Diplominiame darbe analizuojama mėgėjų ir profesionalų meno ribų problematika internete, kuri atsiskleidžia tinklalapyje „YouTube“. Darbo tikslas išanalizuoti interneto poveikį meno vystymuisi ir išsiaiškinti dėl kokių priežasčių nyksta riba tarp profesionalių menininkų ir mėgėjų bei pateikti interneto ir meno santykį lietuviškame kontekste. Šio tikslo siekiama analizuojant interneto raidą, jo poveikį kultūros vystymuisi, apžvelgiant institucinę meno teoriją, analizuojant tinklalapį „YouTube“, aptariant renginį „YouTube Play“. Taip pat atliekant tiesioginę menininkų apklausą ir sukuriant dokumentinį video filmą. Teorinės medžiagos analizė įrodo, kad interneto dėka kuriama nauja kultūra, kurioje neprofesionalūs menininkai daro didelį poveikį meno vystymuisi, tam didelę įtaką turi tinklalapis „YouTube“. Taip pat įrodo, kad interneto dėka nyksta riba tarp profesionalaus menininko ir mėgėjo. Praktinėje dalyje pateikiami Lietuvos menininkų, bei socialinių mokslų centro direktoriaus interviu, kuriame atskleidžiamas pašnekovų požiūris į interneto ir meno santykį. / This work examines the line between amateurs and professional art on the internet, which reveals in the website „YouTube“. The aim is to clarify the internet impact of artistic development and to find out the reasons why the line between amateurs and professionals is blurring also to show the relationships between internet and art in Lithuanian context. This is achieved by analyzing the development of the internet, it’s impact on the development of culture, analyzing institutional theory of art, YouTube Website, discussing a biennial of creative video YouTube Play, also organizing a direct survey of artists and creating documentary video film. Theoretical analysis show that internet has created new culture in which amateur artists have a significant impact on the development of art, YouTube Website also has a big impact on this. Analysis also proves that the internet has blurred the line between professional and amateur artist. Practical part represents Lithuanian’s artists and social scientists director interview, which reveals the attitude of speakers of the internet and artistic relationship.

Dailės terapijos mokslinės literatūros analizė parodė, jog sutrikusį intelektą turintys vaikai piešia nekreipdami dėmesio į realų objekto vaizdą, nepastebi esminių detalių, nesuvokia objektų tarpusavio ryšių. Tokių vaikų piešiniams būdingi šablonai, apimantys tiek besikartojančią temą, tiek pasikartojančius tuos pačius objektus. Piešinių stereotipiškumas atspindi vaikų reakciją į supantį pasaulį, kur dėmesys fiksuojamas ties aktualiu, keliančiu rūpestį išgyvenimu. Dažniausiai piešiami objektai – namas, medis, žmogus. / The analysis of the art therapy’s scientific sources has revealed that the children having mental disorder draw without focusing on a real image of the object, they don’t pay attention to essential details, don’t realize the existence of the relationship between the objects. The drawings of these kids have got typical patterns with a recurring theme and repeated objects in their pictures. The stereotypical drawings reflect the kids’ reaction to the surrounding. Their attention concentrates on the urgent emotionally stressful experience. The most common objects in such pictures are houses, trees and people.

Neformalus gebėjimų ugdymas disponuoja savita tendencija kurti ekonomines, kultūrines bei nematerialines vertybes. Šios temos aktualumas akcentuojamas švietimo politikos dokumentuose, teisės aktuose Lietuvoje ir ES šalyse. Šalies ekonominės raidos plėtrai reikalingas neformalus gebėjimų ugdymas kaip atgimusios švietimo politikos įgyvendinimo metodas. Jis padėtų atverti neišnaudotą jaunos visuomenės emocinį, intelektinį ir žmogiškųjų išteklių kapitalą, bei kūrybinio potencialo įgyvendinimą praktikoje. Gilinantis į temos aktualumą švietimo politikos kontekste, darbe iškelta tyrimo problema – kaip neformalus gebėjimų ugdymas padeda didinti kūrybinį potencialą. Taip pat iškeliama hipotezė – asmenybės kūrybinis potencialas socialinio ir ekonominio progreso garantas. Remiantis tyrimo duomenimis hipotezė pasitvirtino. Visapusiškas išsilavinimas –– individo teisė ir pareiga. Neformalus gebėjimų ugdymas tai progresas, kuris palaipsniui suaktyvina pasyviąsias mokymosi žinias, kaupia intelektinį kapitalą, kuris vėliau padeda kurti savo asmeninę ekonominę gerovę, o po to ir valstybės. / Non-formal development of skills has a distinctive tendency to generate economic, cultural and immaterial assets. The topicality of this paper is emphasized in the educational policy documents and legislation both in Lithuania and in other EU countries. The country’s economic development requires the non-formal development of skills as the method of implementing the newborn educational policy. It would help to free up the unused emotional, intellectual and HR capital of the young society as well as to implement the creative potential in practice. While going deep into the topicality of the paper within the context of the educational policy, the author sets the following research problem – how the non-formal development of skills helps to increase the creative potential. The following hypothesis is made – the creative potential of an individual guarantees a social and economic progress. The aim of the paper is to analyse the impact of the non-formal development of skills on the development of one’s creative potential and to evaluate the significance of the non-formal development of skills within the context of high-quality integration into the labour market. In order to achieve the aim of the paper the following objectives were set: 1) to analyse the theoretical aspects of the non-formal development of skills; 2) to describe the connections between the non-formal development of skill and the human capital; 3) to determine the methods for developing the creative potential and... [to full text]

Objektas – socialinių pedagogų kūrybingumo raiška profesinėje veikloje. Tikslas – nustatyti socialinių pedagogų kūrybingumo raišką profesinėje veikloje. Uždaviniai: 1. Įvertinti socialinių pedagogų kūrybingumo sampratos atitiktį teorinei kūrybingumo konceptualizacijai. 2. Nustatyti kokiose profesinės veiklos situacijose socialiniams pedagogams labiausiai reikalingas kūrybingumas 3. Įvertinti ar skiriasi socialinių pedagogų kūrybingumo kompetencijos raiška tarp trumpą ir ilgą darbo stažą turinčių soc .pedagogų. Hipotezės: 1. Praktinį darbą dirbančių socialinių pedagogų kūrybingumo samprata atitinka teorinę kūrybingumo konceptualizaciją. 2. Socialiniams pedagogams labiausiai kūrybingumas bus reikalingas individualiame darbe su vaikais. 3. Kūrybingumu pasižymės ilgesnį darbo stažą turintys socialiniai pedagogai. Problema: Šio darbo problematiką nusako poreikis įvertinti ar Lietuvoje socialinių darbuotojų kūrybingumas reiškiasi taip pat, kaip Vakarų Europos šalyse ir kokie asmeniniai veiksniai susiję su socialinių pedagogų kūrybingumu. Lietuvoje socialinių pedagogų kūrybingumas beveik nėra tyrinėtas Lietuvos autorių, tad šiame darbe kūrybingumas yra nagrinėjamas kaip svarbi profesinė kompetencija, kuri reiškiasi įvairiose socialinio pedagogo darbo veiklose. Išvados 1. Socialinių pedagogų turima kūrybingumo samprata atitinka teorinę konceptualizaciją, pateikiamą mokslinėje literatūroje: kūrybingumas – tai nuo veiklos srities priklausantis subjektyvus konkretaus asmens... [toliau žr. visą tekstą] / Purpose – explore the manifestation of creativity in the domain of social education. Objectives: 1. To compare social educators’ subjective creativity with theoretical conceptualization. 2. To set the main professional roles in which social educators‘ creativity is needed 3. To evaluate the role of service length for social educators’ subjective creativity. Hypotheses: 1. Subjective creativity in the domain of social education corresponds with the theoretical conceptualisation of creativity. 2. Social educators’ creativity is mostly needed in the domain of direct service. 3. The longer service length it is associated with the higher level of subjective creativity. Probem of this paper is to describe the need to clarify the concept of subjective creativity in the domain of social education. Social educators’ subjective creativity is underreasearched area in Lithuanian creativity investigations. Creativity is important professional competence, so the reasearch is valuable for the development of social educators’ professional roles. Conclusions 1. Social educators’ subjective creativity coresponds to theoretical conceptualization of the phenomenon. Creativity in the domain of social education can also be defined using the definition of C.Ford and D.Gioia (2000), e.g. it is individual domain, specific results, which are new and valuable. Social educators’ are in agreement that every duty can be done creatively and creativity is manifested in everyday activities. Only a... [to full text]

Barn lär sig genom deltagande i meningsfulla aktiviteter därför är det relevant att studera vad elever anser som meningsfullt. Forskning har visat att skapande aktiviteter har en positiv inverkan på hälsan, därför ansågs det väsentligt att studera hur elever upplever skapande aktiviteter. Syfte: Examensarbetet syftar till att beskriva val av meningsfulla aktiviteter och upplevelsen av skapande aktiviteter hos elever i årskurs två. Metod: Metoden är en integrerad design där författarna studerade vad elever i grundskolan anser som meningsfullt och även mer specifikt studerade vad elever anser om skapande aktivteter. Ett bekvämlighetsurval ägde rum på en grundskola i södra Sverige där inklusionskrite-rierna var både flickor och pojkar i årskurs två. I datainsamlingen deltog 15 elever. Datainsamlingsinstrumentet CHILD (Children, Health, Intervention, Learning and Development) som är ett strukturerat intervjuformulär med slutna frågor tillämpades. Som komplement till instrumentet användes en intervjuguide med öppna och semistrukturerade frågor. Resultat: Resultatet visar även att det fanns individuella skillnader mellan elevers val av meningsfulla aktiviteter. Inga större skillnader på vilken skapande aktivitet som ansågs roligast kunde avläsas. Samtliga elever ansåg det som viktigt att gå i skolan. Samtliga elever var ofta med kompisar varav majoriteten av dessa ansåg det som viktigt. Slutsats: Teoretiska ämnen och fysiska aktivteter ansågs mer meningsfullt än skapande aktiviteter. / Children learn by participating in meaningful activities, therefore it is relevant to study what pupils consider as meaningful. Results from scientific studies have shown that creative activities has had a positive effect on peoples health, therefore its important to study how primary school students experience creative activities. Aim: The aim was to study the primary school students’ choice of meaningful activities and their experience of creative activities in school. Method: The method is an integrated design in which the authors on the one hand studied what students in primary school considered as meaningful activities. On the other hand more specific studied what pupils thought of creative activities. A convenience sample took place at a primary school in south Sweden where the inclusion criteria were; boys and girls from second grade. In the data collection 15 students participated. The tool used for the collection of data was the CHILD (Children, Health, Intervention, Learning and Development), a structured interview form with closed questions. An interview guide with open and semi structured questions was used as a complement to CHILD. Result: The result showed that most of the students defined theoretical and physical subjects as meaningful. No major difference concerning which creative activities that were defined as most fun was shown. All participants thought it was important to go to school. All students were often with friends and the majority of the group thought it was important to be with friends. Conclusion: Theory subjects and physical activities were considered more meaningful than creative activities.

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A quick search in Google Scholar for documents containing both keywords “Japan” and “collectivism” revealed 28,100 results. This fact alone is enough to support the notion that collectivism is a commonly reoccurring descriptive in discussions about Japanese society. This is also enough to give serious consideration to the impact of collectivism when thinking about the development of educational programs that foster the development of creativity. More specifically it raises the question: if some people within Japan believe in the collectivist nature of themselves and their society how does that belief influence creative self-identity and creative self–efficacy? Since creativity and innovation require the ability to think divergently, understanding the impact of the alleged pressure towards conformity on creativity should be a top priority. Furthermore, understanding this relationship becomes important when considering methodologies and potential barriers to learning in the creativity classroom or workshop. With this in mind, a questionnaire was given to 50 Japanese participants of various ages and backgrounds. Using open-ended questions and a Likert scale, the questionnaire examines the collectivist self-identity, the collectivist social-identity, creative self-identity, and creative self-efficacy. Through narrative qualitative analysis of the open-ended questions and quantitative analysis of the scaled questions the relationships between the four categories were examined to see if any influenced the others. From this study we can see that the quantitative data and the qualitative data both showed the similar findings. Within the group the majority did not identify as having a collectivist self-identity, the results on collectivist socialidentity were split down the middle, and a majority of the participants did identify with having a creative self-identity. It is also clear from both the qualitative and quantitative data that creative self-identity and creative self-efficacy are linked. It appears that if the person does not believe that he or she is a creative person then that same individual is very likely to believe they do not have the capacity to do creative things.

The construct of self-regulation has been well researched, however, no comprehensive approach is available for promoting self-regulation as a strength operating in an integrated process, and, furthermore, current research gives limited consideration regarding the role of creativity in the self-regulation process. The objective of this study was to explore the relation between self-regulation and creativity, and to promote self-regulation as a psychological strength by means of a creativity programme in the field of painting in a group of individuals. Self-regulation is described in the literature as a skill that is acquired through an interaction of neurological and environmental factors that enables a person to intentionally accept agency of his or her actions. Creative self-regulation is conceptualised as the ability to generate original, novel and appropriate behaviour while constantly adjusting and adapting behaviour with a view to attain goals and promoting psychological well-being. A qualitative, interpretative design was used in the initial empirical inquiry to explore the subjective experience of 14 established painters in terms of their creativity as a self-regulatory process during the practice of their art. Data was obtained from a questionnaire specifically designed for this study. Thematic data analysis supported the findings of the literature regarding the crucial similarities between self-regulation and creativity, and particular themes concerning the self-regulatory aspects of creativity, such as intrinsic motivation, self-efficacy, self-control, and mindfulness were identified. Additionally, creativity appeared to strongly favour assimilation, which was ascribed to perseverance and a strong identification with goals. Based on the findings of the first two phases of the study, a painting programme was developed with a view to promote self- regulation as an adaptive life skill through the facilitation of creativity. Relevant guidelines for effective programme development have been incorporated into this programme. In the subsequent empirical study the painting programme was assessed, by means of a mixed experimental control group consisting of 18 patients in a private psychiatric clinic. Pre- and post-testing were conducted by means of the Basic Psychological Needs Scale (General) (BPNS-Gen); the 14 item Freiburg Mindfulness Inventory (FMI), as well as the Shortened Self Regulation Questionnaire (SSRQ) to determine whether any improvement in self-regulation occurred within the group. Quantitative data provided information on differences within and between the experimental and control groups, while an additional qualitative method was used for examining the progress of the experimental group during the course of the programme. The results indicated that the programme brought about a significant positive change in self-regulation among the experimental group. Certain self-regulation factors, especially mindfulness, but also autonomy, decision-making, and self-evaluation appeared to have improved to a practically significant degree, whilst perseverance showed a lesser improvement of medium effect. This study therefore concluded that creativity appears to equip a person with specific skills that play a crucial role in the facilitation of self- regulation in all the phases of goal-directed behaviour. The limitations of this study were discussed and recommendations for further research and practical implementation were made. / Thesis (PhD (Psychology))--North-West University, Potchefstroom Campus, 2013.

The construct of self-regulation has been well researched, however, no comprehensive approach is available for promoting self-regulation as a strength operating in an integrated process, and, furthermore, current research gives limited consideration regarding the role of creativity in the self-regulation process. The objective of this study was to explore the relation between self-regulation and creativity, and to promote self-regulation as a psychological strength by means of a creativity programme in the field of painting in a group of individuals. Self-regulation is described in the literature as a skill that is acquired through an interaction of neurological and environmental factors that enables a person to intentionally accept agency of his or her actions. Creative self-regulation is conceptualised as the ability to generate original, novel and appropriate behaviour while constantly adjusting and adapting behaviour with a view to attain goals and promoting psychological well-being. A qualitative, interpretative design was used in the initial empirical inquiry to explore the subjective experience of 14 established painters in terms of their creativity as a self-regulatory process during the practice of their art. Data was obtained from a questionnaire specifically designed for this study. Thematic data analysis supported the findings of the literature regarding the crucial similarities between self-regulation and creativity, and particular themes concerning the self-regulatory aspects of creativity, such as intrinsic motivation, self-efficacy, self-control, and mindfulness were identified. Additionally, creativity appeared to strongly favour assimilation, which was ascribed to perseverance and a strong identification with goals. Based on the findings of the first two phases of the study, a painting programme was developed with a view to promote self- regulation as an adaptive life skill through the facilitation of creativity. Relevant guidelines for effective programme development have been incorporated into this programme. In the subsequent empirical study the painting programme was assessed, by means of a mixed experimental control group consisting of 18 patients in a private psychiatric clinic. Pre- and post-testing were conducted by means of the Basic Psychological Needs Scale (General) (BPNS-Gen); the 14 item Freiburg Mindfulness Inventory (FMI), as well as the Shortened Self Regulation Questionnaire (SSRQ) to determine whether any improvement in self-regulation occurred within the group. Quantitative data provided information on differences within and between the experimental and control groups, while an additional qualitative method was used for examining the progress of the experimental group during the course of the programme. The results indicated that the programme brought about a significant positive change in self-regulation among the experimental group. Certain self-regulation factors, especially mindfulness, but also autonomy, decision-making, and self-evaluation appeared to have improved to a practically significant degree, whilst perseverance showed a lesser improvement of medium effect. This study therefore concluded that creativity appears to equip a person with specific skills that play a crucial role in the facilitation of self- regulation in all the phases of goal-directed behaviour. The limitations of this study were discussed and recommendations for further research and practical implementation were made. / Thesis (PhD (Psychology))--North-West University, Potchefstroom Campus, 2013.

The purpose of this paper is to explore group creative processes in a virtual environment to better understand how virtual communication influences creativity. After reviewing literature, a theoretical foundation in creativity was established and with three common themes derived: Task motivation and task orientation, social environment and participation, and communication. This was coupled with a review of current virtual team interaction theories, demonstrating intersections between them. The method used was a qualitative exploration using semi-structured in-depth interviews. The interviews were conducted via VOIP, with notes and recordings taken for further analysis. Analysis was conducted on the three common creative themes viewing virtualization as the mediator. Trends emerged demonstrating that asynchronous communication had a substantial influence on group creative processes. Conversely, virtual teams employing real-time communication found little influence on the creative process. Other anecdotal trends can be seen regarding motivation and social environment. This paper identifies key areas where virtualization influences the group creative process, and provides a base for future suggested research.