Academic literature on the topic 'Creativity-relevant processes'
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Journal articles on the topic "Creativity-relevant processes"
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Fink, Andreas, and Mathias Benedek. "The Neuroscience of Creativity." Neuroforum 25, no. 4 (November 26, 2019): 231–40. http://dx.doi.org/10.1515/nf-2019-0006.
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Abstract While earlier neuroscience studies on creativity have been criticized due to their heterogeneity of findings, recent studies in this field have converged to some common practices and methodological approaches, which have greatly contributed to enhance both the reliability and reproducibility of findings in this field. Relevant neuroscience findings suggest that creative cognition requires a conglomerate of neurocognitive processes involving executive functions, memory processes, internally-focused attention, or spontaneous modes of thought. Studies investigating creativity in more naturalistic, real-life settings reveal some overlap with conventional creative ideation, but also indicate that creativity and its underlying neural mechanisms are specific to the particular domain. Another trend in the neuroscience of creativity is concerned with approaches to enhance creativity, involving a broad diversity of interventions ranging from cognitively-oriented techniques to interventions using physical activity.
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Shubina, Ivanna, and Atik Kulakli. "Pervasive Learning and Technology Usage for Creativity Development in Education." International Journal of Emerging Technologies in Learning (iJET) 14, no. 01 (January 17, 2019): 95. http://dx.doi.org/10.3991/ijet.v14i01.9067.
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This paper’s aim is to investigate the role of creativity and pervasive learning in a modern education paradigm. The research was conducted by relevant literature review along with reflective analysis on sub-context such as creativity, educational development, pedagogical methods, important factors behind of creativity development and technology-learning systems affects. Various issues may become a supportive factor or barrier for creativity development in educational processes. Technology in an education field provides many opportunities for creativity enhancement, among which supports to enhance curiosity to develop some skills to improve student's cognitive processes and engagement as well as to increase intrinsic motivation, self-regulation. Authors attempted to consider all the benefits, challenges and risks related to enhancing creativity with the help of technology in modern educational paradigm. Many studies have been analyzed in order to answer main research question: How technology-pervasive learning environment can enhance stimulation and development of creativity among students?
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Hoff, Eva, and Ingegerd Carlsson. "She, You and They – More Actors on the Creativity Research Stage!" Creativity. Theories – Research - Applications 2, no. 1 (June 1, 2015): 38–43. http://dx.doi.org/10.1515/ctra-2015-0005.
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AbstractThe commentary confirms and builds on Glăveanu’s critical scrutiny of the current stage of creativity research. The need for more actors, theories, methods and definitions will not be fulfilled until critical reflection concerning what has been done and synthesis between different research attempts are achieved. The authors first expand the creativity stage by discussing what will happen in creativity research attempts if we alternate with a “ she, you and they” perspective? They then present a new definition of creativity. Creativity is seen as a collective, generative, novel way of experiencing reality ending with the idea of a shared product that is evaluated as creative in a relevant context. This definition is in line with the development of a new creativity tool or measurement, the Test for Distributed Creativity in Organizational Groups (DOG). The DOG can be used both for measuring the products of creative groups and investigating their processes.
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Покровская, Елена, Elena Pokrovskaya, Маргарита Раитина, Margarita Raitina, Галина Илюхина, and Galina Ilyukhina. "Cross-cultural communication in the context of creative self-realilization of personality." Servis Plus 11, no. 3 (September 19, 2017): 71–78. http://dx.doi.org/10.22412/1993-7768-11-3-8.
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The article discusses one of the key challenges of the global world – the problem of creative self-realization of personality as the way of being human within the framework of cross-cultural interaction. Theoretical-methodological base of research is the concept of creativity reconstruction, revealing the peculiarities of the modern social and cultural mentality and modeling comfortable barrier-free, international environment. The article shows a weak vitality of multiculturalism in the context of intercultural communication and the need for adaptation to the new reality through self-actualization and self-realization of its capabilities and resources through creativity. Authors describe the cultural-historical transformation of art as a way of actualization of a person in the culture. Creativity as a basic life installation is considered as a constitutive element of regulation of ethno-social processes. There is noted the relevance of the issue of cultural objectivism, creating a personality through its spiritual powers and abilities of the social program of "raspredelennykh" (“abstract”) meanings of culture through creativity, considered as overcoming cultural isolation, different cultural space, given the cultural-historical transformation. There is proposed the model of transition to higher stages of effectiveness of cross-cultural interaction through creativity, which is based on the methodology of reconstruction of creative processes in social and cultural space. To implement the adaptive capacity of the model there are selected the most relevant indicators of potential self-realization of migrants and host community. It is concluded that for realizing the potential of the contextual environment, as the bearer of possible properties that contribute to the manifestation of the meaning of human activities, it is necessary to create relevant models of effective cross-cultural communication and cultural migration, which foundation is the creativity as a way of actualization of a person in the culture.
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Zeilig, Hannah, Julian West, and Millie van der Byl Williams. "Co-creativity: possibilities for using the arts with people with a dementia." Quality in Ageing and Older Adults 19, no. 2 (June 11, 2018): 135–45. http://dx.doi.org/10.1108/qaoa-02-2018-0008.
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Purpose The purpose of this paper is to explore the concept of co-creativity in relation to artistic practice with people with a dementia. The aim of the discussion is to outline how co-creativity offers fresh approaches for engaging artists and people with dementia, can contribute to less restrictive understandings of “creativity” and above all, expand the understanding of people with a dementia as creative, relational and agential. Design/methodology/approach In order to examine current conceptions of co-creativity and to inform the artistic practice, relevant literature was explored and eight expert interviews were conducted. The interviews were thematically analysed and are included here. Findings This paper consequently demonstrates that improvisation, structure, leadership and equality are central elements of co-creative processes and outlines how co-creativity can offer fresh insights into the way in which the arts can engage people with a dementia, the relationship between creativity and dementia and the transformative potential of the co-creative arts for those living with a dementia. Research limitations/implications The paper discusses some of the difficulties that are inherent a co-creative approach, including power relations and the limitations of inclusivity. Due to ethical restrictions, the paper is limited by not including the perspectives of people living with a dementia. Practical implications This paper paves the way for future research into co-creative processes in a variety of different contexts. Social implications A more nuanced understanding of co-creativity with people with dementia could challenge the dominant biomedical and social paradigms that associate “dementia” with irretrievable loss and decline by creating opportunities for creative agency. Originality/value This exploration of co-creativity with people with dementia is the first of its kind and contributes to the wider understanding of co-creativity and co-creative practice.
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Kahai, Surinder S., John J. Sosik, and Bruce J. Avolio. "Effects of leadership style, anonymity, and rewards on creativity-relevant processes and outcomes in an electronic meeting system context." Leadership Quarterly 14, no. 4-5 (August 2003): 499–524. http://dx.doi.org/10.1016/s1048-9843(03)00049-3.
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Steude, Dietrich H. "Change and Innovation Leadership in an Industrial Digital Environment." Management of Organizations: Systematic Research 78, no. 1 (December 1, 2017): 95–107. http://dx.doi.org/10.1515/mosr-2017-0018.
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AbstractWith the high pace of digital innovation processes the risk of digital disruption increases for industrial companies. However, the progress in industrial digitalization accelerates the decision processes and relieves management from routine work. It gives room for creative management challenges like change and innovation processes. Team-oriented methods like Design Thinking are becoming a crucial part of the innovation culture. Industrial leadership must find current ways that are linked to creativity and to a coordinated human interaction. The article ties together the relevant literature and innovative ideas of digital tools, agile methodology and consequences for a flexible organizational structure.
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Jackson, Caroline, James Morgan, and Chantal Laws. "Creativity in events: the untold story." International Journal of Event and Festival Management 9, no. 1 (March 5, 2018): 2–19. http://dx.doi.org/10.1108/ijefm-10-2017-0062.
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Purpose The purpose of this paper is to report on untold stories that not only illustrate the creativity but also complexity of working in outdoor events. There has been global interest in the creative industries and the creative economy more generally. Events have not been identified or categorised as part of this. Experiences have been identified as part of the creative sectors (NESTA, 2006) and events are seen as experiences (Jackson, 2006; Berridge 2007). There has been little research undertaken about the creative nature of event experiences, especially in how they are created. Design/methodology/approach A theoretical framework was created from literature on creativity more generally to inform the Creativity in Events research project. Interviews with those working in the outdoor events sector were the basis of the qualitative stage of the research project investigating the phenomenon of creativity in events. Findings This paper identifies the core facets of creativity in the management of outdoor events. These were fluency, originality, imagination, elaboration, environment and complexity. A vignette is used to illustrate the intricacy of the nature of creativity in the production of outdoor event experiences. The overall findings were that event management was both creative and pragmatic and that both are necessary. There was a need for a creative environment with processes and familiarity that aided inspiration and originality. Originality/value The background and findings are relevant to recognising events as part of the wider creative economy. A greater understanding of the nature of creativity in events informs both education and practice.
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Soroa, Goretti, Aitor Aritzeta, Alexander Muela, Nekane Balluerka, Arantxa Gorostiaga, and Jone Aliri. "The Emotional Divergent–Convergent Thinking Program (EDICOP): Design, Implementation, and Results." European Journal of Investigation in Health, Psychology and Education 10, no. 4 (November 13, 2020): 1051–64. http://dx.doi.org/10.3390/ejihpe10040074.
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In a social environment that requires young people to adapt to increasingly demanding situations, emotional education and creativity training may be key for both personal development and academic performance. Given that there are currently no known interventions that develop emotional and creative skills simultaneously in a youth population, the main objective of this study was to design, implement, and evaluate the Emotional Divergent–Convergent Thinking Program (EDICOP). The study design was quasi-experimental with a non-equivalent control group and pretest–posttest measures. The participants included 196 students between 16 and 24 years of age belonging to two centers of higher education. Our results showed that the EDICOP contributed to the improvement of the participants’ divergent-proactive style, positive affectivity, emotional predisposition, and attention, as well as to their preference for cognition. Overall, the EDICOP is, therefore, both relevant and useful, and further research on the mood–creativity link is merited to generate new contexts in higher education for the promotion of both the emotional and creativity dispositions and self-awareness, by combining three basic psychological processes (emotion, cognition, and motivation).
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Bogunović, Blanka. "Creative cognition in composing music." New Sound 53, no. 1 (2019): 89–117. http://dx.doi.org/10.5937/newso1901089b.
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In this paper we presented an overview of theoretical and empirical research in a domain of cognitive psychology of music, psychology of creativity and interdisciplinary studies concerning the creative cognitive processes in composing music, with an intention to bring them into connection and to raise questions about further research. We brought into focus the cognitive processes in composing music since the key role of cognitive mechanisms and processes, next to the emotional experience and imagery, was shown in our previous research. The wide scope of knowledge, within a time span of some 35 years, was introduced covering the following themes - generative models of creative cognition, metacognitive strategies in composing, the relation between creativity, knowledge and novelty, creativity in the social-economical context. We paid attention to the several crucial theoretical models, some of them developed on the basis of exploration of compositional practices, one of the first being John Sloboda's psychological Model of typical compositional resources and processes (1985), that gave a global overview of the relevant components of the composing behavior. Psychology of creativity gave several process models that can be applied in a field of composing music. One of them, developed by Wallas (1926) and adapted for music making by Lehmann, Sloboda and Woody (2002), is the well-known theory of the creative process stages. We considered as the most prominent the Creative cognition approach formulated by Smith, Ward and Finke (1997) and their Geneplore model (1992). The authors listed a wide range of processes that are crucial for creativity, nevertheless they are engaged in the generative or exploratory phase. In our paper, we discussed metacognitive strategies engaged in a process of composing while considering music creation as a self-regulated activity. Further on, the relation between immersion, knowledge, the production of heuristic ideas and the cognitive strategies of problem solving were brought into focus. It was pointed out that quality of the creative outcomes will be influenced by the extent of the person's long-term knowledge structures, drawn intentionally or intuitively during the process, and by the manner in which the elements of that knowledge are accessed and combined. The social and cultural factors were considered in a frame of several confluent models, first of all Csikszentmihalyi's systems theory of creativity (2004), focused less on the creative person but on involving multiple factors. Simonton took into account massive and impersonal influences from the Zetgeist or Ortgeist and grouped them into four categories: cultural factors, societal factors, economic and political factors (2004). Further on, models and concepts, new research methodologies and new technology, that were developed specifically in a domain of music creation, as well as their results, were presented.
Dissertations / Theses on the topic "Creativity-relevant processes"
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Lagesse, Daline. "The relationship between creativity acumen and visual art creation in Grade 11 learners in Johannesburg, Gauteng." Diss., 2013. http://hdl.handle.net/10500/11830.
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This study explored Visual Art creation by Grade 11 learners in the art classroom and the relationship with attaining creativity acumen. Creativity acumen in this instance is looked upon as the ability to visually conceptualize imaginative ideas and then translate that into an individual rendition of a concept presented. The learners first perceive an idea and then conceive a concept. Visual perception is a function of how the eyes and brain see whole images, but these images are broken down into their visual elements, such as lines and shading during Visual Art creation. The visual elements are then created in forming an art-work, which in turn lends itself to understanding complex concepts and themes. Creativity acumen involves two processes: having ideas (creativity-relevant processes) and then producing a visual exposé of such ideas. A literature review was conducted which provided useful insight into the components of the creative process and the contextual factors influencing creativity acumen within the school environment. An empirical study was conducted with six art learners in Grade 11, selected through purposive sampling. Creativity questionnaires were completed pre- and post-art creation as a self-assessment tool of how effectively individual implementation of the creative process occurred during idea development and artistic expression in attaining creativity acumen during Visual Art production, if at all. The art creations were observed from task presentation through to completion deadline. Photographic records of the art creations were captured as they were produced and completed. Interviews were conducted at the end of the art creative process. The data was descriptively tabulated into photo-sheets and tabulated for qualitative interpretation and description of findings and results. From the empirical study it can be concluded that there is a dialectic relationship between the creativity-relevant processes and art-relevant skills, as set out theoretically by Amabile (1996) when creating Visual Art. The relationship is intertwined and compounded by overlapping factors in acumen to be creative and creating an art-work. Both require openness to new ideas and perspectives and both need perseverance and effort to learn new skills and craftsmanship. The conclusion of this study is that creativity acumen and art creation have variation of outcome and expansion of ideas in common. Creativity acumen is a means of extending one’s outlook and ability to question, look for new information, develop ideas independently while art creation is a means of visual expression in learning to elaborate on a concept through externalised representation which guides further possibilities and understanding of new concepts and perspectives. There is a dialectic relationship between art creation and creativity acumen or ability as one possibly informs and develops the other.Psychology of Education
M. Ed. (Guidance and Counselling)
Books on the topic "Creativity-relevant processes"
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Gaunt, Helena. Apprenticeship and empowerment. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0003.
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This chapter considers ways in which pathways to creative performance are supported through one-to-one lessons between a student and a specialist teacher. One-to-one interactions are generally considered central to the development of western classical musicians and traditionally have been conceived in terms of apprenticeship. More recently, however, understanding of the socially constructed nature of learning, including the essential parts played by peer interactions and engagement in communities of practice, has increased. In addition, the importance of collaboration in facilitating and channelling creativity in many fields has become apparent. Taken together, these suggest a need to develop a multifaceted and more nuanced conceptual framework for understanding one-to-one lessons and their relationship to performance. The chapter explores relevant research literature alongside perspectives provided by expert performer–teachers, and it concludes by setting out a provisional model for understanding both the collaborative process between student and teacher in one-to-one lessons and the potential for this context to underpin transformative processes of development for performers.
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Voyatzaki, Maria, ed. Architectural Materialisms. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420570.001.0001.
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This book gathers 14 voices from a diverse group of architects, designers, performing artists, film makers, media theorists, philosophers, mathematicians and programmers. By transversally crossing disciplinary boundaries, new and profound insights into contemporary thinking and creating architecture emerge. The book is at the forefront of the current contemplation on matter and its significance for and within architecture. The premise is that matter in posthuman times has to be rethought in the rich and multifaceted context of contemporary computational architecture, and in the systemic and ecological context of pervasive computer simulations. Combining the dynamism of materiality and the capacities of nonhuman machines towards prototyping spatiotemporal designs and constructs, leads to alternative conceptions of the human, of ethics, aesthetics and politics in this world yet-to-come. The reader, through the various approaches presented by the authors’ perspectives, will appreciate that creativity can come from allowing matter to take the lead in the feedback loop of the creative process towards a relevant outcome evaluated as such by a matter of concern actualised within the ecological milieu of design. The focus is on the authors’ speculative dimension in their multifaceted role of discussing materiality by recognising that a transdisciplinary mode is first and foremost a speculative praxis in our effort to trace materiality and its affects in creativity. The book is not interested in discussing technicalities and unidirectional approaches to materiality, and retreats from a historical linear timeline of enquiry whilst establishing a sectional mapping of materiality’s importance in the emergent future of architecture.
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Aunger, Robert. Reset. Oxford University Press, 2020. http://dx.doi.org/10.1093/med-psych/9780197532638.001.0001.
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Behavior change is a hot topic in many fields nowadays, from public health to marketing to web design to architecture and public policy. However, there is little consensus about how to approach it: there are over 100 change theories in health psychology alone, and the field of behavioral economics has over 100 “nudges” for inspiring behavior change as well (just to mention the two most prominent fields dealing with this topic). This book is about a new, generic way of approaching behavior change called Behavior Centered Design (BCD). It provides a theory-based framework for designing behavior change programs in any field. Further, BCD is based on more fundamental sources of theory than alternatives: evolutionary biology and neuroscience—basically because these are more reliable sources of ideas about behavior than the cognitive psychology on which other methodologies have traditionally depended. BCD is one of the few approaches out there that constitutes an entire “framework”—both a general theory of how to change behavior and a generic process for developing change programs. It is also unique in mixing the latest from the relevant behavioral sciences and from studies of creativity for understanding how to intervene effectively. Finally, it is the only approach that resurrects the behavior-setting concept from ecological psychology, using it to ground both change theory and the design process. The behavior-setting concept is a powerful way to unify many of the concerns of other approaches. It concludes with an extensive description of how to use BCD to develop behavior change programs.
Book chapters on the topic "Creativity-relevant processes"
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Lorini, Maria Rosa, Wallace Chigona, and Malcolm Garbutt. "Enablers of Egalitarian Participation: Case Studies in Underserved Communities in South Africa. Processes of Creativity “Not for the Sake of it”." In Locally Relevant ICT Research, 156–70. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-11235-6_11.
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"The Science of Creativity." In Creativity in Workforce Development and Innovation, 67–87. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-4952-9.ch004.
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There is a common misconception that only certain individuals “have what it takes” to be creative and the rest of us are destined to lack creativity. However, a review of the relevant neurological and cognitive literatures suggests otherwise- that creative thinking is rooted in everyday cognitive mechanisms and processes. This chapter provides an overview of the neurological and cognitive bases of creativity, with a focus on the role of the pre-frontal cortex and inhibitory control in the creative process. The implication of the findings discussed in this chapter is that, although some people engage in more creative processes than others, we are all equipped with a brain that is complex enough for us to think creatively.
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Larraz-Rábanos, Natalia. "Development of Creative Thinking Skills in the Teaching-Learning Process." In Teacher Education [Working Title]. IntechOpen, 2021. http://dx.doi.org/10.5772/intechopen.97780.
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Creativity is one of the most appreciated learning skills current the XXI century. The development of creativity has been considered essential in order to achieve an effective and a high-level learning. As different approaches to its study, creativity has been defined as a result, as a process, as a construct derived from the influence of the context and of the experience and as a personality feature of human nature. The aim of this contribution is to explain the study of creativity from the mentioned approaches to achieve a comprehension of such construct. In addition, the focus has been centred on highlight the development of creativity from an educational approach, starting from the description, implication of the use and application of creative strategies in the teaching and learning processes. Finally, a brief description is made of the most important or relevant strategies found in the literature, with emphasis on the incorporation of these strategies in the problem-solving process.
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Martins, Hélder Fanha, and Maria João Ferro. "Selecting Appropriate Communication Tools to Support Teams' Creative Processes in SMEs." In Advances in Business Information Systems and Analytics, 252–69. IGI Global, 2010. http://dx.doi.org/10.4018/978-1-60566-892-5.ch014.
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Accomplishing creative tasks collaboratively is particularly problematic when team members who are attempting to achieve the creative results are geographically dispersed throughout the globe in a virtual team. Therefore, sound communication tools are needed to ensure communication does not hamper team creativity. This chapter highlights the communication tools available for doing creative work, offering a short analysis of the most relevant synchronous and asynchronous communication tools. Some rules and tips are given to allow for a better choice of the communication tools to use according to both the nature of the team and the work it is performing in terms of creative processes in SMEs. This chapter also presents how knowledge experts and knowledge-based companies consider whether it would be any benefit to apply Web 2.0 in their organisational architecture to strengthen collaboration.
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Secundo, Giustina, Pasquale Del Vecchio, Giuseppina Passiante, and Mirco Paoletto. "Students' Creativity and Entrepreneurial Learning for Developing Corporate Entrepreneurship." In Advances in Business Strategy and Competitive Advantage, 89–116. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-2050-4.ch006.
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The chapter aims to contribute at the discussion on the role of creativity in sustaining corporate entrepreneurship development by focusing on entrepreneurial learning in the context of incumbent enterprises. Empirical evidences coming from the case study of “Mimprendo” project (www.mimprendo.it), an initiative promoted by the Italian Conference of the University Colleges and the Italian Association of Young Entrepreneurs, are presented. Findings provides insights about the collaborative entrepreneurial learning as happening in the community composed by University students, entrepreneurs, and researchers to solve relevant managerial and entrepreneurial innovation's needs. Those evidences are at the basis of an integrated framework aimed to provide a coherent and a systematic view on the collaborative entrepreneurial learning processes to nurture, select, and implement creative ideas of universities students for sustaining the corporate entrepreneurship in incumbent companies.
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Baporikar, Neeta. "Innovation in the 21st Century Organization." In Transcultural Marketing for Incremental and Radical Innovation, 339–65. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-4749-7.ch016.
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“When memories exceed dreams, the end is near. The hallmark of a truly successful organization is the willingness to abandon what made it successful and start fresh” (Friedman, 2005). These words seem relevant in the context of the discussion on creativity, creative industries, and innovation. The debate has been by no means scarce, but are economies, businesses, research groups, and technology developers heading in the right direction? Innovation has a crucial role in achieving competitive advantage in this globalized world. By definition, innovation means the first introduction of new idea, product, process, or system through a complex process by which knowledge in organizations is oriented towards achieving the stakeholders’ expectations. The traditional business processes are evolving, and today, richer functional areas, such as reengineering, green world, collaborative approaches, and sustainability, are the focal point. As a process, it demands that leaders understand multiple complex systems, differing frames of reference, intricate structures, diversity, and boundaries. Equally crucial is the need to understand what innovation really means and what really drives the wheels of innovative process. The objective of this chapter is to understand the innovation imperative and innovation approaches adopted by organizations in the 21st century. Understanding will also safeguard against the pitfalls of managerial decision making. Based on in depth literature review and grounded theory approach with contextual analysis of both primary and secondary data, the study is restricted to innovation in business organizations.
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Duncan, Charlotte A., and Colleen E. Russo. "Hey Inner Four-Year-Old, Wanna Play?" In Advances in Media, Entertainment, and the Arts, 199–215. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-0504-4.ch010.
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Though the spontaneous creativity of children narrows naturally in development, the rigid structures of our culture further suppress these necessary abilities. Enhanced by the ubiquity and interactivity of emerging technologies, media provides a unique method of encouraging creativity in a manner children are growing ever more familiar with. The authors discuss the role of creativity in children's media from multiple angles: the importance of creativity in children's play and development, how creativity is cultivated through effective media, and the creativity involved in producing media content. Relevant scientific research is explored throughout the chapter. Extensive interviews with two prominent creative producers in children's media, Tone Thyne and J.J. Johnson, contribute expert perspectives and provide detailed insight into the creative process behind children's media.
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Sielis, George A., Christos Mettouris, Aimilia Tzanavari, and George A. Papadopoulos. "Context-Aware Recommendations using Topic Maps Technology for the Enhancement of the Creativity Process." In Educational Recommender Systems and Technologies, 43–66. IGI Global, 2012. http://dx.doi.org/10.4018/978-1-61350-489-5.ch003.
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Learning can be observed in the creativity process. When this process is supported by a Creativity Support Tool (CST), considering the context in which ideas are developed, as well as the context around the user himself and the task he is carrying out can potentially enhance creativity.The tool’s awareness of such context can be exploited in the offering of useful context-aware recommendations to the users on topics such as relevant resources, people, ideas, projects, et cetera. These recommendations can help users during the creativity process and the learning involved, by providing productive stimuli. In the work presented in this chapter we focus on describing a method for enhancing the creativity process through context-aware recommendations. The method uses ontologies for the knowledge representation of context and the topic maps technology for storing, managing, and delivering content used as recommendations. Furthermore we present the software system that has been developed to support this method in a particular collaborative CST, as well as its evaluation.
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MacLennan, Bruce J. "Engineering Inspiration." In Advances in Media, Entertainment, and the Arts, 309–33. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0016-2.ch013.
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This chapter proposes a computerized tool to promote inspiration in a specific, but very important, kind of scientific creativity, for significant scientific breakthroughs are often enabled by conceptual revolutions. The creative process is often divided into four phases: preparation, incubation, inspiration, and verification/elaboration. The proposed tool enhances the incubation phase of scientific creativity, with the goal of inspiring fruitful reconceptualization of a problem. It accomplishes this by exposing the scientist-user to continuous sequences of images designed to engage innate, unconscious cognitive structures. The sequence is not fixed, but may vary either randomly or under user direction. When this image flow seems relevant to the problem, users can record their position in it and their own ideas with a variety of low-interference recording techniques. Several simple image flows are described, along with the computational engine for generating them.
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Halupa, Colleen. "Reaching “Creating” in Bloom's Taxonomy." In Research Anthology on Developing Critical Thinking Skills in Students, 15–35. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-3022-1.ch002.
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Creativity of thought and critical thinking are two concepts that faculty struggle with teaching in higher education, particularly in the distance learning environment. Bloom's taxonomy has been used to define taxonomic levels in learning since the 1950's; “create” is one of its highest taxonomic levels. It can be difficult to create relevant, authentic assessments that require students to display both synthesis of meaning, as well creative synthesis of concepts learned to reach this “create” level in an effective manner. Transformative learning and especially heutagogy or “self-determined learning” can be used as theoretical curriculum models or frameworks to help students learn and solve problems. These two theories are particularly effective when leveraged with technology. Today's instructional technologies allow students to more readily create and explore new concepts on their own to generate a more fulfilling education process with meaningful relevant practice and assessment.
Conference papers on the topic "Creativity-relevant processes"
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Prabhu, Rohan, Scarlett R. Miller, Timothy W. Simpson, and Nicholas A. Meisel. "Teaching Design Freedom: Exploring the Effects of Design for Additive Manufacturing Education on the Cognitive Components of Students’ Creativity." In ASME 2018 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/detc2018-85938.
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Design for manufacturing provides engineers with a structure for accommodating the limitations of traditional manufacturing processes. However, little emphasis is typically given to the capabilities of processes that enable novel design geometries, which are often a point of focus when designing products to be made with additive manufacturing (AM) technologies. In addition, limited research has been conducted to understand how knowledge of both the capabilities (i.e., opportunistic) and limitations (i.e., restrictive aspects) of AM affects design outcomes. This study aims to address this gap by investigating the effect of no, restrictive, and both, opportunistic and restrictive (dual) design for additive manufacturing (DfAM) education on engineering students’ creative process. Based on the componential model of creativity [1], these effects were measured through changes in (1) motivation and interest in AM, (2) DfAM self-efficacy, and (3) the emphasis given to DfAM in the design process. These metrics were chosen as they represent the cognitive components of ‘task-motivation’ and ‘domain relevant skills’, which in turn influence the learning and usage of domain knowledge in creative production. The results of the study show that while the short (45 minute) DfAM intervention did not significantly change student motivation and interest towards AM, students showed high levels of motivation and interest towards AM, before the intervention. Teaching students different aspects of DfAM also resulted in an increase in their self-efficacy in the respective topics. However, despite showing a greater increase in self-efficacy in their respective areas of training, the students did not show differences in the emphasis they gave to these DfAM concepts, in the design process. Further, students from all three education groups showed higher use of restrictive concepts, in comparison to opportunistic DfAM.
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Skyrius, Rimvydas. "Business Decision Making." In 2001 Informing Science Conference. Informing Science Institute, 2001. http://dx.doi.org/10.28945/2368.
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Significant recent research in the decision support area has been concentrating on the human side of the person-technology relation. Knowledge, perceptions, beliefs and experiences have been researched in a number of works. The author has used individual interviews with business decision makers to find out their attitudes towards factors influencing the quality of business decisions. The issues discussed included features of actual right and wrong decisions, role of information sources and analytical tools, factors influencing creativity, and the role of information technology. The findings have shown that in the decision making process, available knowledge is used and new knowledge is created, and these processes are preferred to be supported by simple yet efficient support tools. The information environment surrounding business activities is getting increasingly complex. The important reasons for this complexity are: growing volumes of information of potential relevance to certain business activities; increasing number of sources of such information; and multiplying technologies for handling data and information. This is particularly true for decision making which has to encompass all relevant data, information and decision maker's knowledge to make quality decisions. Alongside with technologies for handling data and information, lately much attention has been given to knowledge management (KM) models and relations between data, information and knowledge. In knowledge-intensive activities, such as decision support, these relationships are important in terms of efficient utilisation of information resources, and especially those supported and facilitated by IT with its present capabilities. The aim of this paper is to take a look at the relations between data, information and knowledge in the context of managerial decision making, and professional learning and experience. These issues are discussed on the basis of surveys and interviews, conducted among small and medium enterprise (SME) decision makers in Lithuania in 1997-1999. The key questions of the survey have been: how important IT has become for management activities, regarding in the first place decision support, and how does it affect creativity and knowledge development. The synergy between technology and the user has been recognized to work in the areas such as using existing experiences and creating new ones on a problem and decision; working out the decision schema; stimulating creativity; capturing the details and specifics of the decision process for further uses. While IT is and can be efficiently used to manage data and information, the actual use of what is in decision support environment sometimes called stored knowledge - preprogrammed procedures for certain types of situations, sets of models, reusable queries - is rather limited. Instead, the survey has shown that decision makers prefer relatively simple tools and techniques that allow them to perform iterative buildup of decision support points towards a sufficient set to make a decision. Under a problem situation, existing practices are repeatedly tested. In the process, new associations and mental models may appear, expanding existing knowledge as well as creating new knowledge. The responses have shown that the presence of simple yet efficient decision support tools is welcome by the decision makers as having a potential to gain more with less - to provide more confidence and insurance from fatal decision mistakes, at the same time reducing the need to do extensive training, radically change existing beliefs or invest heavily into sophisticated technologies. In addition, such tools serve as support for managerial learning process and knowledge exchange, especially in the process of creativity stimulation where analogies, real-life and hypothetical situations, brainstorming and bias elimination techniques are used.
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Flores Miranda, Margarita Beatriz. "Proposal for the categorization of the factors related to creativity, from Guilford to these days." In Systems & Design 2017. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/sd2017.2017.7065.
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This study investigated what it meant and continues to mean for the creativity scientific field, J. P. Guilford´s research on the need to eradicate genius theory in order to give rise to the idea of creativity as an adaptive and projective human quality. The field of creativity as it exists today, emerged largely as a result of Guilford´s theoretical model of the structure of intelligence, a pioneer contribution to the measurement and possible development of creative potential. To these days, Guilford´s and E. Paul Torrance´s (1962) factors related to creativity remain the most widely used in the design of creativity tests. This paper presents a complication of the creativity factors that have been added to Guilford's original list since 1950 until these days, by diverse and relevant authors in the field. A grouping process is performed to eliminate repetitions, similarities or redundancies, and to obtain a list of clearly differentiated attributes. Every attribute is defined in the creativity context in order to examine how they could be related under R. Estarda (2005) theory of creativity, that categorize creativity´s factors in the following triad: affection, cognition and volition. Same factors that J. Lamberth (1980) defined in social psychology, as the essential components in any measurement of behavior. The validity in the selection of Estrada's theory as a merging point comes from its commonality with the theories of Urban (1995), Saturnino de la Torre (2003), Kurtzberg & Amabile (2001) and Arieti (1976). This study supports the view of creativity as a systemic process that considers both the contextual and the individual contribution, and contemplates the potential interplay among the three behavioral components. Concluding that factors related to creativity play an essential role on the identification and the development of creative potential. Both attributes and their categorization remain as fields for a future research´s quantitative validation.
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Vajna, Sándor, Tibor Bercsey, Steffen Clement, and Peter Mack. "Autogenetic Design Theory: A Contribution to an Extended Design Theory." In ASME 2000 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2000. http://dx.doi.org/10.1115/detc2000/dac-14497.
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Abstract Based on an analysis of the product development process and the study of relevant product development models, the paper presents a new approach aiming at modeling and supporting the design activity as the substantial activity within the product development process. The Autogenetic Design Theory is an approach advancing general design theories. It facilitates the integration of intuition, creativity and artificial intelligence into the conventional design process. To this end, a phase-like allocation of the design process is assumed as the essential structure and an evolutionary algorithm is integrated as the core facilitating purposeful searching and combining. Hence, the flow of the design process can be influenced as all requirements can be included and, on the other hand, intuition and creativity are ensured through the evolutionary algorithm.
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Santana, Aldrin, Jeovani Costa, and Simey Castro. "Considerações relevantes para o ensino online durante a pandemia de Covid-19 nas escolas públicas do Amapá." In Simpósio Brasileiro de Sistemas Multimídia e Web. Sociedade Brasileira de Computação, 2020. http://dx.doi.org/10.5753/webmedia_estendido.2020.13080.
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Th is work has the theme: Relevant considerations for inline teaching during the COVID-19 pandemic in Public Schools in Amapá. It may be considered that the online teaching has been a challenge for the teacher and for the student, because the difficulties a re innumerable: Internet access, cellphone or computer. The fact is that no one was prepared for this situation, nor the Amapá Secretariat of Education, as well as school managers, teachers students and their families. Everyone had to use creativity to develop students’ learning process. Th us, this new modality requires reflection on the consideration of relevance that can contribute to education quality. Th ese considerations highlight the importance and the family compromise at this moment to encourage the children to attend classes; teachers can create alternatives at websites, groups at social media and messengers’ apps; schools to offer tools to teachers and students in this interaction and the State Secretariat of Education providing support to enable the necessary conditions to minimize the impact suffered in relation to the students’ content and learning. Due to a certain part of the students not having access to the Internet, one of the alternatives found was delivering the activities on printed material. Our objective is knowing the difficulties presented during this period of pandemic in online education for the actors of the process and the expected solutions by the Educational System with the schools. Th e methodology used to carry out the work is based on bibliographic research. Therefore, it was found that innovation and creativity was means that the school was able to involve students so that they did not distance themselves, not necessarily using the technology, but making them part of the process and promoting reflection about their maturity in distance learning. From the above, it is concluded the importance of the Amapá State Secretariat of Education, of the school, of the teacher and the family to develop the potential of each student and to prepare them for the development of their knowledge and learning.
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Yi, Xiaoyuan, Maosong Sun, Ruoyu Li, and Zonghan Yang. "Chinese Poetry Generation with a Working Memory Model." In Twenty-Seventh International Joint Conference on Artificial Intelligence {IJCAI-18}. California: International Joint Conferences on Artificial Intelligence Organization, 2018. http://dx.doi.org/10.24963/ijcai.2018/633.
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As an exquisite and concise literary form, poetry is a gem of human culture. Automatic poetry generation is an essential step towards computer creativity. In recent years, several neural models have been designed for this task. However, among lines of a whole poem, the coherence in meaning and topics still remains a big challenge. In this paper, inspired by the theoretical concept in cognitive psychology, we propose a novel Working Memory model for poetry generation. Different from previous methods, our model explicitly maintains topics and informative limited history in a neural memory. During the generation process, our model reads the most relevant parts from memory slots to generate the current line. After each line is generated, it writes the most salient parts of the previous line into memory slots. By dynamic manipulation of the memory, our model keeps a coherent information flow and learns to express each topic flexibly and naturally. We experiment on three different genres of Chinese poetry: quatrain, iambic and chinoiserie lyric. Both automatic and human evaluation results show that our model outperforms current state-of-the-art methods.
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Lopez, Christian E., Zixuan V. Zhao, and Conrad S. Tucker. "Semantic Network Differences Across Engineering Design Communication Methods." In ASME 2019 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/detc2019-97728.
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Abstract Engineering designers have a variety of methods at their disposal when it comes to communicating an idea (e.g., Linguistic, Pictorial, Virtual). Studies have explored how these methods affect the idea generation process, revealing that some methods can induce design fixation and reduce creativity. Moreover, studies reveal that depending on the communication methods and a receiver’s familiarity with the idea conveyed, the amount of relevant information transmitted could vary. Hence, based on previous studies, it is hypothesized that different communication methods and a receiver’s familiarity can impact a receiver’s ability to construct and interpret the information conveyed. To test this hypothesis, an experiment is conducted in which multiple methods are used to communicate different product ideas to individuals (N = 370). Participants are asked to describe the products in their own words and provide details about their functions. A text-mining approach is used to analyze the semantic structure of their responses. The results reveal that dissemination methods affect the consistency of participants’ responses, as well as the diversity of words used to describe a product idea or its functions. This knowledge can help designers in the selection of an appropriate method, given the design intention and help them leverage different methods to maximize communication effectiveness during the different stages of the design process.
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Zhurat, Yuliya, Tetiana Ternavska, and Alla Bodnar. "Psychological and Pedagogical Investigation of the Imprisoned Persons." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/40.
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The paper highlights the effective psychological and pedagogical directions of persons who are in places of imprisonment. The problem of returning to a normal lifestyle today is very topical, the social maladjustment of former convicts, unwillingness to leave the former antisocial environment, insufficient or no education in general, irrational motivational sphere, low level of self-esteem and concentration on the main criteria of psychological and social health, become obstacles to re-socialization for those who are in the imprisonment places. In order to develop psychological and pedagogical support of social adjustment for people who are or are going to leave the prison, the diagnosis of psychological characteristics is relevant, which will be the key elements to the effectiveness of the applied directions that are as follows: focus on changing the social environment; socio-psychological therapy; professional orientation during the educational process. The following methods were used for scientific research as analysis of scientific literature, theoretical research methods, which study scientific and methodological literature on the problem of individual social adjustment for those who leave the prison; empirical research methods based on psychological and pedagogical observation of cognitive, labor-intensive activities and the use of professionals working at the same time, psychologists and teachers during the re-socialization of imprisoned. The research shows two stages of a pilot study, during which there was implied the diagnosis of intellectual, educational motivation, nonverbal creativity, equal self-esteem and changes in concentration of imprisoned.
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Waks, Shlomo. "Engineering Education: Prospective Research Issues." In ASME 2008 9th Biennial Conference on Engineering Systems Design and Analysis. ASMEDC, 2008. http://dx.doi.org/10.1115/esda2008-59535.
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There exists an increasing gap between engineering developments and research on educating engineers. There is a need to investigate and develop pedagogical means for advancing engineering education. The problem stems from the fact that most engineering educators are concerned mainly with disciplinary engineering contents, while researchers in the educational domain concentrate on educational psychology and pedagogical aspects. There is not enough cooperation between engineering and education, thus avoiding the creation of synergetic interaction between the two domains in a given engineering education system or situation. This article deals with the question: what has to be investigated in engineering education in order to advance learning activities of students and updating engineers? We will analyze some issues, as they aroused during recent years in a series of research studies on engineering education around the world and in the Department of Education in Technology and Science at the Technion – Israel Institute of Technology. After analyzing the status of engineering education and emergence of relevant R&D activities, possible research questions are presented. For example: (1) How should the contents of an engineering curriculum be determined? By whom? (2) Is there a need for a recognized educational scholarship like that of the existing disciplinary scholarship? (3) Creativity and project work – what do engineering educators and students think about? (4) What are the conditions and means for advancing the learning process in a multimedia environment? (5) What are the pitfalls in using hypermedia during the learning process? (6) What is Self-Learning Regulation (SLR) and why is it an important issue in engineering education? Accordingly possible trends in engineering education research are proposed and discussed.
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Wai Wing MA, Ada. "A Longitudinal Study of the Use of Computer Supported Collaborative Learning in Promoting Lifelong Learning Skills." In InSITE 2009: Informing Science + IT Education Conference. Informing Science Institute, 2009. http://dx.doi.org/10.28945/3297.
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To survive and thrive in the challenging context of the 21st century, education must keep abreast of global trends, including the priority of developing in learners the capability of lifelong learning for enhanced cooperation, care, reflective abilities, critical capacities and creativity. As a potential approach to achieve this goal, Computer Supported Collaborative Learning (CSCL) is receiving increasing attention, as it revolutionizes the way of learning. The ultimate success of CSCL, however, often depends upon resolving the question of how it can be assessed in ways that are credible and reliable and how the technology-driven environment can enhance learning. Little guidance is found in the literature on the assessment of CSCL prompts the researcher to re-examine the role of assessment in learning and attempt to devise a peer assessment design in a technology-enhanced environment as part of the learning activities for full-time teacher-educators. In the three studies of this project, the creation of assessment rubrics, the submission of intra-group reflective journals, which formed the basis of the group’s growth (learning process), and the intergroup review, which gained from peers’ feedback to their project presentation and report (learning product) were incorporated as the assessment measures. It was encouraging to witness that learners of the same cohort had improved their lifelong learning skills progressively over the period of three years by engaging in peer assessment tasks. The findings of these studies indicated that skills fostered through peer assessment were highly relevant to their workplace as teachers when teamwork, interpersonal skills and the ability of self-reflection were emphasised. This study has demonstrated some good practice that supports student-centered learning, prepares students to be lifelong learners and which is suitable for adaption to suit other contexts.
Reports on the topic "Creativity-relevant processes"
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Führ, Martin, Julian Schenten, and Silke Kleihauer. Integrating "Green Chemistry" into the Regulatory Framework of European Chemicals Policy. Sonderforschungsgruppe Institutionenanalyse, July 2019. http://dx.doi.org/10.46850/sofia.9783941627727.
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20 years ago a concept of “Green Chemistry” was formulated by Paul Anastas and John Warner, aiming at an ambitious agenda to “green” chemical products and processes. Today the concept, laid down in a set of 12 principles, has found support in various arenas. This diffusion was supported by enhancements of the legislative framework; not only in the European Union. Nevertheless industry actors – whilst generally supporting the idea – still see “cost and perception remain barriers to green chemistry uptake”. Thus, the questions arise how additional incentives as well as measures to address the barriers and impediments can be provided. An analysis addressing these questions has to take into account the institutional context for the relevant actors involved in the issue. And it has to reflect the problem perception of the different stakeholders. The supply chain into which the chemicals are distributed are of pivotal importance since they create the demand pull for chemicals designed in accordance with the “Green Chemistry Principles”. Consequently, the scope of this study includes all stages in a chemical’s life-cycle, including the process of designing and producing the final products to which chemical substances contribute. For each stage the most relevant legislative acts, together establishing the regulatory framework of the “chemicals policy” in the EU are analysed. In a nutshell the main elements of the study can be summarized as follows: Green Chemistry (GC) is the utilisation of a set of principles that reduces or eliminates the use or generation of hazardous substances in the design, manufacture and application of chemical products. Besides, reaction efficiency, including energy efficiency, and the use of renewable resources are other motives of Green Chemistry. Putting the GC concept in a broader market context, however, it can only prevail if in the perception of the relevant actors it is linked to tangible business cases. Therefore, the study analyses the product context in which chemistry is to be applied, as well as the substance’s entire life-cycle – in other words, the six stages in product innovation processes): 1. Substance design, 2. Production process, 3. Interaction in the supply chain, 4. Product design, 5. Use phase and 6. After use phase of the product (towards a “circular economy”). The report presents an overview to what extent the existing framework, i.e. legislation and the wider institutional context along the six stages, is setting incentives for actors to adequately address problematic substances and their potential impacts, including the learning processes intended to invoke creativity of various actors to solve challenges posed by these substances. In this respect, measured against the GC and Learning Process assessment criteria, the study identified shortcomings (“delta”) at each stage of product innovation. Some criteria are covered by the regulatory framework and to a relevant extent implemented by the actors. With respect to those criteria, there is thus no priority need for further action. Other criteria are only to a certain degree covered by the regulatory framework, due to various and often interlinked reasons. For those criteria, entry points for options to strengthen or further nuance coverage of the respective principle already exist. Most relevant are the deltas with regard to those instruments that influence the design phase; both for the chemical substance as such and for the end-product containing the substance. Due to the multi-tier supply chains, provisions fostering information, communication and cooperation of the various actors are crucial to underpin the learning processes towards the GCP. The policy options aim to tackle these shortcomings in the context of the respective stage in order to support those actors who are willing to change their attitude and their business decisions towards GC. The findings are in general coherence with the strategies to foster GC identified by the Green Chemistry & Commerce Council.