O presente trabalho investiga a criatividade no contexto da inovação nas organizações. Em diversos campos da vida humana a criatividade tem sido uma questão relevante, em função da complexidade das soluções exigidas em situações e ambientes marcados pelas incertezas, ausência de modelos ou paradigmas e falência de outros. Na esfera dos negócios e das organizações é exatamente esta ambiência que caracteriza o cenário atual, onde predomina a demanda por inovação como fator competitivo. A criatividade surge, então, como força motriz para as inovações, fundamento de sua qualidade e fator diferencial frente aos desafios e problemas do cotidiano e dos negócios. Entendida como potencialidade sempre presente no ser humano, quando aliada à atitude e à ação empreendedora, a criatividade é capaz de contribuir para a inovação. A relação entre criatividade e inovação é aqui estudada, tendo como foco da análise a gênese de empreendimentos inovadores, pois, embora seja conhecida a necessidade de inovar, as organizações devem lidar permanentemente com a chamada ambidestria organizacional, caracterizada como a simultaneidade da manutenção e da inovação de seu negócio. Mesmo reconhecendo necessidade de inovação para garantir o sucesso dos negócios, sua implementação depende da legitimação por parte dos agentes de reconhecimento e sua viabilização, de contextos burocráticos, resistentes e cegos. A investigação foi apoiada em estudo empírico, que teve como sujeitos pessoas que tiveram projetos criativos recusados pelas organizações em que trabalhavam e que, sem abandonar suas idéias, criaram empresas próprias, revelando, nesse processo, a criatividade pessoal, a resiliência, o empreendedorismo e a causalidade pessoal. / This thesis aims at investigating creativity within the context of innovation in organizations. Creativity is a relevant issue in several realms of human life if the requirements stemming from situations and environments characterized by uncertainties, lack or failure of paradigms and models are concerned. This is the prevailing status of innovation nowadays, a condition of competition. Creativity emerges as crucial element of innovation, rooting its quality and differentiating its outcomes. Understood as a potential ever present in human beings, creativity when aligned with entrepreneurship is enabled to contribute to innovation. Here, the relationship between creativity and innovation is scrutinized through the lens of the genesis of innovative entrepreneurship since the recognition of the need of innovation does not free organizations from the manning of the traditional and the new - organizational ambidextry. Although the recognition of innovation is required by the business effectiveness, its implementation relies on legitimacy on the part of organizational agents as well as its achievement faces bureaucracy, resistance and blindness. The analysis here carried out was supported by empirical data surveyed through individuals whose creative projects were rebuked by the enterprises where they had worked. Without giving up their ideas they settled their own enterprises to carry out their projects thus putting into light the creative process grounded on resilience, personal causation and entrepreneurship. In many of the fields of human life creativity has emerged more frequently as a relevant theme of study, due to the complexity of the solutions demanded in situations and environments characterized by uncertainty, absence of frameworks or paradigms and xi breakdown of others. In business and organizational sphere, thats exactly the ambience of present scenario, in which demand for innovation is prevalent as a competitive factor. Creativity comes up, then, as a requisite for innovation, differential element when facing challenges and problems of daily life and business. Assumed as a human potential always present, when allied to entrepreneurial attitude and action, creativity is capable to contribute to innovation. The relationship between creativity and innovation is studied, focused on the genesis of innovative enterprises, because, even knowing the necessity of innovate, organizations have to deal permanently with the so called organizational ambidestry, characterized by simultaneity of maintenance and innovation of the business. Even recognizing that innovation is necessary to guarantee success of business, organizations and society, implementation of any innovative process depend upon facing agents of recognition, in charge of identifying and authorizing it as a way of doing and of making in a certain environment and, for that, the tradition of taylorist and bureaucratic models of management is, sometimes, cause of blindness. The success threat is one of the contingent factors of their refusal of creative proposals, potentially innovative. This factor relates to organizational culture and its flexibility and openness to the new. Present investigation was supported by empirical study, with subjects whose projects were refused by organizations to which they worked for who, then, decided to create own organizations, revealing not only resilience, but, especially, personal causality.

This thesis explores children's and teachers' perspectives on creativity, and its implementation, within one primary school classroom in Scotland. The data collection phase of the research employed an ethnographic approach, involving four and a half months of fieldwork in the primary school classroom. Data were generated from participant observation/informal conversations with children and teachers and one round of semi-structured interviews with twenty-five children (aged eleven to twelve) and two teachers. Creativity within primary education has been mainly studied through psychological research, which is mainly based on theories of developmental psychology. Such theories view creativity solely as an individual trait. Despite recognition of the importance of sociocultural issues to the flourishing of children's creativity, the study of their collaborative creativity has been neglected - particularly in relation to socio-cultural power dynamics. This thesis specifically analyses the balance between individual and collective creativity in the primary classroom, examines how collaborative creativity can acknowledge childhood diversity, and poses questions about how we include children with differing and complex identities in creative processes. Furthermore, this research has been carried out in Scotland, within the context of a fairly new curriculum, the Curriculum for Excellence. This curriculum has been viewed by some as a progressive, modern and motivating curriculum that enables children's autonomy, and by others as one that has been highly influenced by accountability and performativity regimes, which leave limited space for children's and teachers' autonomy. This thesis examines how the Curriculum for Excellence is interpreted in everyday practice and the extent to which it enables the cultivation of children's creativity. The thesis does so by shedding light on the practical interconnections between children's and teachers' agency, structural enablers/barriers, and cultural processes. The findings of this study show that children perceive, perform and embody creativity not only as an individual trait, but also as a collaborative process. However, the findings also show that collaborative creativity entails many complexities and that cultural barriers to creativity may emerge when power among people (children and teachers) operates in ways that create cultures of exclusion. The thesis concludes that the multiple identities of the Curriculum for Excellence, its multiple interpretations, and lack of coherence regarding what is expected of teachers, leads to a blurred landscape of implementation. The thesis argues that lack of a clear plan, strategy and framework for enabling creativity inhibits the founding principles of the Curriculum for Excellence from being achieved. The thesis also argues that environmental and structural barriers within the research setting inhibit the flourishing of children's creativity, but that the structural barriers can sometimes be overcome through the construction of enabling cultures. The thesis is able to define enabling cultures as cultures that value diversity, promote inclusion, and view space not as static, but as a dynamic process. In so doing, the findings of this study emphasise the interconnected importance of: viewing creativity as an individual trait; perceiving creativity as a collaborative process; and thinking in spatial terms, for example, in ways that create the space for children to perceive, perform and embody creativity in their diverse, but equally valuable ways. This finding enables this study to argue that there is a need for future policies and curricula which promote and encourage greater flexibility in teaching and learning practices, in order to enhance children's and teachers' agency and thus allow them to collaboratively create the types of enabling environments, originally envisaged by the Curriculum for Excellence, that will allow children's creativity to flourish.

This thesis explores both the creative process and the creative product behind a unique and complex collaboration between two composers, called Endings (2012): firstly Jeremy Peyton Jones and secondly Kaffe Matthews. It interrogates the behavioural aspects and negotiations between the two composers in the compositional and rehearsal processes, in the run-up to three performances. Using ethnomusicological methodologies towards data collection (rehearsal recordings, interviews, studio work) and analysis (discourse in compositional discussion, rehearsal), the thesis offers new understandings on collaboration, specifically the fluidity and complexity of the interaction between composers who work in two very different ways: Peyton Jones, who composes with scored, conventional notation, rehearsing with his ensemble Regular Music II; and Matthews, who works improvisationally with live electronics and electroacoustics, both with her surrounding sonic material and pre-existing samples. The thesis finds two core important conclusions, which contribute to our current knowledge and understanding of music and collaboration. Firstly, pre-existing models of collaboration segregate behaviours into ‘types’. Endings offers an example where such types cannot always be applied so exclusively. And secondly, collaboration in the rehearsal of Endings contradicts conventional rehearsal models which state talking should be kept to a minimum. The majority of the collaborative process between Peyton Jones and Matthews rests heavily on conversation.

A criatividade é um fenômeno estudado no campo da Psicologia. Na área da educação, são recorrentes os trabalhos sobre a criatividade matemática. A presente Tese tem como finalidade analisar o desenvolvimento escolar ao final da educação fundamental básica – na competência resolução de problemas, a partir da criatividade em Matemática, nas dimensões da fluência, flexibilidade e originalidade. O objetivo é investigar a importância das Tecnologias Digitais de Informação e Comunicação (TDIC), no incremento da criatividade e do conhecimento matemático. O escopo teórico desse estudo, abrangeu os princípios da epistemologia genética; os conceitos sobre competência à luz das situações-problemas, alinhado à ideia da resolução de problemas e dos fundamentos sobre criatividade e da criatividade matemática. Nessa pesquisa foi analisada uma amostra de 238 alunos, distribuídos por oito turmas de nono anos do ensino fundamental, no sentido de verificar se a proficiência na competência resolução de problemas é explicada pela criatividade em matemática em nível de escola. Foi realizada também uma experiência didática com 36 alunos do nono ano de uma escola municipal, para inferir se as TDIC, mediadas por um Projeto de Conhecimento (PC), relacionam-se com o incremento de criatividade em Matemática e o conhecimento escolar. Empregou-se uma abordagem quantitativa para analisar os grupos que participaram do estudo. Os resultados mostraram que existe uma correlação forte e positiva entre a criatividade matemática e o desenvolvimento das turmas na competência resolução de problemas, além de indicar que as TDIC mediadas por Projetos de Conhecimento, promovem a criatividade em matemática com consequente progresso dos alunos na competência resolução de problemas. / Creativity is a phenomenon studied by Psychology. In the Education area there are recurrent works about Mathematical creativity. The present Thesis aims to analyse students’ school development in the end of their Primary School course – how they solve problems having the Mathematical creativity as a starting point in the dimensions of fluency, flexibility and originality. The target is to investigate how important is the use of the Communication and Information Digital Technologies (CIDT) in the improvement of creativity and Mathematical knowledge. This study theorectical objective covered the genetical epistemology principles, the concepts of competence regarding problem-situations, together with the idea of solving problems and the basis of creativity and Mathematical creativity. This reasearch analysed 238 students from the primary school year 9, distributed in 8 different groups. The aim was to verify if the proficiency in problem solving competence was explained by Mathematical creativity in the school level. A pedagogic experience with 36 students from a public school 9 year, was performed in order to find out if CIDT, mediated by a Knowledge Project (KP), are related with the Mathematical creativity increase and the school education knowledge. We used a quantitative approach to analyse the studens’ groups. Results showed a strong and positive correlation between the Mathematical creativity and the students’ development regarding problem solving competence. It also indicated that the CIDT mediated by Knowledge Projects promote creativity in Mathematics and the consequence was the students’ progress in the area of problem solving competence.

© Universidad Peruana de Ciencias Aplicadas (UPC) Information Center Best Marketing Practices in Peru. A selection of the 2015 ANDA Award winners Lima: Universidad Peruana de Ciencias Aplicadas (UPC), 2015 ISBN (spanish printed edition): 978-612-318-037-9 ISBN (spanish e-pub edition): 978-612-318-039-3 ISBN (spanish PDF edition): 978-612-318-038-6 ISBN (english PDF edition): 978-612-318-049-2 / This book, an initiative of ANDA and the Administration and Marketing Study Program of Universidad Peruana de Ciencias Aplicadas (UPC), is the first in a series of books. It seeks to share, each year, some of the new ANDA Awards winning cases. Hence, students, professionals and entrepreneurs will be able to see, in concrete terms, how to achieve effectiveness and excellent business results through innovative strategies based on the fields of marketing and communications. Seven 2015 ANDA Awards winning cases are included in this first book. The selection process considered those cases whose whole campaign was based on the implementation of research-based and insight strategies closely associated with marketing practices.

Conselho Nacional de Desenvolvimento Científico e Tecnológico / A presente tese visa contribuir ao debate acerca da criatividade social na teoria sociológica. Considerando algumas questões a respeito da posição reflexiva do sujeito no terreno do imaginário, este trabalho aparece dividido em duas partes: primeiro, temos uma análise dos pressupostos mais elementares do behaviorismo social de George H. Mead sobre a ação; em seguida, desenvolvemos uma discussão a partir da perspectiva adotada por Cornelius Castoriadis em sua crítica aos determinismos da natureza, sociedade, psique, e o pensamento político e filosófico. Os dois autores foram escolhidos porque nos permitem entender o rompimento da causalidade (social) e a questão da determinação nas ciências sociais, bem como o aspecto teológico da ação dentro dos processos históricos. Em Mead, temos a criatividade confinada à interação através do que ele chama conduta inteligente, que é igualmente imprevisível devido ao uso prático da linguagem e as dimensões reflexivas do self. Em Castoriadis, a criatividade aparece inserida dentro do domínio do imaginário radical, onde a psique e isso seria o mesmo que falar a respeito das produções do inconsciente tem um papel fundamental para o entendimento do simbólico dentro das instituições sociais e as possibilidades de autonomia na democracia, tanto em seus aspectos coletivos quanto individuais. Ao final desta dupla exposição, pretende-se mostrar como estas diferentes abordagens podem nos ajudar em termos de pesquisa sobre a criatividade e o imaginário moderno. Neste sentido, não se trata de interpretar a criatividade como uma categoria residual, mas enquanto uma que se manifesta para além da ação individual. Por isso a ação não pode ser analisada do mesmo modo, sob formatos tradicionais, mas deve ser conectada a outras questões. E para fazer isto, tentamos inserir lateralmente outras noções ou abordagens como subjetividade, questões de psicanálise, mecanismos, tendências e o debate sobre a uniformidade da natureza.

Busca-se demonstrar que a criatividade é um aspecto inerente e inafastável da atividade jurisdicional. Neste sentido, o primeiro objetivo perseguido é o de analisar os conceitos relacionados à criatividade judicial, que são os de interpretação, construção e manipulação. São, também, analisadas e refutadas teorias atuais que negam a criação judicial do direito. Argumenta-se que a admissão, pelo poder judiciário, do caráter criativo de suas decisões é exigência do dever de sinceridade judicial. O segundo objetivo é o de investigar a tese de Hans Kelsen, que descreve Cortes que realizem o controle de constitucionalidade como legislador negativo. São apreciadas as incongruências dessa tese com o constitucionalismo contemporâneo, bem como o caráter falho de sua aplicação na jurisprudência do Supremo Tribunal Federal. O terceiro objetivo é o de investigar os aspectos descritivos e normativos das sentenças manipulativas. São formuladas propostas de fundamentação normativa e de limites de aplicação dessa técnica. Defende-se a admissibilidade das sentenças aditivas, redutivas e aditivas de princípio, mas se rejeita a das sentenças substitutivas, sendo defendido o emprego, em seu lugar, das medidas de necessidade.

Resumo: O objetivo desta Dissertação é realizar uma pesquisa sobre a natureza da criatividade como processo, com possibilidade de ser explicado de modo sistematizado. Buscamos refutar uma hipótese contrária que compartimenta o processo de criação em uma aura subjetivada e inefável. Com intuito de fundamentar nossa argumentação, procuramos reconstruir os argumentos desenvolvidos por C. S. Peirce referentes a um tipo específico de raciocínio lógico que está associado ao conceito de criatividade, por ser de natureza gerativa de idéias novas chamado pelo filósofo de raciocínio abdutivo. Investigamos aspectos da filosofia de Peirce que estruturam e permeiam a análise desta inferência lógica. Ao longo do desenvolvimento de nossas argumentações, apresentamos o pensamento de filósofos contemporâneos que se debruçaram à análise deste tema. / Abstract: This dissertation aims at realizing a research on the nature of creativity understood as a process, with the possibility of explaining it in a systematic manner. We refute the hypothesis which ascribes to creative process a subjective and ineffable aura. In order to settle our argumentation we reconstruct that hypotheses of C. S. Peirce referring to a specific sort of logical reasoning associated with the concept of creativity, called abductive reasoning. As we also consider aspects of Peirce's philosophy which organize and integrate the analysis of such logical inference. As our argumentation is developed, we present the theses of contemporary philosophers that have worked on the analysis of this subject. / Orientador: Maria Eunice Quílici Gonzales / Coorientador: Lauro Frederico Barbosa da Silveira / Banca: Mariana Claudia Broens / Banca: Ivo Assad Ibri / Mestre

No description available.

Ce travail cherche à mieux comprendre les facteurs cognitifs en jeu dans les différentes étapes d’élaboration et de réalisation du projet entrepreneurial : quel est l’impact de la cognition entrepreneuriale sur la réalisation et le succès d’une opportunité d’innovation ? Pour répondre à cette question nous décomposons la problématique en trois axes. Le premier essai propose un modèle conceptuel de l’innovation entrepreneuriale en tant que processus individuel. Nous conceptualisons les différentes activités – génération d’une idée créative, évaluation et implémentation – et examinons leurs spécificités et l’influence des facteurs cognitifs sur chaque étape. Le deuxième article présente une analyse empirique qui teste les hypothèses issues du modèle à travers une expérimentation avec 70 entrepreneurs. Le design expérimental permet de reproduire le processus d’innovation, depuis la génération de l’idée jusqu’à l’implémentation tout en offrant également une mesure de la performance de l’innovation sur le marché. Nos résultats montrent que la créativité est un facteur d’innovation mais que ce lien entre génération de l’idée et implémentation est influencé par les facteurs cognitifs : excès de confiance, optimisme et comportement face au risque. Le troisième article se concentre sur la décision par des individus innovants de créer ou non leur entreprise. Avec une étude quantitative sur 124 chercheurs, dont 76 ont créée leur entreprise, nous apportons un éclairage au lien entre innovation et création d’entreprise : être innovant ne suffit pas pour devenir entrepreneur, l’effet du sentiment d’auto-efficacité et du comportement face au risque sont des éléments déterminants. / This thesis investigates the cognitive factors involved all along the entrepreneurial process and their impact over the different activities underlying such process. We aim at answering the research question: What is the impact of entrepreneurial cognition on the successful implementation of an innovation?To tackle this question, we depicted the subject in three axes. The first essay proposes a conceptual model of individual innovation embedded in the entrepreneurial process. We conceptualize the different stages of creative idea generation, evaluation and implementation and examine the peculiarities of each stage and the influence of cognitive factors. The second paper presents an empirical analysis that tests the hypotheses issued from the model through an economic experiment with 70 entrepreneurs. The experimental design provides an objective measure of innovation and imitates every stage of the process: from the generation of ideas all throughout the implementation and performance of innovations in the market. Our findings show that although creativity is the source of innovations, the relationship between generation of ideas and its implementation is influenced by cognitive factors: overconfidence, optimism and risk-taking. The third essay focuses on the decision by innovative individuals to start a venture. Building on a quantitative study with 124 researches, from which 76 created their venture, we contribute to the debate about the link between innovation and entrepreneurship: being innovative is not enough for becoming an entrepreneur, self-efficacy beliefs an risk-taking behavior are two drivers of individual’s decision to start a venture.