation and verification of effectivness of our new ''Music-based physical educational (MBPE) programme for pre-school children" The main aim of this research is to create and validate a comprehensive interventional programme for preschool children. The programme is aimed at all- round personal development of the children. The research also intends to validate applicability of the programme in practice as it aims to establish the impact of the programme on rhytmical, motor, sensor-motor, musical and memory skills of preschool children. The research also aims to clearly define conditions under which the programme can be performed as it focuses on the support of a preschool child's natural kinetic, sensor-motor, musical and rhythmical competencies with the stress on personal health and hygiene. The results of this thesis are based on the author's self-produced resources and both qualitative and quantitative research results. The quantitative research used a test battery of musical-motor skills. The thesis consolidates results of our observations, observations by teachers and parents throughout the school year, interviews with children, expert analysis of videos, discussion with experts in pedagogy and child's psychology. The results ascertain that our music-based physical educational...

[pt] Este trabalho tem como objetivo lançar um olhar sobre o teatro contemporâneo, a partir de discussões voltadas para seus aspectos de recepção e criatividade. O recorte estabelecido a partir destes dois eixos foi escolhido tendo em vista que a importância do estudo da arte para a antropologia não está na obra artística em si, mas nas práticas que a rodeiam. Partindo das minhas próprias observações tanto no trabalho de campo em que acompanhei o processo de criação da peça Como cavalgar um Dragão, da Companhia de Teatro Inominável quanto a partir do meu lugar como espectador de teatro estabeleço algumas perspectivas teóricas a respeito das conexões entre arte e política no mundo contemporâneo. Neste sentido, através do estudo das práticas artísticas envolvidas na produção e na recepção da obra de arte, o entrelaçamento entre política e arte é percebido sob o signo da experiência, que envolve tanto artistas quanto espectadores. / [en] This paper aims to cast an eye over the contemporary theater, based on discussions focused on aspects of reception and creativity. The cutout set from these two axes was picked in view that the study of the importance of art to anthropology is not the artwork itself, but the practices that surround it. Starting from my own observations both in the field work that I accompanied the creation process of the play Como cavalgar um Dragão How to Ride a Dragon, from Unnamed Theatre Company as from my seat as a theater spectator I establish some theoretical perspectives about the connections between art and politics in the contemporary world. In this sense, through the study of artistic practices involved in the production and reception of the artwork, the intertwining of politics and art is perceived under the sign of experience, involving both artists and spectators.

Ce travail doctoral concerne l’expérience de co-création d’innovation, il s’agit de concours d’innovation organisés par les marques à travers des plateformes internet. Cette pratique présente l’intérêt de produire des idées créatives à moindre coût et dans un délai plus court. Cependant cette démarche d’innovation n’est pas sans poser de nombreuses questions en termes d’ergonomie du site et de politique de stimulation favorisant l’engagement des consommateurs. A partir de quatre études empiriques, deux qualitatives et deux quantitatives, (1) nous identifions les motivations des consommateurs à participer à des concours d’innovation, (2) puis nous mettons en évidence 5 dimensions du concept d’expérience de co-création d’innovation, (3) nous caractérisons les récompenses qui favorisent le plus la créativité et enfin, (4) nous présentons les effets de l’expérience de co-création sur la créativité, la participation et la réputation de la firme innovante / This doctoral work deals with co-creation experience of innovation, it is innovation competition organized by brands through internet platforms. This practice has the advantage of producing creative ideas at lower cost and in a shorter time. However, this innovative approach raises many questions in terms of website usability and incentives promoting consumer engagement. From four empirical studies, two qualitative and two quantitative , (1) we identify consumers’motivation to participate in innovation competition, (2) and we highlight five dimensions of co-creation experience concept , (3) we characterize the rewards that stimulate creativity and finally, (4) we present the effects of experience co-creation on creativity, participation and reputation of the innovative firm

In this study some string teachers have been interviewed on the topic of own creation and creativity. The purpose with the study was to examine some string teachers experiences in their own education on the topic of creative phases, but also how the teachers experience the students spirits in moments of own creation. The study was conducted with a phenomenological approach, because this allowed for consideration to be taken to different experiences and lived life. Previous studies indicated that many benefits derivate from creativity and own creation in music education but also illustrated a complex problematic approach to teacher’s unfamiliarity to teach in these phases. However, previous studies indicate that children view their music creations in different way than adults. To achieve a result in this study, four interviews were conducted. Through video-recording important aspects that would otherwise be lost could be illustrated. In the result teachers experienced that they understand phases of own creation in different ways. The teachers collectively identified composition, improvisation and feelings as a method of teaching own creation and creativity. Going on, the study’s respondents experienced they had been given a strict music education in their childhood and that this was one of the factors to influence their individual teaching styles. Together the study´s respondents illustrated some phases of own creation but pointed out that the spirits of the students derivate from different factors. The study´s respondents experiences that younger students had an easier time to learn own creation, meanwhile, the older students are perceived to have a hard time sticking out in creative work. The study´s respondents meant that continuous teaching in composition making created a sense of security within the students. In the discussion results indicated that the students benefited from play and having fun in their music creation. There were also more positive attitudes amongst the students when the teachers designed activities with boundaries and rules. / I denna studie har några stråklärare intervjuats om ämnet eget skapande och kreativitet. Syftet med studien var att undersöka några stråklärares upplevelser angående sin egen undervisning vad gäller skapande moment, samt hur lärarna erfor elevernas inställningar i moment av eget skapande. Studien förhöll sig därför till det fenomenologiska perspektivet, då hänsyn till upplevelser och levt liv kunde tas. Tidigare forskning pekade på många fördelar med kreativitet och skapande i musikundervisning men belyste också en problematik kring lärares ovana att undervisa i eget skapande. Vidare menade forskningen att barn betraktar sitt musikskapande på ett annat sätt än vuxna. För att få fram ett resultat intervjuades fyra stråklärare. Genom videoinspelning kunde viktiga aspekter som annars gått förlorade belysas. I resultatet framkom att lärarna upplevde moment i eget skapande på olika sätt. Gemensamt nämndes komposition, improvisation och känslor som moment i vilket lärarna kunde undervisa i eget skapande och kreativitet. Vidare upplevde studiens respondenter att de fått en strikt musikundervisning som barn och att detta sedan påverkat deras individuella lärarstilar. Gemensamt belyste studiens respondenter några moment av eget skapande och pekade på att elevernas inställningar till dessa moment beror på olika saker. Studiens respondenter erfor att yngre elever lättare tog till sig moment i eget skapande, emedan äldre elever upplevdes inte vilja sticka ut genom skapande moment. Studiens respondenter menade att bland annat regelbunden undervisning i komposition skapade en säkerhet hos eleverna. I diskussionen framkom dock att eleverna gynnades av lek och att få ha roligt i sitt musikskapande. Vidare fanns också fler positiva inställningar hos eleverna när lärarna satte upp ramar för skapande moment, då eleverna slapp hitta på helt fritt.

Video games have suffered a negative reputation regarding their influence on children and adolescents, in comparison to its “well-behaved” counterpart, books. Nevertheless, the world of video games is much more diverse than imaginable – from fantasy to reality – and it is possible that different types of video games have different effects on human cognition and behavior. To fill a gap in research, fantasy and non-fantasy genres were the focal point of the correlational study. In this study, we analyze how video game playing habits, video game genre preference, book reading habits and book reading preferences are correlated with creative thinking. Construal level theory explains the importance of psychological distances in enhancing creativity. Fantasy and fiction content, as well as role play, are theorized to be part of creativity due to generation of distance and abstract thinking. Creativity was measured by insight problems and a categorization task. Abstract thinking was also measured by the Behavioral Identification Form. The questionnaire was given out to 154 students during lunch hours at a university in Sweden, throughout the period of March 2019. The results indicated that preference in a genre, whether gaming or literature, did not indicate significant differences in creative thinking. However, the consumption and habit of playing role-play games showed a significant correlation to creativity in comparison to its “rival” – action games. Results showed the same effects for fiction literature versus non-fiction. Theoretical and practical implications for organizations and the workplace are discussed, as well as limitations of the study.

The present study aimed to research links between autistic traits and creativity in the average adult population. The sample consisted of 108 adults,​ 60 females, 48 males, age 18-66 (M=34,90; SD=10,85), from 20 different social media pages who participated in the study through self-report questionnaires about autistic traits and creativity. The result shows that the autistic traits of difficulties in imagination and difficulties in social skills has associations with difficulties in creativity, while the autistic trait of attention to detail has associations with benefits in creativity. The creativity domains, differences between men and women and the method of self-report are discussed.

A capacidade inventiva é parte vital do ser humano na constante recriação de sua existência. Cada nova idéia alimenta a imaginação e o tempo é reciclado. É vista a noção do novo por meio de uma nova imagem, necessária para revigorar a expectativa de vida em cada época na sociedade. O produto da invenção e artifício é a nova mensagem como forma de comunicação, alimentando o imaginário de seus diferentes públicos. Dessa forma, nesta dissertação analisa-se a atual conjuntura social nos aspectos produtivos da industria cultural, com atenção às novas demandas por meio de novos produtos, que possibilitam a constante recriação de novas mensagens. Elas são consequência da revolução tecnológica, da convergência dos meios de comunicacão e de sua interferência nos habitos e atitudes dos indivíduos, por estarem ao alcance, a qualquer tempo para informar e ser informado. / The capacity inventive is vital part of the human being in the constant criation of its existence. Each new idea feeds the imagination and the time is recycled. The notion of the new by means of a new image, necessary is seen to revigorate the life expectancy at each time in the society. The product of the invention and artifice is the new message as communication form, feeding the imaginary one of its different public. Of this form, in this dissertation it is analyzed current social conjuncture in the productive aspects of the cultural industry, with attention to the new demands by means of new products, that make possible the constant recriação of new messages. They are consequence of the technological revolution, the convergence of the ways of communication and its interference in the custums and attitudes them individuals, for being to the reach, to any time to inform and to be informed.