Na dissertação, estudou-se a poesia de Manoel de Barros, como contribuição ao processo criativo do projetista/desenhista (designer) no âmbito inicial de um projeto de concepção/desenho (design). Dá-se atenção especial a duas abordagens da obra do poeta: as ‘pré-coisas’ e a atividade de ‘transver’, que consistem, respectivamente, nos processos ainda sem significado ou forma, e naqueles vistos de outras maneiras. A partir destes conceitos, estabeleceram-se relações com alguns princípios criativos e ferramentas de auxílio à geração de ideias já existentes. Encontrou-se possibilidade de gerar novos princípios criativos a partir da poesia do autor. Para viabilizar esta hipótese, buscou-se suporte teórico em estudos de semiologia, em abordagens sobre criatividade e nas relações do processo (design) com forma, função, material e sensações atribuídos aos produtos. Desta maneira, esta pesquisa resultou na geração de três princípios criativos gerados a partir das noções de ‘pré-coisas’ e da atividade de ‘transver’. Esses, se denominaram, respectivamente, Princípio de Arquissema, que se fundamenta em pensar “no antes”, Princípio de Comparamento, o qual visa atribuir semelhanças, e Princípio de Constativo, que busca ampliar a significação de objetos. Para melhor entender como esses princípios se relacionam ao processo criativo do desenhista (designer), realizaram-se dois exemplos, nos quais se buscou gerar ideias com auxílio dos princípios propostos. Utilizou-se, como exemplo, um objeto ainda em plano conceitual, chamado por Manoel de Barros de ‘desobjeto’, ou “abridor de amanhecer”, a fim de ofertar sugestões para que tal desobjeto passasse a ser um objeto. Por fim, também se buscou problematizar um tema ocasional, optando-se pelo da chuva, a fim de fornecer ideias, ainda conceituais, às conseqüências que ela possa causar. / In this study, it was investigated the poetry of Manoel de Barros, as a contribution to a designer’s creative process, in the original scope of a design project. Special attention is given to two approaches of the poet's work: the ‘pre-things’, and the activity of transver, consisting, respectively, of processes yet without meaning or form, and of those seen in other ways. From these concepts, were established relationships with some creative principles and with tools that help the generation of ideas already set. It was found the possibility of generating new creative principles from the author's poetry. In order to test this hypothesis, it was sought theoretical support in studies of semiology, in creative approaches, and in relations of design with form, function, material, and sensations attached to the products. Thus, this research resulted in the generation of three creative principles obtained from conceptions of ‘prethings’ and of ‘transver’ activity. These were called, respectively, Principle of Arquissema, which is based on thinking "in before", Principle of Comparamento, that proposes similarities, and Principle of Constativo, which search for expanding the meaning of objects. For better understanding of how these principles relate to the designer’s creative process, there were performed two examples, in which ideas were generated with the aid of the proposed principles. As an example, it was used an object yet in conceptual outline, called by Manoel de Barros as ‘desobjeto’, or ‘dawn opener’, in order to offer suggestions to transform such ‘desobjeto’ in an object. At last, it was also examined an occasional theme, whose option was for that of rain, in order to offer ideas, even conceptual, and the consequences they may cause.

Dans le contexte spécifique de coopétition entre les membres des clusters, l'émergence de projets collaboratifs innovants est une question clé pour les adhérents et les structures permanentes des clusters. Compte-tenu des écosystèmes hétérogènes qui évoluent au sein des clusters, la stratégie d'Interclustering qui est menée pour créer de nouveaux types de projets intersectoriels nécessite de nouveaux outils appropriés pour soutenir l'émergence d'idées innovantes et créatives. De fortes synergies sont mises en évidence grâce à l'animation de clubs d'innovation impliquant des participants provenant des milieux industriels, académiques, scientifiques et des structures de développement économique. / In the specific context of coopetition between members of clusters, innovative collaborative projects emergence is a key issue for members and clusters. Given the heterogeneous ecosystems that evolve within the clusters, the interclustering strategy which is conducted to create new types of cross-sectoral projects require new appropriate tools to support creative and new ideas emergence. Strong synergies are highlighted through the use of the discovering matrix and 9 screens tools. These links help facilitators of clusters to optimize the preparation and animation of creative sessions. Strong synergies are highlighted through the animation of innovative clubs involving participants from industrial, academic, scientific and economic development organizations.

Submitted by Timbo Noeme (noeme.timbo@metodista.br) on 2016-08-08T19:09:31Z No. of bitstreams: 1 TeresaFabrete.pdf: 1812675 bytes, checksum: d70dd9ba87abee941eb16e111d403b37 (MD5) / Made available in DSpace on 2016-08-08T19:09:31Z (GMT). No. of bitstreams: 1 TeresaFabrete.pdf: 1812675 bytes, checksum: d70dd9ba87abee941eb16e111d403b37 (MD5) Previous issue date: 2015-12-02 / The companies which crave ensure and improve their position within an increasingly competitive market, need to be always updated and in constant evolution. In their continuous pursuit for evolution, they invest in Research & Development (R&D) projects and in its human capital to promote creativity and organizational innovation. People have a fundamental role in the development of innovation, but for it to flourish constantly it’s needed commitment and creativity to generate ideas. Creativity is to think the new; innovation is making things happen. However, find people with these qualities is not always an easy task and it is often necessary to encourage these skills and characteristics, in them, in order to become effectively creative. The graduation programs, can be an important tool for development of these aspects, characteristics and abilities, using teaching methods and practices that will assist in the development of creativity, because the teaching-learning environment is important in people’s development. The objective of this study is to identify which factors have the greater push, on the creativity’s development, in an undergraduate administration program, analyzing the influence of teachers’ pedagogical practices and the student’s internal barriers. The theoretical framework is main based on the work of Alencar, Fleith, Torrance and Wechsler. A cross-sectional survey This study has a quantitative approach, using as target audience the students of a management university course in São Paulo, whom has answered 465 compounds questionnaires we’ve used three questionnaires scales. For teaching practices was adapted from Educational Practice in relation to Creativity. For internal barriers was adapted scale of Personal Creativity Barriers. For the analysis of the perception of creativity development was adapted, built and checked a scale based on the framework of characteristics of a creative person. The descriptive and exploratory factorial statistical analyzes were performed using the Statistical Package for software Social Sciences (SPSS), while the factor confirmatory analysis to the context under study for measurement of the influence of pedagogical practices and internal barriers on the factors influencing the perception of creativity development were performed with analysis by structural equation modeling using the algorithm Partial Least Squares (PLS), the Smart PLS 2.0 software. The results showed the pedagogical practices and the internal barriers of the students explain 40% of the creative development of perception, and the pedagogical practices that most influence. The survey also pointed out that the type of issue and period in which the student is enrolled have no influence on any of the three constructs, only the teacher influences the pedagogical practices. / As empresas que almejam garantir e melhorar sua posição dentro de em um mercado cada vez mais competitivo precisam estar sempre atualizadas e em constante evolução. Na busca contínua por essa evolução, investem em projetos de Pesquisa & Desenvolvimento (P&D) e em seu capital humano para promover a criatividade e a inovação organizacional. As pessoas têm papel fundamental no desenvolvimento da inovação, mas para que isso possa florescer de forma constante é preciso comprometimento e criatividade para a geração de ideias. Criatividade é pensar o novo; inovação é fazer acontecer. Porém, encontrar pessoas com essas qualidades nem sempre é tarefa fácil e muitas vezes é preciso estimular essas habilidades e características para que se tornem efetivamente criativas. Os cursos de graduação podem ser uma importante ferramenta para trabalhar esses aspectos, características e habilidades, usando métodos e práticas de ensino que auxiliem no desenvolvimento da criatividade, pois o ambiente ensino-aprendizagem pesa significativamente na formação das pessoas. O objetivo deste estudo é de identificar quais fatores têm maior influência sobre o desenvolvimento da criatividade em um curso de graduação em administração, analisando a influência das práticas pedagógicas dos docentes e as barreiras internas dos discentes. O referencial teórico se baseia principalmente nos trabalhos de Alencar, Fleith, Torrance e Wechsler. A pesquisa transversal de abordagem quantitativa teve como público-alvo os alunos do curso de Administração de uma universidade confessional da Grande São Paulo, que responderam 465 questionários compostos de três escalas. Para as práticas docentes foi adaptada a escala de Práticas Docentes em relação à Criatividade. Para as barreiras internas foi adaptada a escala de Barreiras da Criatividade Pessoal. Para a análise da percepção do desenvolvimento da criatividade foi construída e validada uma escala baseada no referencial de características de uma pessoa criativa. As análises estatísticas descritivas e fatoriais exploratórias foram realizadas no software Statistical Package for the Social Sciences (SPSS), enquanto as análises fatoriais confirmatórias e a mensuração da influência das práticas pedagógicas e das barreiras internas sobre a percepção do desenvolvimento da criatividade foram realizadas por modelagem de equação estrutural utilizando o algoritmo Partial Least Squares (PLS), no software Smart PLS 2.0. Os resultados apontaram que as práticas pedagógicas e as barreiras internas dos discentes explicam 40% da percepção de desenvolvimento da criatividade, sendo as práticas pedagógicas que exercem maior influencia. A pesquisa também apontou que o tipo de temática e o período em que o aluno está cursando não têm influência sobre nenhum dos três construtos, somente o professor influencia as práticas pedagógicas.

Submitted by Timbo Noeme (noeme.timbo@metodista.br) on 2016-08-08T19:29:29Z No. of bitstreams: 1 Rogerio Ambrosio2.pdf: 1668585 bytes, checksum: cb0c1cd04de06e9546f2eea472687311 (MD5) / Made available in DSpace on 2016-08-08T19:29:29Z (GMT). No. of bitstreams: 1 Rogerio Ambrosio2.pdf: 1668585 bytes, checksum: cb0c1cd04de06e9546f2eea472687311 (MD5) Previous issue date: 2015-12-16 / The companies which crave ensure and improve their position within an increasingly competitive market, need to be always updated and in constant evolution. In their continuous pursuit for evolution, they invest in Research & Development (R&D) projects and in its human capital to promote creativity and organizational innovation. People have a fundamental role in the development of innovation, but for it to flourish constantly it’s needed commitment and creativity to generate ideas. Creativity is to think the new; innovation is making things happen. However, find people with these qualities is not always an easy task and it is often necessary to encourage these skills and characteristics, in them, in order to become effectively creative. The graduation programs, can be an important tool for development of these aspects, characteristics and abilities, using teaching methods and practices that will assist in the development of creativity, because the teaching-learning environment is important in people’s development. The objective of this study is to identify which factors have the greater push, on the creativity’s development, in an undergraduate administration program, analyzing the influence of teachers’ pedagogical practices and the student’s internal barriers. The theoretical framework is main based on the work of Alencar, Fleith, Torrance and Wechsler. A cross-sectional survey This study has a quantitative approach, using as target audience the students of a management university course in São Paulo, whom has answered 465 compounds questionnaires we’ve used three questionnaires scales. For teaching practices was adapted from Educational Practice in relation to Creativity. For internal barriers was adapted scale of Personal Creativity Barriers. For the analysis of the perception of creativity development was adapted, built and checked a scale based on the framework of characteristics of a creative person. The descriptive and exploratory factorial statistical analyzes were performed using the Statistical Package for software Social Sciences (SPSS), while the factor confirmatory analysis to the context under study for measurement of the influence of pedagogical practices and internal barriers on the factors influencing the perception of creativity development were performed with analysis by structural equation modeling using the algorithm Partial Least Squares (PLS), the Smart PLS 2.0 software. The results showed the pedagogical practices and the internal barriers of the students explain 40% of the creative development of perception, and the pedagogical practices that most influence. The survey also pointed out that the type of issue and period in which the student is enrolled have no influence on any of the three constructs, only the teacher influences the pedagogical practices. / As empresas que almejam garantir e melhorar sua posição dentro de em um mercado cada vez mais competitivo precisam estar sempre atualizadas e em constante evolução. Na busca contínua por essa evolução, investem em projetos de Pesquisa & Desenvolvimento (P&D) e em seu capital humano para promover a criatividade e a inovação organizacional. As pessoas têm papel fundamental no desenvolvimento da inovação, mas para que isso possa florescer de forma constante é preciso comprometimento e criatividade para a geração de ideias. Criatividade é pensar o novo; inovação é fazer acontecer. Porém, encontrar pessoas com essas qualidades nem sempre é tarefa fácil e muitas vezes é preciso estimular essas habilidades e características para que se tornem efetivamente criativas. Os cursos de graduação podem ser uma importante ferramenta para trabalhar esses aspectos, características e habilidades, usando métodos e práticas de ensino que auxiliem no desenvolvimento da criatividade, pois o ambiente ensino-aprendizagem pesa significativamente na formação das pessoas. O objetivo deste estudo é de identificar quais fatores têm maior influência sobre o desenvolvimento da criatividade em um curso de graduação em administração, analisando a influência das práticas pedagógicas dos docentes e as barreiras internas dos discentes. O referencial teórico se baseia principalmente nos trabalhos de Alencar, Fleith, Torrance e Wechsler. A pesquisa transversal de abordagem quantitativa teve como público-alvo os alunos do curso de Administração de uma universidade confessional da Grande São Paulo, que responderam 465 questionários compostos de três escalas. Para as práticas docentes foi adaptada a escala de Práticas Docentes em relação à Criatividade. Para as barreiras internas foi adaptada a escala de Barreiras da Criatividade Pessoal. Para a análise da percepção do desenvolvimento da criatividade foi construída e validada uma escala baseada no referencial de características de uma pessoa criativa. As análises estatísticas descritivas e fatoriais exploratórias foram realizadas no software Statistical Package for the Social Sciences (SPSS), enquanto as análises fatoriais confirmatórias e a mensuração da influência das práticas pedagógicas e das barreiras internas sobre a percepção do desenvolvimento da criatividade foram realizadas por modelagem de equação estrutural utilizando o algoritmo Partial Least Squares (PLS), no software Smart PLS 2.0. Os resultados apontaram que as práticas pedagógicas e as barreiras internas dos discentes explicam 40% da percepção de desenvolvimento da criatividade, sendo as práticas pedagógicas que exercem maior influencia. A pesquisa também apontou que o tipo de temática e o período em que o aluno está cursando não têm influência sobre nenhum dos três construtos, somente o professor influencia as práticas pedagógicas.

This project-thesis introduces an elementary general music curriculum designed to empower students towards creative music making. Building off the work related to creativity in music education by Green (2005), Hickey (2001), and Ruthmann (2008), this curriculum consists of two parts which highlight fundamental musical skill development and creative music making, respectively. The curriculum is rationalized in the contexts of a proposed local teaching environment and education policy, philosophy of music education, and current educational funding policies at the levels of state and federal governments, and non-governmental organizations.

Studien är baserad på nio stycken semistrukturerade intervjuer med deltagare som har eller jobbar med improvisationsteater i grupp i minst tre år. Den tillämpade metoden är kvalitativ. Analysen och bearbetningen bestod utav en tematisk analys. Syftet med studien var att under- söka improvisatörers upplevelser av sitt yrke. De tre teman som framkom genom analysen var ”Känslan av att befinna sig i nuet”, ”Gruppens betydelse” och ”Att föra berättelsen framåt”. Resultatet visade att improvisatörernas upplevelse av sitt yrke hade stor inverkan på dem själva. Detta i forma av samhörighet, självförtroende, flow och kreativt tänkande. Resultatet visade även svårigheterna med att improvisera och hur deltagarna resonerade för att skapa en före- ställning. / The study is based on nine semi-structured interviews with participants who have worked or who are working with improvisation theater for at least three years.The applied method is qualitative. The analysis and processing consisted of a thematic analysis. The purpose of the study was to investigate improvisers' experiences of their profession. The three themes emerged from the analysis were "The feeling of being in the present", "The meaning of the group" and "Moving the story forward". The result showed that improvisation as a form of theater has a big impact on the participants in terms of happiness, self-esteem and flow. The result also showed the difficulty of improvising and how the participants reasoned to create a good performance.

Creativity is a valuable attribute that involves the generation of original ideas; attention is a vital function that facilitates information selection. Past research has related these cognitive constructs, having found that highly creative people tend to be more distractible than those less creative, which allows them to produce more novel associations. This thesis aimed to test the relationship between these two processes using multiple tests of creativity (e.g., achievement, divergent thinking, and collage-making) and attention (e.g., focused, sustained, selective, and divided attention), which represented the complexity of each construct, and improved upon the methods previously reported. Additionally, the performance of participants with Attention Deficit Hyperactivity Disorder (ADHD) was compared to those without. Four studies were carried out. Within the first two, creativity scores were compared and related to attention scores, within and between control and ADHD groups. No consistent relationships were found. The ADHD group had higher creativity scores on average, but the differences were not significant. Study three incorporated eye-tracking techniques to explore the effect of visual stimulation on creativity and attention performance between-groups. It was found that the ADHD group looked at the attention task targets significantly less, yet their performance was not significantly worse. No between-group differences in creativity were found. The visually stimulating environment did not affect performance. Study four investigated the effect of an incubation period on creativity. Results showed that incubation increased the proportion of original ideas, but performance did not vary according to incubation task demand. However, self-report responses indicated that participants did not sufficiently engage in the incubation period, as they continued to think consciously of solutions. The link between creativity and attention is not supported, and the idea that ADHD is beneficial to creativity is not fully upheld. Further research should examine creativity and attention in work or university settings, to consider the existence of a ‘real life' relationship.

En definition av kreativitet kan beskrivas som en förmåga att hitta lösningar påproblem som inte ännu har en färdig lösning. Att tillhandahålla en förmåga äratt veta hur du går tillväga och en sådan går att utveckla, öva in och träna upp,det gäller bara att veta hur. Ett problem dyker som oftast upp när en processredan är igång och i ett tillstånd av ovetskap kan det kännas som att ingenlösning duger. En grafisk designer är beroende av sitt kreativa tänkande ochutan det skulle dess arbete inte fungera. Frågan är då hur en grafisk designer tarsig ur en kreativ svacka, när förmågan av att finna en lösning inte är tillräckligoch då kreativiteten känns som bortblåst? Hur går man tillväga och finns detnågra generella metoder att anamma? Detta är frågor som besvarats i mitt arbeteutifrån insamlad fakta. Intervjuerna och analyserna som utförts ligger till grundför resultatet och presenteras här i form av 6 olika teman: Träna, Tid, Paus,Hjälp, Kämpa och Självkännedom. / A definition of creativity can be described as an ability to find solutions toproblems that do not yet have an answer. To provide an ability is to know howto go about it and such can be developed through practice and training, you onlymust know how. A problem usually appears while in a process and in a state ofignorance, it may even seem that no solution is good enough. Graphic designersare dependent on their creative thinking and it would be damaging, career wise,if this ability would disappear. The question then is how graphic designers takesthemselves out of a creative dip? When the ability to find a solution is notsufficient and when the creative way of thinking is blocked, how do you handleit, when in doubt, and what general proceedings is there to embrace? These arequestions answered in my work based on collected facts. The interviews andanalyzes carried out from the basis for the results and are presented here in formof 6 different themes: Training, Time, Pause, Help, Fight and Self-awareness.

This article is about the importance of the idiographic approach in the study of the creative- productive individuals. An analysis of Howard Gardner's Creative Minds is carried out, focusing on the seven kinds of intelligence. The life of Sigmund Freud is analyzed as an example of a creative personality with creative achievements, regarding the intrapersonal intelligence. Finally, there is an analysis of the common characteristics among the creative-productive individuals and the determinant factors of their creative exceptional achievements. / El artículo trata de la importancia de la aproximación idiográfica en el estudio de los individuos creativo-productivos. Se hace un análisis del planteamiento de Gardner en su libro "Creating Minds", respecto a las numerosas áreas de producción creativa, para posteriormente analizar al detalle las experiencias y logros creativos de Sigmund Freud a lo largo de su vida, como ejemplo de un individuo creativo-productivo con elevada inteligencia intrapersonal. Finalmente se hace un análisis de las características comunes encontradas entre los individuos excepcionalmente creativos y los factores determinantes en sus logros.

En definition av kreativitet kan beskrivas som en förmåga att hitta lösningar på problem som inte ännu har en färdig lösning. Att tillhandahålla en förmåga är att veta hur du går tillväga och en sådan går att utveckla, öva in och träna upp, det gäller bara att veta hur. Ett problem dyker som oftast upp när en process redan är igång och i ett tillstånd av ovetskap kan det kännas som att ingen lösning duger. En grafisk designer är beroende av sitt kreativa tänkande och utan det skulle dess arbete inte fungera. Frågan är då hur en grafisk designer tar sig ur en kreativ svacka, när förmågan av att finna en lösning inte är tillräcklig och då kreativiteten känns som bortblåst? Hur går man tillväga och finns det några generella metoder att anamma? Detta är frågor som besvarats i mitt arbete utifrån insamlad fakta. Intervjuerna och analyserna som utförts ligger till grund för resultatet och presenteras här i form av 6 olika teman: Träna, Tid, Paus, Hjälp, Kämpa och Självkännedom. / A definition of creativity can be described as an ability to find solutions to problems that do not yet have an answer. To provide an ability is to know how to go about it and such can be developed through practice and training, you only must know how. A problem usually appears while in a process and in a state of ignorance, it may even seem that no solution is good enough. Graphic designers are dependent on their creative thinking and it would be damaging, career wise, if this ability would disappear. The question then is how graphic designers takes themselves out of a creative dip? When the ability to find a solution is not sufficient and when the creative way of thinking is blocked, how do you handle it, when in doubt, and what general proceedings is there to embrace? These are questions answered in my work based on collected facts. The interviews and analyzes carried out from the basis for the results and are presented here in form of 6 different themes: Training, Time, Pause, Help, Fight and Self-awareness.