To see the other types of publications on this topic, follow the link: PhD by creative work.
Dissertations / Theses on the topic 'PhD by creative work'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'PhD by creative work.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Frost, Sophie Louise. "Art at work : creativity and participation in the public cultural institution." Thesis, University of Aberdeen, 2016. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=230630.
Full textAbstract:
This thesis reflects upon the nature of creativity and participation in the UK public cultural institution. It asks: to what extent is creative agency enabled or disabled within this context? In order to answer this question a qualitative study of Southbank Centre, one of the UK's leading public cultural institutions, has been constructed. The thesis considers the institution in its totality, analysing and interpreting both internal, subjective dimensions and external, public-focused dimensions. An interdisciplinary approach characterises a theoretical and methodological framework that draws upon concepts and methods from sociology, visual culture, museum studies and institutional ethnography. The case study is contextualised through analysis of three key historical examples that provide the preconditions for current perspectives on the relationship between art and work in the public cultural institution: the 1951 Festival of Britain, Artist Placement Group (APG) and the Arts and Crafts Movement. The Southbank case study involves employee interviews, fieldwork observations and the interpretation of cultural objects. These provide the empirical evidence that enables reflection on how creative work and the public are constituted, and how the institution might be seen to exist as a site of struggle. These methods facilitate an assessment of the critical potential of creative work within and around the public cultural institution's self-defined boundaries and the specific historical, discursive and symbolic conditions through which it is enabled or disabled. Although the influence of neoliberal cultural policy cannot be underestimated in this context, the thesis concludes with an alternative suggestion for what the public cultural institution could be. It claims that the discursive tension between artistic and managerial agendas can act as a productive terrain for creative work in its broadest sense.
2
Harris, Jane. "Home rules : a PhD in creative and critical writing." Thesis, University of East Anglia, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.389331.
Full text
3
Stanworth, Celia. "Application for a PhD by published work." Thesis, University of Greenwich, 1998. http://gala.gre.ac.uk/8986/.
Full textAbstract:
The body of research presented here represents an important contribution to knowledge in the field of the future of work with particular reference to work facilitated by Information and Communications Technology (ICTs). The work encompasses a number of levels of analysis: the macro level, the organisational level and the workforce level. It has explored previously neglected areas of self-employment, and has contributed to understanding of both corporate and self-employed telework. The submission document is organised as follows: following the list of submitted work the Introduction explores the background to the research area, and then provides a detailed commentary on each piece of submitted work, including clear information on the author's contribution to publications which are co-authored. The Conclusion outlines how the research has added to the existing body of knowledge in the subject fields, and this is followed by a Literature Review which sets the submitted work into the broader context of research on telework and the future of work and employment.
4
Manwaring, Kevan. "The Knowing : a Fantasy ; An epistemological enquiry into creative process, form, and genre." Thesis, University of Leicester, 2018. http://hdl.handle.net/2381/43111.
Full textAbstract:
This creative writing PhD thesis consists of a novel and a critical reflective essay. Both articulate a distinctive approach to the challenges of writing genre fiction in the 21st Century that I define as 'Goldendark' - one that actively engages with the ethical and political implications of the field via the specific aesthetic choices made about methodology, content, and form. The Knowing: A Fantasy is a novel written in the High Mimetic style that, through the story of Janey McEttrick, a Scottish-Cherokee musician descended from the Reverend Robert Kirk, a 17th Century Episcopalian minister from Aberfoyle (author of the 1691 monograph, The Secret Commonwealth of Elves, Fauns and Fairies), fictionalises the diasporic translocation of song- and tale-cultures between the Scottish Lowlands and the Southern Appalachians, and is a dramatisation of the creative process. In the accompanying critical reflective essay, 'An Epistemological Enquiry into Creative Process, Form and Genre', I chart the development of my novel: its initial inspiration, my practice-based research, its composition and completion, all informed both by my practice as a storyteller/poet and by my archival discoveries. In the section 'Walking Between Worlds' I articulate my methodology and seek to defend experiential research as a multi-modal approach - one that included long-distance walking, illustration, spoken word performance, ballad-singing and learning an instrument. In 'Framing the Narrative' I discuss matters of form - how I engaged with hyperfictionality and digital technology in destabilising traditional conventions of linear narrative and generic expectation. Finally, in 'Defining Goldendark' I articulate in detail my approach to a new ethical aesthetics of the fantasy genre.
5
Sinclair, Ross. "Ross Sinclair : 20 years of real life : PhD by published work." Thesis, Glasgow School of Art, 2016. http://radar.gsa.ac.uk/4817/.
Full textAbstract:
The submission, Ross Sinclair: 20 Years of Real Life consists of seven publications discussed in a critical overview, with three supporting Appendices. Together they document and analyse the diverse outputs of my practice-led research project, Real Life, initiated in 1994. The critical overview argues for the innovative nature of the Real Life Project through its engagement with audiences and demonstrates its contribution to the field of contemporary art practice, across the disciplines of sculpture, painting, performance, installation, critical writing and music. Since the inception of my Real Life project I have explored the agency and impact of the artwork and exhibition in relation to audience exploring new methodologies and in June 2016 was awarded the Degree of Doctor of Philosophy by Published Work at GSA/GU titled, “20 Years of Real Life”. Here I set the project in critical overview around the philosophical paradigms of Barthes, Baudrillard and de Certeau viewed through a contemporary critical framework of Bourriaud, Bishop and Kester. I argue my project represents a unique and idiosyncratic contribution in its own right to these debates when viewed as a single longitudinal project, unique in recent art context. The impact, influence and contribution of this project is viewed in this submission through the prism of the 5 institutional monographic publications on my work as well as 2 contributions to refereed journals and 3 Appendices describing the project output and published writing, two of these appendices alone exceed 400 pages in length. I will continue to explore this project in the wake of the PhD undertaking further research. I have already had informal discussions with several staff with a view to mentoring/assistance/development of PhD's and am giving a Fine Art Research Seminar on the process of the PhD by Published work and I hope this will lead to more confidence and capability in the School of Fine Art.
6
Candy, Linda. "Creative knowledge work and interaction design." Thesis, Loughborough University, 1998. https://dspace.lboro.ac.uk/2134/6992.
Full textAbstract:
The main aim of the research presented in this thesis is to inform the design of interactive computer systems for supporting creative knowledge work. Research into creativity and knowledge work has been explored and used to develop a criteria modelling approach. The particular contribution of the author's work is the drawing together of that research and applying the findings to interaction design. The publications were selected on the basis of how well they represent the main outcomes of the work. The journey from prescribing system requirements and design goals to framing the system design process in terms of evaluation criteria may be traced through the papers presented. Interest in creativity and the role of computer technology in creative tasks has recently increased. A number of national initiatives have been set in motion in the LJK, beginning in December 1996 with the Initiative for National Action on Creative Technologies, the Creative Media Initiative: Technology Foresight, Department of Trade and Industry, National Endowment for Science and Technology in the Arts (NESTA) and the People and Computers Programme, of the Engineering & Physical Science Research Council (EPSRC). Thus, the author's involvement in creativity research and computer support is proving to be timely. Amongst her recent initiatives is Creativity and Cognition, an international symposium which brings together creative people in the arts with technologists and scientists. The thesis is divided into three parts : themes and outcomes, methodology and case studies. A criteria-based modelling approach is presented which has evolved from earlier models that represent key elements of creativity and knowledge work. A model of creative knowledge work is proposed and categories of criteria identified. Underpinning the main outcomes are the case studies which were carried out in industry/academic collaborative projects. The findings were considered in relation to other studies. The thesis presents an approach to computer systems design and development that directly links the requirements definition to the application of evaluation criteria. These criteria are based upon the characteristics of the cognitive style and working practices of creative knowledge workers.
7
Singh, Nicola. "On the 'thesis by performance' : a feminist research method for the practice-based PhD." Thesis, Northumbria University, 2016. http://nrl.northumbria.ac.uk/36132/.
Full textAbstract:
This doctoral project challenges the conventions of academic enquiry that, by default, still largely shape the procedures of practice-based PhDs. It has been submitted in the form of a ‘thesis by performance’ - a thesis that can only be realized through live readings that present knowledge production as something done in and around bodies and their contexts. The aim has been to reposition institutional and educational knowledge in an intimate, subjective relationship with the body, particularly the researchers own body. The ideas gathered together in this ‘thesis by performance’ address the body and its context using material that was sometimes appropriated, sometimes invented and sometimes autobiographically constructed. From the start, these approaches and sources were used to directly address those listening in the present, the ‘now’ in which words were spoken. An approach influenced by feminist thinkers in the arts, Kathy Acker, Chris Kraus, Katrina Palmer and Linda Stupart. The methodological development of the research has been entirely iterative – developed through the making and presenting of performance texts. Each text was presented live as part of mixed-media installations, experimenting with how language and voice can be visualised and choreographed. Consequently, the resulting ‘thesis by performance’ is a doctoral submission unimpeded by a printed script - only an introductory statement and two appendices are available outside of a live reading. In this way the process of performance can inspire new terms of reference in the field of postgraduate practice-led research entirely on its own terms.
8
Stanley, Tracy. "Work environments, creative behaviours, and employee engagement." Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/101547/4/Tracy_Stanley_Thesis.pdf.
Full textAbstract:
While research regarding the work environments of successful organisations reports separate outcomes of creative behaviours and highly engaged employees, little research has been carried out to simultaneously investigate both notions. This research uses a qualitative field study to investigate the creative behaviours and employee engagement of employees in five types of work contexts within a large project-based organisation. Findings highlight the importance of the challenge of problem solving as positive influence on creative behaviours and employee engagement. Implications for theory and practice include a stronger focus on job design, and manager actions in facilitating both creative behaviours and employee engagement.
9
Wan, Chang Da. "An exploratory study of the educational processes of the PhD." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:b630c066-ff2a-4c53-8ca6-1e9ebdf78856.
Full textAbstract:
There has been a significant increase in the numbers of students undertaking doctoral study over the last 20-30 years. This means that the PhD is no longer solely an elite degree designed to prepare graduates for an academic career. Instead, emphasis has increasingly been placed on the role of the PhD in producing 'advanced knowledge workers' who are expected to make a contribution to the production of knowledge in a knowledge-driven economy. This has led to an increased focus on the educational dimension of the PhD and the educational processes involved in developing students to become researchers in a range of contexts. However, the educational processes involved in the PhD are complex and differ across higher education systems, institutions and disciplines. They include formal and informal activities and involve a large number of actors with different expectations about the aims and outcomes. This study aims to gain an in-depth understanding of the educational processes of the PhD by exploring the complexity underlying these processes. The research was based on case studies in six departments. The case studies focused on the PhD processes of the six departments from three disciplines in four higher education institutions in England. Interviews with PhD Programme Directors, supervisors and students were complemented by analysis of institutional and departmental documents. The research was guided by a multi-level framework to examine the institutional, departmental, interpersonal and individual levels, and the inter-relatedness between levels. As such rich narratives provide insight into factors such as the PhD thesis and its influence on the supervisory relationship, formal initiatives such as assessment and coursework, and the Skills Training Programme and its underlying notion of employability. Three forms of complexity were identified. The first relates to the fact that the educational processes are individualistic in nature, and there is a need to understand the influences of the personal, social, educational and professional domains of the individual students and supervisors independently and collectively in shaping these complex processes. The second underlines the tensions and potential contradictions within and between actors as a result of the interpretation and implementation of these processes across the four levels. The third concerns a tension between the need for these processes to remain individualistic and the pressure for departments and institutions to provide standardised processes for all students. By identifying and gaining a greater understanding of these complexities, this research contributes to a more comprehensive understanding of the educational processes of the PhD based on grounded empirical evidence. This understanding is important in developments for enhancing the quality of PhD education, and in developing programmes which support students to become researchers in a range of different employment contexts.
10
Capelo, Maria Jose de Brito. "Away, a novel, and a critical essay on narrative space with reference of Paul Auster's fiction." Thesis, University of Plymouth, 2012. http://hdl.handle.net/10026.1/1191.
Full textAbstract:
My novel, Away, is mainly the story of a woman travelling alone, leaving all friends and relatives behind. She seeks out remote, beautiful and difficult places where, firstly, she has travelled to before and, then, different locations that she hasn’t known in the past. We discover that, through trauma, she has lost her sense of identity – she is in the midst of a psychological crisis that becomes clear only after the journey has been underway for some time, when circumstances force her to accept help from others. With the protagonist my aim was to portray a permanent and continuous possibility of ending, stretching endlessly. This idea is irretrievable from the notion of space, as conceived here. In Part I, I explore how not only this main character, but also, Fred embody space. Here, I examine the conception of space, taking in various perspectives raging from philosophy, geography, culture and literature studies, where we find an interdisciplinary approach to space. My contention, drawing on mainly Lefebvre’s and Massey’s investigations, is that space is produced and is simultaneously a product embodied by the characters. In addition, I analyse how a particular territory – the desert – enacts the nature of space, as defined before, in selected works by T. E. Lawrence, Wilfred Thesiger and Paul Bowles. Also, I argue that this conception of space is explored in some narratives of Paul Auster - CG, MC and CLT - in part II. Further, I examine other features of space. I contend that Auster’s writing explores space as a realm upon which Auster’s characters engage in a process of construction and disintegration both of space and their identity. Therefore, here, space is considered as a sphere constituted by a process of an ever-opened, changing and ongoing interrelation with the characters and the text. Finally, although space is presented in this essay as the major tool for investigation through composition and critical analysis, other tools, intrinsically, and I argue inseparable in fact, I proceed to an investigation, in part III, of notions of time, identity, writing and narrator in my creative work. Beside these, I investigate particularly the relationships between characters. The thesis concludes by demonstrating that writing as space evolves in more subtle, more transient and labyrinthian ways through the reference to other writers whose writing has significantly influenced my creative work.
11
Olsson, Jan. "Dynamic software enhancing creative mathematical reasoning." Licentiate thesis, Umeå universitet, Institutionen för naturvetenskapernas och matematikens didaktik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-90285.
Full textAbstract:
This thesis includes two articles and a coat. The articles present two studies investigating students’ reasoning when they were working in pairs, solving mathematics problems using the dynamic software, GeoGebra, The first study shows that the students used GeoGebra as a collaborative environment where they shared their individual reasoning to one another. Furthermore, GeoGebra provided the students with feedback that, to some extent, became a basis for their creative reasoning. The second study looked more closely into the relation between students’ reasoning and their utilization of the feedback generated by GeoGebra. The study showed that students who before entering computer commands used creative mathematical reasoning to hypothesize what the outcome may be, understood the feedback from software better and used it more efficiently. The students who engaged in imitative reasoning were mainly able to use feedback to determine if a solution attempt was correct or not, but did not fully understand the feedback and were less able to use it to make further progress in solving the task. The coat explains theories and methodologies more thoroughly and discusses the results of the two articles. In a concluding discussion the results of the articles are linked and possible implications for teaching are proposed. In school it is common that teachers and textbooks provide students with algorithmic solution templates to tasks, but in the study the didactic situation with dynamic software was found to invite students to create their own solution methods. Furthermore the thesis suggests that it could be beneficial for the students to be encouraged to pay more attention to their own solving strategies, i.e. to explain and evaluate their methods and results rather than merely looking for the correct answers.
12
Li, Fuli. "A stress and coping perspective on creativity : a reward for creativity policy as a stressor in organizations = Cong ya li he ying dui de jiao du li jie chuang xin : zu zhi chuang xin jiang li zheng ce zuo wei yi zhong ya li yuan / Li Fuli." access full-text access abstract and table of contents, 2009. http://libweb.cityu.edu.hk/cgi-bin/ezdb/thesis.pl?phd-mgt-b30082468f.pdf.
Full textAbstract:
Thesis (Ph.D.)--City University of Hong Kong, 2009."Submitted to Department of Management in partial fulfillment of the requirements for the degree of Doctor of Philosophy." Includes bibliographical references (leaves 158-173)
13
Gliddon, Judith P. "The processing and interpretation of feedback by PhD candidates." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2007. https://ro.ecu.edu.au/theses/312.
Full textAbstract:
This study takes a close look at the characteristics of the feedback received by PhD candidates and explores how they then interpret that feedback. Over 200 PhD candidates participated in the study by providing data over a six month period using a custom-built Internet-interfaced database. Each candidate completed a self-concept test both at the beginning and again at the end of this period. In between, they completed an 'e-diary' in which they recorded data about every feedback interaction that they experienced over the six months. From the data collected, the Researcher developed a model showing how feedback is processed and the effect that this process has on PhD candidates.
14
Wong, Lai Fan. "Stories by...portfolio consisting of dissertation and creative work." Thesis, University of Macau, 2010. http://umaclib3.umac.mo/record=b2456353.
Full text
15
Musial, M. (Monika). "Exploring the organizing of work for creative individuals:the paradox of art and business in creative industries." Doctoral thesis, Oulun yliopisto, 2015. http://urn.fi/urn:isbn:9789526209418.
Full textAbstract:
Abstract The purpose of this research is to explore the issue of organizing work for creative individuals, particularly to explore the influence of creativity on emergence of creative companies and to understand the way of managing creative individuals from those companies. The emergence of creative companies is investigated from the motivational perspective, especially the intrinsic motivation and inner drive. The management aspect is studied from the perspective of both managers and employees. Prior literature on creativity demonstrates that creativity has become an important element of human existence. Most of the creativity research has been done on individual creativity, organizational creativity, creative processes, motivation and social influences on creativity. Despite the recent tendency to study creativity from various perspectives, few scholars have approached this phenomenon from the perspective of emergence of creative companies. This study examines that and explores the motivational aspects of creativity seen from the angle of the paradox between art and business. Creativity and motivation in creative companies are contemplated with a case study method. The empirical context of the research is creative industries: games, films, visual and performing arts. The results of this study show that motivational features of creativity (love and passion to create, curiosity, desire to create, choice to be creative) have an influence on creative individuals from the perspective of emergence of new creative companies. The analysis further indicates the importance of acknowledgement of creativity and creative work of individuals in games industries. The new concept of ”the need to be creative” is introduced in this research in the context of a new product or idea being created. In addition, this research concludes that there is a paradox between creative freedom and control when managing creative individuals. This study shows that both of those elements are critical managing practices in the creative companies. Based on theories of creativity and management combined with empirical analysis of film companies, this research also suggests that managing of creative individuals is focused on allowing creative freedom at work while providing control by the manager as well as providing the right work-life balance in creative work settingsTiivistelmä Tämän tutkimuksen tarkoituksena on tarkastella luovuuden vaikutusta luovien alojen yritysten syntymiseen sekä ymmärtää luovien yksilöiden johtamista. Luovien yritysten syntyä tutkitaan motivationaalisesta, erityisesti sisäisen motivaation ja -halun näkökulmasta. Johtamista tarkastellaan sekä johtajan että työntekijän näkökulmasta. Aikaisempi luovuuskirjallisuus osoittaa, että luovuudesta on tullut tärkeä ihmisyyden ja olemassaolon osa-alue. Suurin osa luovuustutkimuksesta on tehty yksilön luovuudesta, organisatorisesta luovuudesta, luovista prosesseista, motivaatiosta sekä sosiaalisten tekijöiden vaikutuksista luovuuteen. Vaikka luovuustutkimusta on tehty viime aikoina monista eri näkökulmista, harvat tutkijat ovat lähestyneet ilmiötä luovien yritysten syntymisen näkökulmasta. Tässä tutkimuksessa tutkittiin luovuuden motivationaalisia elementtejä taiteen ja liiketoiminnan ristiriidan näkökulmasta. Luovien yritysten luovuutta ja motivaatiota tarkasteltiin käyttäen tapaustutkimusmenetelmää. Tämän tutkimus on tehty luovien alojen, kuten peli-, filmi-, visuaalisen- ja esittävän taiteen kontekstissa. Tutkimustulokset osoittavat, että luovuuden motivationaalisilla piirteillä (kuten intohimo luomista kohtaan, uteliaisuus, halu luoda ja olla luova) on vaikutusta luoviin yksilöihin luovien yritysten syntymisen näkökulmasta. Analyysi osoittaa myös, että peliteollisuudessa on tärkeää tunnistaa yksiön luovuus ja luovan työn merkitys. Tämä tutkimus esittelee uuden ”tarve olla luova”- käsitteen kontekstissa, jossa luodaan uutta tuotetta tai ideaa. Tämän lisäksi tutkimus osoittaa, että johdettaessa luovia yksiöitä luovuuden vapaus ja kontrollin tarve ovat ristiriidassa. Tutkimus kuitenkin osoittaa, että molemmat elementit ovat kriittisiä johtamiskäytäntöjä luovissa yrityksissä. Johtamisen- ja luovuuden teoriat sekä tutkimuksen empiirinen analyysi osoittavat, että luovien yksilöiden johtaminen perustuu luovuuden vapauden mahdollistamiseen, riittävään kontrolliin sekä työelämän tasapainoon
16
au, D. Whish-Wilson@gunada curtin edu, and David Whish-Wilson. "Asylum." Murdoch University, 2003. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20040730.143406.
Full text
17
McCauley, Kevin Taylor. "The cosmic tantrum." Master's thesis, University of Cape Town, 2001. http://hdl.handle.net/11427/25972.
Full textAbstract:
This dissertation, entitled The Cosmic Tantrum, is presented in two parts: the body of creative work, in the form of a series of art works created over the course of two years of study, and the theoretical work discussed in this document. The creative work is subdivided into two sections: 1) a series of ten figurative mixed-media paintings, organised chronologically; and 2) the lightworks, a suite of fourteen back-lit canvas tapestries entitled The Eternal Carnival. The Eternal Carnival is the centrepiece of my postgraduate work. A set of drawings is also presented as supporting documentation of the artistic process. The theoretical component is the result of two years of research in Postcolonial Theory, Cultural Studies, and scholarship on the artistic and philosophical systems of what is known as the Black Atlantic. I provide an explanation of the theoretical underpinnings of the creative work in the form of a possible theory of culture, which I have called an "insurgent ancestral aesthetic", elaborated in Part One. This theory of culture provides an analytical framework and leads into Part Two, in which I offer an exposition of the artwork. As a theory, an insurgent ancestral aesthetic begins with the assertion that the presence of the artistic philosophies of the African Diaspora can be understood as essential to both Postmodern Theory and contemporary global culture. A comparative study of the relationship between Black Atlantic aesthetic philosophy and Postmodernism develops this theory of culture and leads into a discussion of possible applications of an insurgent ancestral aesthetic. The themes and concepts of the theoretical research are played out in the creative work in various ways; I employ aspects of my work in theory to illuminate the art in Part Two. Generally, in the artwork, an improvisational approach to the human form reveals an image of the body as an expression of emotional, psychological, and spiritual content. The paintings generate a sense of the body as a story written over time, a record of all that has befallen it. The Eternal Carnival is the culmination of my work in shadow and silhouette and employs a narrative approach in signifying upon various spiritual characters and artistic principles active in the aesthetic and philosophic systems of the Black Atlantic.
18
Malin, Steven K. "Short-term creatine supplementation does not enhance work capacity in multiple sclerosis individuals." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 79 p, 2006. http://proquest.umi.com/pqdweb?did=1203575661&sid=1&Fmt=2&clientId=8331&RQT=309&VName=PQD.
Full text
19
Olsson, Jan. "GeoGebra, Enhancing Creative Mathematical Reasoning." Doctoral thesis, Umeå universitet, Institutionen för tillämpad utbildningsvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-133050.
Full textAbstract:
The thesis consists of four articles and this summarizing part. All parts have focused on bringing some insights into how to design a didactical situation including dynamic software (GeoGebra) to support students’ mathematical problem solving and creative reasoning as means for learning. The four included articles are: I. Granberg, C., & Olsson, J. (2015). ICT-supported problem solving and collaborative creative reasoning: Exploring linear functions using dynamic mathematics software. The Journal of Mathematical Behavior, 37, 48-62. II. Olsson, J. (2017). The Contribution of Reasoning to the Utilization of Feedback from Software When Solving Mathematical Problems. International Journal of Science and Mathematics Education, 1-21. III. Olsson, J. Relations between task design and students’ utilization of GeoGebra. Mathematical Thinking and Learning. (Under review) IV. Olsson, J., & Granberg, C. Dynamic software, problem solving with or without guidelines, and learning outcome. Technology, Knowledge and Learning. (Under review) Background A common way of teaching mathematics is to provide students with solution methods, for example strategies and algorithms that, if followed correctly, will solve specific tasks. However, questions have been raised whether these teaching methods will support students to develop general mathematical competencies, such as problem solving skills, ability to reason and acquire mathematical knowledge. To merely follow provided methods students might develop strategies of memorizing procedures usable to solve specific tasks rather than drawing general conclusions. If students instead of being provided with algorithms, are given the responsibility to construct solution methods, they may produce arguments for why the method will solve the task. There is research suggesting that if those arguments are based on mathematics they are more likely to develop problem solving and reasoning-skill, and learn the included mathematics better. In such didactic situations, where students construct solutions, it is important that students have instructions and tasks that frame the activity and clarify goals without revealing solution methods. Furthermore, the environment must be responsive. That is, students need to receive responses on their actions. If students have an idea on how to solve (parts of) the given problem they need to test their method and receive feedback to verify or falsify ideas and/or hypotheses. Such activities could be supported by dynamic software. Dynamic software such as GeoGebra provides features that support students to quickly and easily create mathematical objects that GeoGebra will display as visual representations like algebraic expressions and corresponding graphs. These representations are dynamically linked, if anything is changed in one representation the other representations will be altered accordingly, circumstances that could be used to explore and investigate different aspects and relations of these objects. The first three studies included in the thesis investigate in what way GeoGebra supports creative reasoning and collaboration. These studies focus questions about how students apply feedback from GeoGebra to support their reasoning and how students utilize the potentials of GeoGebra to construct solutions during problem solving. The fourth study examine students’ learning outcome from solving tasks by constructing their methods. Methods A didactical situation was designed to engage students in problem solving and reasoning supported by GeoGebra. That is, the given problems were not accompanied with any guidelines how to solve the task and the students were supposed to construct their own methods supported by GeoGebra. The students were working in pairs and their activities and dialogues were recorded and used as data to analyse their engagement in reasoning and problem solving together with their use of GeoGebra. This design was used in all four studies. A second didactical situation, differing only with respect of providing students with guidelines how to solve the task was designed. These didactical situations were used to compare students’ use of GeoGebra, their engagement in problem solving and reasoning (study III) and students’ learning outcome (study IV) whether the students solved the task with or without guidelines. In the fourth study a quantitative method was applied. The data from study IV consisted of students’ results during training (whether they managed to solve the task or not), their results on the post-test, and their grades. Statistical analysis where applied. Results The results of the first three studies show qualitative aspects of students solving of task with assistance of GeoGebra. GeoGebra was shown to support collaboration, creative mathematical reasoning, and problem solving by providing students with a shared working space and feedback on their actions. Students used GeoGebra to test their ideas by formulating and submitting input according to their questions and hypotheses. GeoGebra’ s output was then used as feedback to answer questions and verify/falsify hypotheses. These interactions with GeoGebra were used to move the constructing of solutions forward. However, the way students engage in problem solving and reasoning, and using GeoGebra to do so, is dependent on whether they were provided with guidelines or not. Study III and IV showed that merely the students who solved unguided tasks utilized the potential of GeoGebra to explore and investigate the given task. Furthermore, the unguided students engaged to a larger extent in problem solving and creative reasoning and they expressed a greater understanding of their solutions. Finally study IV showed that the students who managed to solve the unguided task outperformed, on posttest the students who successfully solved the guided task. Conclusions The aim of this thesis was to bring some insights into how to design a didactical situation, including dynamic software (GeoGebra), to support students' mathematical problem solving and creative reasoning as means for learning. Taking the results of the four studies included in this thesis as a starting point, one conclusion is that a didactical design that engage students to construct solutions by creative reasoning supported by GeoGebra may enhance their learning of mathematics. Furthermore, the mere presence of GeoGebra will not ensure that students will utilize its potential for exploration and analysis of mathematical concepts and relations during problem solving. The design of the given tasks will affect if this will happen or not. The instructions of the task should include clear goals and frames for the activity, but no guidelines for how to construct the solution. It was also found that when students reasoning included predictive argumentation for the outcomes of operations carried out by the software, they could better utilize the potential of GeoGebra than if they just, for example, submitted an algebraic representation of a linear function and then focused on interpreting the graphical output.Det övergripande syftet med avhandlingen har varit att nå insikter i hur man kan designa en didaktisk situation inklusive en dynamisk programvara (GeoGebra) för att stödja elevernas lärande genom matematisk problemlösning och kreativt resonemang. En bärande idé har varit att elever som själva konstruerar lösningsmetoder till problembaserade uppgifter lär sig matematik bättre än elever som får en metod att följa. Resultaten visar att GeoGebra är ett stöd vid konstruerandet av lösningsmetoder och att elever då också resonerar kreativt. Det vill säga, de skapar en för dem en ny resonemangssekvens som innehåller en lösningsmetod som stöds av argument förankrade i matematik. Idén med att elever på egen hand konstruerar lösningen på uppgifter har även belysts genom att jämföra med elever som löser uppgifter där de får vägledning till lösningsmetoden. Resultaten visar att elever som får en lösningsmetod inte resonerar kreativt, de utnyttjar inte GeoGebras potential att stödja ett undersökande arbetssätt, och de lär sig mindre av den matematik som ingår i uppgifterna. Denna avhandling består av 4 artiklar och en kappa. De fyra artiklarna är: I. Granberg, C., & Olsson, J. (2015). ICT-supported problem solving and collaborative creative reasoning: Exploring linear functions using dynamic mathematics software. The Journal of Mathematical Behavior, 37, 48-62. II. Olsson, J. (2017). The Contribution of Reasoning to the Utilization of Feedback from Software When Solving Mathematical Problems. International Journal of Science and Mathematics Education, 1-21. III. Olsson, J. Relations between task design and students’ utilization of GeoGebra. Mathematical Thinking and Learning. (Under review) IV. Olsson, J., & Granberg, C. Dynamic software, problem solving with or without guidelines, and learning outcome. Technology, Knowledge and Learning. (Under review) Artikel 2 och 3 är jag ensam författare till. Det innebär att jag designat studien, planerat och genomfört datainsamling, analyserat data och formulerat slutsatser, samt skrivit texten och korresponderat med tidskrifter. Artikel 1 och 4 har jag skrivit i samarbete med Carina Granberg. Vi bedömer att arbetet med artikel 1 fördelats lika. Allt skrivarbete har fortgått genom åtskilliga granskningar av varandras utkast och diskussioner om slutgiltiga formuleringar. I arbetet med artikel 4 har jag haft huvudansvaret för designen av studien och planering för datainsamlingen. Skrivarbetet har genomförts på samma sätt som i arbetet med artikel 1.
20
Couture, Selena Marie. "Margo Kane's creative and community work : moving towards social change." Thesis, University of British Columbia, 2011. http://hdl.handle.net/2429/33797.
Full textAbstract:
This is a study of Margo Kane’s creative work – Memories Springing/Waters Singing, Moonlodge and Confessions of an Indian Cowboy – as well as her Vancouver-based community work – Full Circle First Nations Performance Company and their annual Talking Stick Festival. I examine how Kane’s creative and community work can be understood in terms of postcolonial theory of performance while also further illuminating that theory. I apply Emmanuel Levinas’ philosophical concepts of Totality and Infinity and the Saying and the Said to the content of her creative work as well as its publication. I use Édouard Glissant’s poetics of relation to explain her administrative style and creative choices, particularly in Confessions of an Indian Cowboy. Postcolonial theatrical concepts including Jacqueline Lo and Helen Gilbert’s model for interculturalism and Christopher Balme’s syncretic theatre lead to an investigation of the numerous forms of movement that Kane’s work demonstrates. Through analysis of the multiple published texts of her performances as well as of an interview I conducted with Kane on the founding and continuing administration of her company and the festival, I determine how the importance of movement in her work can help the shift from a colonial to a postcolonial society.
21
Keturakis, Ugnius. "Prometheism in creative work of Jurgis Baltrušaitis and Giovanni Papini." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100527_162137-54093.
Full textAbstract:
Milestones of European symbolism of the end of the 19th century and the beginning of the 20th century have been indicated and the meaning of prometheism as fundamental category of symbolism has been determined. It has been explored that the origins of Lithuanian symbolism do not only date back to Russian symbolism but through it they are connected with the broader co-European context. It has been established that one of the fundamental categories of Baltrušaitis’ and Papini’s viewpoint is prometheism, its political aspect characteristic to both authors has been analysed. It has been determined that Baltrušaitis’ promethean viewpoint is based on the philosophy of Solovyov according to which “God-man” is the synthesis of humanity and divinity; whereas Papini’s promethean viewpoint refers to Nietzsche’s idea of “superhuman” as an absolute category, a man who became God. The connection of Papini’s identity metamorphoses and prometheism viewpoint has been investigated; it has been demonstrated that prometheism influenced the twists of Baltrušaitis’ intellectual biography and the changes of his relation with Lithuanity. The connections of Baltrušaitis’ and Papini’s prometheism with the political attitude of authors has been analysed, it has been established that the differences of this attitude were determined by diverse philosophical fundamentals of Russian and Italian prometheism.Darbe pažymėtos XIX a. pabaigos – XX a. pradžios Europos simbolizmo gairės ir nustatyta prometėjizmo kaip pamatinės simbolizmo kategorijos reikšmė. Ištirta, kad lietuviškojo simbolizmo ištakos siekia ne tik rusiškąjį simbolizmą, bet per jį ir platesnį europietiškąjį kontekstą. Nustatyta, kad pagrindinė Baltrušaičio ir Papini’o kultūrinio dialogo kategorija yra prometėjiškoji pasaulėjauta, išanalizuotas abiem kūrėjams būdingas politinis jos aspektas. Atskleista, kad prometėjizmas, iš pradžių suartinęs du kūrėjus, vėliau, dėl istorinių aplinkybių vystęsis skirtingais keliais, savo ruožtu juos ir išskyrė. Nustatyta, kad Baltrušaičio prometėjiškoji pasaulėjauta remiasi Solovjovo filosofija, teigiančia, kad „dievažmogis“ yra žmogiškumo ir dieviškumo sintezė; tuo tarpu Papini’o – Nietzsche’s „antžmogio“ kaip absoliučios kategorijos, žmogaus, tapusio Dievu, idėja. Ištirta Papini’o tapatybės metamorfozių ir prometėjizmo pasaulėjautos sąsaja, įrodyta, kad prometėjizmas yra viena kertinių Baltrušaičio pasaulėjautos kategorijų, lėmusių poeto intelektualinės biografijos vingius ir santykio su lietuvybe pokyčius. Išnagrinėtos Baltrušaičio ir Papini’o prometėjizmo sąsajos su politine kūrėjų laikysena, nustatyta, kad jos skirtumus lėmė skirtingi rusų ir italų prometėjizmo filosofiniai pagrindai.
22
Jackson, Robert. "The interrelationship between religious education and religious studies : paper to accompany materials submitted for PhD by published work." Thesis, University of Warwick, 1993. http://wrap.warwick.ac.uk/71284/.
Full text
23
Siswoyo, Monique L. "Creative art and mindfulness therapy for human trafficking survivors| A grant proposal." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1589652.
Full textAbstract:
This thesis project was written to seek funding for mental health care for human trafficking survivors who are served by the Salvation Army's Anti-Trafficking Services Program. Mental health care is an essential part of victims' services in order to assist the survivors to gain self-sufficiency and to integrate into society. This project proposes two evidenced-based treatments: art therapy and mindfulness therapy. Both art therapy and mindfulness therapy strengthen survivors' resiliency and sense of coherence as well as transform posttraumatic stress to posttraumatic growth. This grant proposal located a potential funding source which is the Sisters of St. Joseph's Health Care Foundation. The actual submission of this grant proposal to the funding agency is not a requirement set by the MSW program
24
Frulla, Lisa, and Stefan Söber. "The Process : a study of an advertising agencys creative work procedure." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-115728.
Full textAbstract:
Kreativitet och kreativa processmodeller kan ses som verktyg som i marknadskommunikationsbranschen kan användas för att ta fram marknadskommunikation som tilltalar och når den tänkta målgruppen och som gör att det önskade kommunikationsresultatet uppnås. En kommunikationsbyrås uppdrag är att ta fram kreativa kommunikationslösningar för en kunds räkning. Det är viktigt att kunden får valuta för sina pengar, alltså att kommunikationen ger en effekt som uppfyller eller överträffar de mål som ställts upp av kunden. Därför är det nödvändigt att det kreativa arbetet genomförs på ett sätt som leder till dessa resultat på ett så kostnadseffektivt sätt som möjligt. En del byråer använder sig av definierade metoder för det kreativa arbetet. Metodernas syfte är att vägleda och underlätta det kreativa arbetet, samt att säkerställa att de idéer som genereras håller så hög kvalitet som möjligt. Mumford et al. (1991) har tagit fram en kreativ processmodell bestående av en uppsättning delprocesser som behöver genomföras för att en kreativ problemlösning ska nås. Syftet med denna studie är att undersöka den kreativa processen på en kommunikationsbyrå som inte har någon uttalad arbetsmetod, för att sedan jämföra resultatet med den kreativa processmodellen framtagen av Mumford et al. (1991). Detta för att ta reda på om rekommendationer för förändring av kommunikationsbyråns kreativa process kan ges, och i så fall på vilka grunder. Kommunikationsbyrån där undersökningen ägde rum valdes ut genom ett målinriktat urval och en mikro-etnografisk undersökning i form av observationer och en intervju genomfördes. Den insamlade datan analyserades utifrån den modell som beskrivs av Creswell (2009). Modellen anpassades något. Undersökningen visade att det finns likheter mellan deltagarnas kreativa process och den kreativa processmodell som beskrivs av Mumford et al. (1991). Processmodellen innehåller ett antal steg som är nödvändiga för att ett kreativt resultat ska nås. Under våra observationer av deltagarnas kreativa arbete kunde vi identifiera samtliga delprocesser som ingår i modellen. Deras arbetssätt var dock inte lika linjärt som modellen föreskriver. I stället hoppade deltagarna fram och tillbaka mellan de olika delprocesserna. Genom att arbeta efter den kreativa processmodellen kan deltagarna förbättra sina kreativa problemlösningar och nå resultat på ett mer effektivt sätt. Vi rekommenderar också att deltagarna utvecklar egna strategier för hur de olika delprocesserna genomförs eftersom det är av stor vikt för resultatet att de genom förs på rätt sätt. Medarbetarna utvärderade inte alla idéer som de genererade. Vi rekommendrar att de arbetar mer med idéutvärdering eftersom Mumford et al. (1991) menar att det är en viktig delprocess för att ett kreativt resultat ska nås.
25
Bruford, William S. "Making it work : creative music performance and the Western kit drummer." Thesis, University of Surrey, 2016. http://epubs.surrey.ac.uk/810288/.
Full textAbstract:
This study synthesises a range of views from cultural psychology, action theory and expert practitioners to illuminate issues of creativity and meaning in the performance of the Western kit drummer. Creativity and cultural psychology models are tested and critiqued, but require extension or adaptation to cast a more focused light on the meaning of creative performance for drummers. Aspects of the work of Csikszentmihalyi, Dewey, and Boesch are drawn together and developed to argue that the construct of ‘significant action in context’ provides the conceptual and methodological tool with which to begin analysis of this relationship of mind to cultural setting. In seeking understanding of perception rather than objectively-determined facts, a qualitative interpretivist paradigm is adopted. Semi-structured interviews and autobiographical data of expert practitioners are used to generate rich data. Viewed from an action-theoretical perspective, the data are analysed and interpreted using thematic analysis, expanded here to encompass both autoethnographic and phenomenographical components. The agency of the researcher is assumed throughout, and the importance of scholarly self-reflexivity highlighted. The purpose of the study is to construct a cultural psychology of the Western kit drummer which may reveal aspects of creativity in performance. It emerges organically from an ongoing sense of needing to know, or at least understand better, how drummers’ cultural psychology determines what they do. Such an explanation may not only contribute functionally to drummer practice, but also improve understanding of collaborative and creative interactional processes in music and related artistic spheres.
26
Bodden, Lisa. "Developing a Creative Classroom through Drama Work: One Teacher's Reflective Journey." Thesis, The University of Arizona, 2006. http://hdl.handle.net/10150/193264.
Full textAbstract:
In this qualitative, action research study, I aimed to improve my teaching practices in my seventh grade drama classroom. I conducted the study by implementing a monologue unit plan I had used in the past adapted for this study. My emphases for the study were the promotion of creativity, the identification of drama and theatre elements, and the transformation in understanding. Data was gathered from students in my class, a third eye observer, and me. Notation, description, sources for analysis, and questioning procedures were used to survey the data by looking for patterns, coding the responses, and generating findings that satisfied the research questions. I discovered that imagination is supported in my classroom but that I need to develop better strategies to show how dramatic skills affect the daily lives of students and the importance of empathy for this class as well as the others I teach.
27
Pratt, John L. "Mind the gap : an examination of the pause in modern theatre; and, Shadows : a play (major creative work); and, Bank accounts : a collage of monologues (minor creative work)." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2012. https://ro.ecu.edu.au/theses/459.
Full textAbstract:
Both as a student of theatre and, eventually, as a professional practitioner, it has long been apparent to me that there is a dearth of reference material on what has become one of the modern theatre’s most important elements: the pause. Actors, directors and playwrights can only interpret the word ‘pause’ according to their own experience and its meaning remains nebulous, even after agreement has been reached in a specific context. The essay, Mind The Gap, examines the significance of the pause to these various practitioners. It suggests, with examples, close analysis of the purpose of each pause, differentiation of the terms used to denote them and interrogation of various well-known playwrights’ intentions with its use. Mind The Gap is offered as an initial investigation on which to base further, more detailed research from which students and professionals can reach agreement to find a common language to describe and define the unspoken. In Shadows, the major creative work, I use the form of the English burlesque to satirise the increasing influence that television is having on modern family life. I have experimented with filling the pauses in one narrative, the life of the Agnew family, with a second narrative, the television programme, Secret White Women’s Business. Bank Accounts, the minor work, is another experiment where several brief histories are embedded in a common narrative set in a commonplace environment. The pauses central to Bank Accounts are filled with the unspoken relationships between strangers. Both plays are intended to present women as equal players in the game of life rather than as victims of male chauvinism.
28
Roy, Vishalakshi. "Navigating multiple identities : identity work of creative entrepreneurs in the founding stage." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/83168/.
Full textAbstract:
The contemporary view of identity in entrepreneurship accepts its dynamic nature and its multidimensional structure. Some scholars have illustrated how identity tensions may stimulate identity work in different settings, but they do not offer a satisfactory understanding of how multiple identities of an entrepreneur interact to promote identity work. One setting where identity work is prolific is in the initial stages of the venture when individuals have recently transitioned into entrepreneurship. However, detailed accounts of the identity struggles of the entrepreneur in this stage has not found favour in the entrepreneurship literature. More specifically, studies investigating identity conflict and coherence of entrepreneurs do not provide a satisfactory understanding of identity work derived from the complexity of the existence of multiple identities. The question therefore arises - How do entrepreneurs engage in identity work in response to identity demands caused by multiple identities? To address this research gap I study entrepreneurs that have recently started a venture in the creative industries. The founding stage is chosen to facilitate the observation of intense identity work, while the creative industries as an extreme setting facilitates our observation of multiple sub-identities of the entrepreneur. Though a two-year qualitative longitudinal study of 15 creative entrepreneurs, I provide new insight into identity work of entrepreneurs in light of multiple identities. Drawing on my analysis of the data, I present three articles. In the first, I examine the process of identity work through a staged model, and propose identity routes and tactics of entrepreneurs as they journey through identity disruption and equilibrium. Here, I recognise the impact of the entrepreneurs’ affects in this process. In the second article, I analyse how conflicts between specific identities of the entrepreneur are normalised by investigating dirty work in the context of entrepreneurship. And finally in article three I offer a more rounded discussion to types of trigger for identity work by examining the impact of self-defined critical incidents on identity work of entrepreneurs. Here I discuss the role of sensemaking in internalising the impacts from these critical incidents and find that a single incident can have multiple impacts. The examination of identity work in light of multiple identities is concluded with a discussion of the contributions of the thesis towards the current gaps in identity work literature as identified by scholars.
29
Naish, Jenny Mary. "The work based learning of creative artists : the case of William Shakespeare." Thesis, Middlesex University, 2000. http://eprints.mdx.ac.uk/13372/.
Full textAbstract:
This thesis applies work based learning concepts to understanding Shakespeare's professional development and the relationship between his work roles and works. The purposes of this are to enhance understanding about Shakespeare, develop the argument for work based learning as a field of studies and investigate the relevance of the approach to historical and contemporary creative practitioners. To meet these objectives the following research question was formulated: as a creative artist, practising in an evolving occupational area in a period itself fraught with social change and questions about the nature of work, social status and the performing arts, what was the relationship between Shakespeare's work roles and the production of his works. What was the nature of his work based learning? In construing Shakespeare's career in this way the thesis explores previously researched issues in original and illuminating ways. In applying work based learning thinking to Role Theory methodology new instrumentation for collecting and analysing data has been invented; the Time Chart, Map of Role Sets and a three-dimensional analytical framework. This has been necessary to analyse work based learning holistically, acknowledging the importance of the social, historical and cultural context. Shakespeare's career is analysed against key work based learning questions providing new understanding of the work role of sharer and principal playwright. The thesis concludes that the methodology is of value because it can mediate between individual learning and an organisational environment that is specifically contextualised. A major conclusion is that understanding Shakespeare's work based learning as exemplary, through planned and opportunistic projects, in collaboration with his professional peers and supported by socially sophisticated patronage networks were fundamental to his unique success. The considerable implications for further research as a major means of identifying and analysing the work based learning of historical and contemporary creative artists are given.
30
Beynon, Richard Jonathon. "'Ugly Lovely' : being a work of creative writing with accompanying critical commentary." Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/47227/.
Full textAbstract:
The title of the creative work is ‘Ugly Lovely'. The 20,000 word critical discussion of the creative piece has no title, other than that it offers a critical consideration of the relationship between the literary composition and contemporary or traditional achievements in the genre. The creative work concerns a taxi driver named Don, living in the south Wales port of Swansea. He finds his life and culture unsatisfying, but is unable, because of his own lack of will and energy, to leave. His passengers, some of whose lives have an orbit beyond the small-ish Welsh city, bring his sense of dissatisfaction into focus. The work follows a sequence of episodes during which the driver meets and reflects on the remarks and actions of subsequent passengers, and considers his own family and life. Structurally, the work takes the form of a story-cycle concerning or emanating from Don or from the passengers in his taxi. The passenger narratives sometimes present complete stories or self-contained episodes, sometimes broken or partial narratives. All episodes stand in relief against the other fractured narrative running through the work, the driver's self-reflection and re-evaluation of the family life and up-bringing. Thus: 1) Taxi stories – involve the characters who step in and out of the taxi. These stories centre upon a cast of characters who enter the driver's working world, but also present to reader the a secondary cast of characters introduced by the passengers, through the stories they tell. The role and status of the driver shifts as the work progresses. At the close of the work, though the driver's future, like the futures of his town and nation, remains unassigned, he approaches it with a firmer sense of purpose (if not direction). 2) Connected family narratives - gradually present fragments from the history and lives of the main figures in the driver's family. Through these frequently conflicting and contesting narratives, the work delivers a number of perspectives on the history of the town in which the family lived and through which the taxi stories now move. These separate narratives are arranged out of linear sequence, in an order which has greater correspondence to their emotional importance, and in response to triggers set within the various passenger narratives. The contesting nature of the family stories raises questions in the reader's mind about which narratives are privileged, and which reliable. As the work progresses, the realisation comes that none of the narratives is privileged, that all may be unreliable and all contest for dominance and primacy in the driver's mind. The critical element In providing a ‘critical consideration of the relationship between the literary composition and contemporary or traditional achievements in the genre', this commentary will present I. a general introduction to the creative work, II. discussion of the narrative form and organisation of the work, comprising: a. consideration of the ways that the work is shaped by modernist concerns and structures, particularly those of the modernist ‘city novel', b. consideration of the way that the work is structured to present a collection of linked and inter-related narratives, broadly referred to as a short-story sequence III. discussion of the extent to which the work can be placed within the canon of Welsh writing in English; in particular: a. the ways in which the work constitutes a recognisable piece of Welsh writing in English and the extent to which it treats the concerns of one of the national literatures b. the ways in which the work makes considered and constructive use of its setting in Swansea.
31
Rouse, Elizabeth. "Kill your darlings? Experiencing, maintaining, and changing psychological ownership in creative work." Thesis, Boston College, 2013. http://hdl.handle.net/2345/3239.
Full textAbstract:
Thesis advisor: Michael G. PrattThe psychology of ownership literature suggests that creation is one of the most powerful processes through which people may come to feel a sense of possession over ideas. Yet, because the task of making a new product is often too large for one individual, ideas are often transferred between, as well as discussed and shaped by, many different people across a range of departments during creative work. Thus, in organizations, shifts in responsibility over ideas are inevitable and the ability for ideas to be shaped by multiple people and successfully move from person to person is critical for organizations. However, we know relatively little about how people, particularly creative workers, respond to changes in responsibility over their ideas. To understand this phenomenon, I conducted an inductive, qualitative study of two teams at a video game design studio, using interviews, weekly diaries, and observations as my data sources. Through grounded theory analysis, I developed theory around how creative workers experience psychological ownership and how this experience is impacted when ideas are handed off between creative workers. Specifically, I describe task characteristics and individuals differences that impact ownership scope (exclusive or shared ownership) and strength. I also delimit outcomes associated with adopting a particular ownership scope for individual creative workers and the collective product. Then, I describe the key psychological conditions that impact how handoffs occur by describing 4 handoff scenarios and the ownership outcomes for both creative workers involved in each scenario. Together these scenarios demonstrate how ownership can be formed, maintained, and changed through social interactions via handoffs. I build on these findings to develop a relational model of ownership which highlights how psychological ownership impacts and is impacted by social interactions and interpersonal relationships. Practically, this research provides insights on how creative workers can experience and manage ownership over ideas in ways that facilitates engagement in creative work, as well as an organization's ability to benefit from the results of creative workers' labor
Thesis (PhD) — Boston College, 2013
Submitted to: Boston College. Carroll School of Management
Discipline: Management and Organization
32
Ware, Damien Lamont. "Borne the Battle; Creative Writing for Military and Personal Trauma." Cleveland State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=csu1592388118726987.
Full text
33
Yu, Yan. "Technological, institutional, and social-psychological influences on knowledge sharing in work groups : a multilevel investigation /." access full-text access abstract and table of contents, 2009. http://libweb.cityu.edu.hk/cgi-bin/ezdb/thesis.pl?phd-is-b23749404f.pdf.
Full textAbstract:
Thesis (Ph.D.)--City University of Hong Kong, 2009."Submitted to Department of Information Systems in partial fulfillment of the requirements for the degree of Doctor of Philosophy." Includes bibliographical references (leaves 146-172)
34
Lash, Dominic. "Metonymy as a creative structural principle in the work of J.H. Prynne, Derek Bailey and Helmut Lachenmann with a creative component." Thesis, Brunel University, 2010. http://bura.brunel.ac.uk/handle/2438/4668.
Full textAbstract:
This thesis takes the linguistic concept of metonymy and examines its potential as a creative structural principle both in poetry and in music. I explore the role of metonymy in the work of the poet J.H. Prynne, the improvising guitarist Derek Bailey, and the composer Helmut Lachenmann. I have also deployed some of the ideas arising from this exploration in a modular composition for improvisers entitled Representations, recordings of which accompany this thesis. My argument is that metonymy provides a means by which a work of poetry or of music can be highly sensitive to the world which it inhabits, but can do so by itself being an inextricably linked part of this world, rather than an attempt to reproduce or represent it, or to simply pass judgement from the sidelines. In my introduction I outline the literary theory of metonymy. I discuss the way that metonymy encompasses relationships both of contiguity and causality, and make the case that the many limitations inherent in metonymy (which have often led to its being perceived as inferior to metaphor) can in fact be seen as advantanges, because of the way that they can bind the work of art to the real. I briefly discuss some previous applications of metonymy to music, and outline an understanding of musical metonymy based on linear dissimilarity, historical and social contiguity, the origins and agency behind particular sounds, and an occlusion of the structural middleground. The first chapter discusses the work of J.H. Prynne. I argue that a use of metonymy as a productive constraint is illuminated by a philosophical position according to which the world is known to be real because of the resistances it presents to the actualisation of our desires. I discuss the role of metonymy in the development of Prynne’s poetic oeuvre, before illustrating my argument with a detailed analysis of the 2001 sequence Unanswering Rational Shore. In the second chapter I turn to the work of Derek Bailey. Drawing heavily on unpublished items from the Incus archive, I demonstrate the meticulous way in which Bailey constructed his improvisational vocabulary, and the senses in which that vocabulary and its deployment could be characterised as metonymic. I explore the influence on Bailey of Stockhausen, Beckett and Musil, and show how form and material in his work are inextricably entwined. The third chapter examines the work of Helmut Lachenmann and in particular the 1992 composition „... zwei Gefühle ...“, Musik mit Leonardo. I examine the role of the listener and the productive activity that metonymic structures require of them. I focus on Lachenmann’s deployment both of actual and pseudo-causality in his music, as well as his use of historical reference in an indexical fashion. In my fourth chapter I present my composition for improvisers, Representations. I discuss its mechanics, development, and influences, and I set forth its relationship to the concepts of musical metonymy I have elucidated in the body of this thesis, under the headings of “arbitration”, similarity, referentiality and the relationship between material and the middleground. In a short concluding chapter I take another angle on the links between the themes of this thesis by discussing the role of rubbish in the work of Prynne, Bailey and Lachenmann, and its apparently paradoxical relationship with a certain concept of purity. This allows me to conclude by considering the relationship of metonymic structures to a conception of truth which, I believe, has a certain urgency in the contemporary artistic climate.
35
Shapiro, Jane A. (Jane Ann) 1953. "A culture in transition : a case study of Eastern Arctic students' creative work." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61808.
Full text
36
Van, Rossenberg Yvonne. "Multiple foci of commitment and creative work behaviour in inter-organisational innovation projects." Thesis, University of Bath, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.681031.
Full textAbstract:
Creative ideas are valued increasingly in all kinds of organisations. Searching to facilitate creative processes, organisations recognise that the source of new ideas and information lies in the interaction between different functional departments, as well as in the cooperation with external actors. For this reason organisations engage in collaborative innovation projects. These inter-organisational or networked employment structures provide a setting in which employees interact with a multitude of entities. In this context, employees can be expected to develop commitment to multiple foci, such as the organisation, the profession and the client. Employee attitudes, especially their level of commitment, are likely to be central to their willingness to engage in activities which are vital to the creative process. Employing a field theoretic lens, this thesis seeks to examine employees’ affective commitment to seven foci: the project, the organisation, the profession, the client, the lead project manager, the career and the job. The emphasis lies on the examination of the interactions between these foci of commitment in their influence on employees’ creative work behaviour. The thesis offers the integration of previous research into a new concept central to the management of creativity in the workplace. Creative Work Behaviour (CWB) is conceptualised on the basis of four phases of the creative process (1) problem identification, (2) information search, (3) idea generation, and (4) idea evaluation. In addition, in this thesis two types of creative work behaviour are recognised: incremental and radical, which are contrasted with routine in-role behaviour. Thereby, the concept of creative work behaviour is advanced, both theoretically as well as empirically, by the test of the survey measure of the concept showing reliability and validity across a wide variety of participants in innovation projects. This thesis relies on individual data from 450 Inter-organisational Innovation Projects (IIPs) funded by the UK government. The data is analysed using both variable centred and person-centred types of analysis. Fitting the data into a series of latent regression, structural equation, and latent mixture models, the analyses provide comprehensive insight into the interactions between the multiple foci of commitment in their effect on creative work behaviour. Analysis of the data showed employees to distinguish between the seven foci of commitment in the IIP context. The results showed the effects of commitment to differ in strength between the types as well as the phases of CWB. Direct effects were strongest for commitment to the project on routine behaviour, commitment to the job on the generation of incremental creative ideas, and commitment to the profession on the evaluation of radical creative ideas. Commitment to the leader had a weak effect on employee behaviour, specifically for radical CWB. Commitment to the profession had an overall strong effect, except for information searching and encoding. Commitment to the project was found to be the key mediator in the effect between multiple foci of commitment on both routine and incremental CWB. For incremental CWB the mediation model was a poorer representation of the variance in the data; moreover the models must allow direct effects of commitment to the job on the generation of incremental creative ideas. For radical creative behaviour commitment to the job was found to be the best fitting mediator between commitment, representing the variance in the data equally as well as the full direct effects model. Latent Profile / Mixture Analysis enables additional insight into the combinations of foci of commitment (commitment profiles) and their relations to creative work behaviour, as well as underlying motivation and experienced creative support. This thesis is the first to propose and empirically examine the relations between commitment and creativity using a multiple foci approach. The concepts of commitment and creativity are embedded in two different fields of research and, therefore, have rarely been studied together. The results demonstrate multiple foci of commitment to be fundamental to employees in the context of inter-organisational innovation projects, interacting strongly in affecting employee behaviour. The specific context of inter-organisational innovation projects increasingly represents the emergent workplace setting in the current knowledge era. Understanding of the interplay between commitment to multiple targets in inter-organisation innovation projects provides a basis of the management of employee commitments, and, thereby managing employees’ creative behaviour. Creative work behaviours are a vital behavioural outcome in innovation projects, increasingly valued in all kinds of organisations.
37
Ozimek, Anna Maria. "Videogame work in Poland investigating creative labour in a post-socialist cultural industry." Thesis, University of Leeds, 2018. http://etheses.whiterose.ac.uk/22074/.
Full textAbstract:
The Polish videogame industry has come a long way from its origins on the grey markets in the Polish People’s Republic to its recognition as a national speciality. However, in this atmosphere of celebration, and in the promise of securing its bright future from the government, there is one element rarely present in these discussions – the industry’s workforce. While video games that are developed, localised and tested in Poland are played by people all over the world, the working lives of the people who contribute to these games’ development are under- explored. This research investigates Polish videogame practitioners’ interpretations and negotiations of the risk associated with working in the Eastern European videogame industry. An investigation of working in the Polish videogame industry is not only a matter of discussing working practices and the unstable nature of being employed in videogame production but also about discussing the changes in approaches to work and cultural production in the context of a post-socialist country. This research is inspired by autonomist Marxism and neo-Foucauldian theoretical frameworks widely used in studies about creative labour (Gill and Pratt, 2008; McRobbie, 2016; Gill, 2011a; 2002; Scharff, 2018; Dyer-Witheford and de Peuter, 2009). Videogame practitioners’ approach to the risk associated with working in videogame production is conceptualised through a discussion of the construction and negotiation of entrepreneurial subjectivities. However, in this research, I acknowledge the limitations of these theoretical frameworks by addressing their deterministic stances in discussing creative workers’ subjectivities (e.g. Scharff, 2018). This study overcomes this limitation by drawing on alternative approaches in discussing workers’ subjective experiences of work (Hesmondhalgh and Baker, 2011; Banks et al. 2013; Taylor and Littleton, 2012).
38
Taylor, Madeline. "Technical skill, emotional intelligence, and creative labour: The collaborative work of costume realisation." Thesis, University of Melbourne, 2021. https://minerva-access.unimelb.edu.au/handle/11343/295015.
Full textAbstract:
Over the last few decades, the creative practice of costume designers, primarily responsible for conceptualising the costume design, has increasingly received welcome and deserved recognition. However, the creative practice of costume technicians responsible for planning, sourcing, and constructing the costumes are less recognised and valued. This position is predominantly due to historically determined prejudices around creativity and craft work, and the hierarchical structures of theatre-making. In response to this longstanding devaluing, this thesis asks, what does a close study of costume technicians’ work reveal about the costume workshop's creative practices and social dynamics?The thesis hypothesises that costume technicians’ work in design realisation has three main domains: technical, emotional, and creative. In this thesis, I argue the importance and contribution of technicians’ emotional intelligence and creative labour, alongside their technical skills, in their collaboration with designers. I evidence this through exploring these two domains’ deployment in the collaborative mechanisms of costume design development.
Linguistic ethnography is used to investigate this topic. As a methodology, linguistic ethnography marries ethnographic fieldwork with linguistic analysis, which I supplement with interviews with industry practitioners and extensive design theory. Comprehensive ethnographic studies of three sizeable Australian theatre costume workshops enable a detailed examination of costume design realisation and the collaborative partnership of costume technicians and designers. This generative methodology is novel to the costume field and establishing its value for costume research is one of the new knowledge contributions this thesis makes.
This thesis contributes to costume practice and research through its explication of costume realisation’s collaborative processes. Three key findings emerged from the study. Firstly, the importance of the costume community of practice in learning the values, behaviours and boundaries of creative decision making, secondly the creative contributions costume technicians make to the design development during the costume realisation process due to their interpretive role, and thirdly how the strict hierarchies of costume labour are negotiated by the people working within them. It further identifies several collaborative mechanisms consistently used in costume realisation to simultaneously align collaborator’s various interpretations of the intended design and the trust between them. Overall, this thesis enables an expanded understanding of the design realisation process, and the emotional intelligence and creative judgement required by costume work.
39
Ng, Guan Khai. "Blending nonwork with work: Creative self-efficacy as a consequence of life satisfaction." Thesis, Ng, Guan Khai (2019) Blending nonwork with work: Creative self-efficacy as a consequence of life satisfaction. Masters by Coursework thesis, Murdoch University, 2019. https://researchrepository.murdoch.edu.au/id/eprint/60642/.
Full textAbstract:
Organisations highly rely on innovation and individual creativity to strive within a competitive environment. Creative self-efficacy plays an important role in one’s creative performance in the workplace and thus, recent research has examined the conditions under which creative self-efficacy can be facilitated. To date however, most studies investigate antecedent variables within the educational and organisational context. This paper seeks to answer the following question: can nonwork influences (i.e. life satisfaction) enhance one’s creative self-efficacy within the workplace? This study focused on examining the relationships between employees’ life satisfaction and creative self-efficacy, through mediation of nonwork-to-work spillover. Participants in this sample (n = 232) are employees from a various range of occupations and industries. Using a cross-sectional design and structural equation modeling; results show that nonwork-to-work spillover partially mediated the effects of life satisfaction on creative self-efficacy. Life satisfaction showed a significant direct positive relationship with positive nonwork-to-work spillover and creative self-efficacy. Also, positive nonwork-to-work spillover significantly predicted creative self-efficacy. Practical implications, as well as future directions for research are discussed.
40
Nielsen, Ellen Jennifer Louise. "Employability strategies used by creative industries graduates." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/132564/4/__qut.edu.au_Documents_StaffHome_staffgroupW%24_wu75_Documents_ePrints_Ellen_Nielsen_Thesis%5B1%5D.pdf.
Full textAbstract:
This thesis adopted a mixed methods approach to examine the early career experiences of Creative Industries graduates in Australia. Through interviews and survey data analysis, the research provides new and significant insights into (1) the personal and structural factors that shape creative graduates' early careers; (2) how creative graduates evaluate, select, and use employability strategies during their early careers; and (3) the relationship between employability strategies and graduate employment outcomes.
41
Bharadwaj, Aditya. "Mixed-Initiative Methods for Following Design Guidelines in Creative Tasks." Diss., Virginia Tech, 2020. http://hdl.handle.net/10919/99857.
Full textAbstract:
Practitioners in creative domains such as web design, data visualization, and software development face many challenges while trying to create novel solutions that satisfy the guidelines around practical constraints and quality considerations. My dissertation work addresses two of these challenges. First, guidelines may conflict with each other, creating a need for slow and time-consuming expert intervention. Second, guidelines may be hard to check programmatically, requiring experts to manually use multipage style guides that suffer from drawbacks related to searchability, navigation, conflict, and obsolescence. In my dissertation, I focus on exploring mixed-initiative methods as a solution to these challenges in two complex tasks: biological network visualization where guidelines may conflict, and web design where task requirements are hard to check programmatically.
For biological network visualization, I explore the use of crowdsourcing to scale up time-consuming manual layout tasks. To support the network-based collaboration required for crowdsourcing, I first implemented a system called GraphSpace. It fosters online collaboration by allowing users to store, organize, explore, lay out, and share networks on a web platform. I then used GraphSpace as the infrastructure to support a novel mixed-initiative crowd-algorithm approach for creating high-quality, biological meaningful network visualizations. I also designed and implemented Flud, a system that gamifies the graph visualization task and uses flow theory concepts to make algorithmically generated suggestions more readily accessible to non-expert crowds. Then, I proposed DeepLayout, a novel learning-based approach as an alternative to the non-machine learning-based method used in Flud. It has the ability to learn how to balance complex conflicting guidelines from a layout process. Finally, in the domain of web design, I present a real-world iterative deployment of a system called Critter. Critter augments traditional quality assurance techniques used in structured domains, such as checklists and expert feedback, using mixed-initiative interactions. I hope this dissertation can serve to accelerate research on leveraging the complementary strengths of humans and computers in the context of creative processes that are generally considered out of bounds for automated methods.Doctor of Philosophy
Practitioners in creative domains such as web design, data visualization, and software development face many challenges while trying to create novel solutions that satisfy the guidelines around practical constraints and quality considerations. My dissertation work addresses two of these challenges. First, sometimes the guidelines may conflict with each other under a certain scenario. In this situation, tasks require expert opinion to prioritize one guideline over the other. This dependence on expertise makes the design process slow and time-consuming. Second, sometimes it is difficult to determine which guidelines have been fulfilled. In this scenario, experts have to manually go through a list of guidelines and make sure applicable guidelines have been successfully applied to the final product. However, using a list of guidelines has its own drawbacks. Not all guidelines are applicable to a project, and finding a relevant guideline can be strenuous for experts. Moreover, a design process is not as simple as following a list of guidelines. Design processes are dynamic, non-linear, and iterative. Due to these reasons, a simple list of guidelines does not align with the designers' workflow. My dissertation focuses on exploring mixed-initiative methods where computers and humans collaborate in a tight feedback loop to help follow guidelines. To this end, I present solutions for two complex creative tasks: biological network visualization where we can compute how well a design adheres to the guidelines but guidelines may conflict and web design where task requirements are hard to check programmatically. I hope this dissertation can serve to accelerate research on leveraging the complementary strengths of humans and computers in the context of creative processes that are generally considered out of bounds for automated methods.
42
Meintjes, Johanna. "Optimizing the learning environment for creative work by student teachers in technology / Johanna Meintjes." Thesis, North-West University, 2007. http://hdl.handle.net/10394/2496.
Full text
43
Björklund, Lars. "The Repertory Grid Technique:Making Tacit Knowledge Explicit : Assessing Creative Work and Problem Solving Skillls." Linköpings universitet, Lärande, Estetik, Naturvetenskap (LEN), 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-69231.
Full textAbstract:
This third volume in the International Technology Education Series provides insights into developments in technology education research in terms of methods and techniques. The importance of the book is that it highlights the uniqueness of the area of technology education in terms of content, and learning and teaching processes, and the need to provide methods and techniques to capture this uniqueness when undertaking research. The book comprises research methods and techniques being used by a range of current researchers. Each chapter includes details of the method or technique, but does so in terms of a project where it was used. This provides important contextual material that will help researchers when developing research projects. The book contains research methods and techniques that are new in general as well as ones new to technology education and ones that are variations to existing methods and techniques to make them suitable for use in technology education research. This book should be of interest to research students, teacher educators, researchers and policy-makers who are involved in technology education.
44
Lesage, Frederik. "Networks for art work : an analysis of artistic creative engagements with new media standards." Thesis, London School of Economics and Political Science (University of London), 2009. http://etheses.lse.ac.uk/75/.
Full textAbstract:
The principle objective of this study is to examine the culture of networks that are implicated in the production of culture, specifically as it pertains to artists' design and use of digitally networked information and communication technologies (ICTs) for the production of artworks. The analysis in this study seeks to reveal a better understanding of the working practices that underpin artists' creative engagements with new media while recognising the significance of discursive continuities that inform such engagements. Theoretically, a case is presented for combining several theoretical perspectives into a multilayered conceptual framework for examining the circulation of power as it relates both to artistic creativity and to technological innovation. The former is accomplished through a critical assessment of the production of culture theoretical tradition. In calling upon concepts of discursive conduct as a means of developing relations of power, the concept of maverickness is proposed to understand how certain artists do not necessarily bring about change in an art world but instead dedicate themselves to the production of artistic creativity through a contention among various conventions. The latter is problematised drawing upon theories of mediation to develop a model of the conversion and classification of new media standards into art world conventions. A novel methodological approach is developed based on the development of multiple biographical threads of an individual and of a technology within a single case study of an art world network. Empirically, the thesis contributes insights into the diverse end contingent collective work practices involved in the design and use of ICTs by artists for the production of artworks. The findings suggest that individual artists are able to develop designer roles consistent with their situated understandings of creative conduct for modifying aspects of the ICT infrastructure despite shifting technological and social new media standards. However, in order to coordinate such roles within wider collective social structures, artists also initiate forms of mediation, articulation, and classification work that extend beyond the production of artworks and into attempts at programming art world networks within which such artworks were produced and distributed.
45
Clark, Julia Rosa. "Classroom facilities : a body of creative work exploring representations of knowledge through schematic means." Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/8006.
Full textAbstract:
Bibliography: leaves 78-83.I had just turned thirteen and it was the summer before high school started. My mother and I went over to the Roberts' house. Ruby had just matriculated from the same school and was handing down her faded old checked uniforms. To my amazement, there in the lounge bathed in afternoon January sunlight, was her father Billy, kneeling, deeply absorbed in a large strange chart that had been laid out on the floor. It was a school timetable and it was his task, as vice principle, to organise the day-to-day workings of the year ahead. The timetable was scattered with various coloured shapes that he shuffled back and forth across the gridded surface, trying to make a coherent system. This anecdote is important to my body of work for three reasons. The first is that Mr. Roberts' challenging activity that day is not unlike the process of sorting and reordering that is central to my work. The appearance of the chart is mimicked in the schemata-like quality of many of my pieces, as is its conceptual framework - an urge to order a set of already existing pieces into a new, meaningful and functional relationship. Ruby's uniforms are also important. I cherished these second-hand dresses precisely because of the qualities they acquired through having been worn already. These dresses were softer to touch, had a better fit and more beauty in colour --soft pink checks as opposed to harsh maroon-- than other girls' crisp new sacks.
46
Enaholo, Patrick Emakhu Enaholo. "Cultural context of creative labour : an empirical study of new media work in Nigeria." Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/12129/.
Full textAbstract:
My study had two aims: first, to find out the extent to which claims about new media work that result from research in the West apply in the Nigerian context; and second, to investigate how new media workers in Nigeria negotiate the specificities of their cultural context. Its purpose was therefore to examine the experiences of new media workers in Nigeria, how these diverge from claims made around such work in Western-based literature and what these experiences suggest about new media and creative labour in Nigeria. To fulfill these aims, I conducted field research in Lagos, Nigeria through two focus group sessions with eight managers and owners of new media companies, interviews with thirty-five new media workers, and participant observation at a Lagos-based new media company. The study came up with two main findings. First, that the specific features of new media work in Nigeria are manifestations of broader themes which define the cultural context or ̳way of life‘ of people in Nigeria. Therefore, adverse conditions like software piracy, infrastructural breakdown and ethnic differentiation in new media work can be understood as manifestations of broader features of the Nigerian cultural context, namely, precariousness, entrepreneurialism and social networking. Second, that new media workers‘ negotiation of these conditions produce outcomes that have positive, instrumental and emancipatory dimensions. Specifically, I showed how software piracy contributes to the sustenance of a moral economy, how the negotiation of infrastructural breakdown manifests an entrepreneurialism of improvisation and how the mobilization of ethnicity leads to the formation of associative ties. Overall, my study foregrounds the relevance of cultural context in discourses about new media and, more generally, creative work in the cultural industries and, in so doing, offers a different perspective to analyses about such work in developing contexts of the Global South.
47
Smith, Darion. "Boosting My Creative Process in Choreography: Analyzing Related Work, Integrating Methods of Select Master Choreographers, Creating a Dance." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23800.
Full textAbstract:
During a ten week period at the University of Oregon I created a sociopolitically based dance work, The Big Red Button. I researched theories about creativity. I researched a selection of master choreographers in order to integrate their methods of creation with my own. Finally, I created a dance piece with students from the University of Oregon which was shared with the public in a live performance. In this document I discuss this exploration into my creative process in dance with the intention of understanding more about it, expending upon what I already posses as a choreographer, and attempting to find out if the creative process can be enriched, resulting in new methods, new products, and new perspectives on creating a dance work.
48
Sangiorgio, Andrea. "Collaborative creativity in music education : children's interactions in group creative music making." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/20648.
Full textAbstract:
This study intended to develop a theoretical framework for understanding children's collaborative creativity in music. The focus was on creative interactions and on how early primary children interact when they engage in creative group music making. Related questions were on: 1) the different communicative media employed, 2) the component aspects of group work influencing children's creative endeavours, 3) the meanings that children attribute to their creative experience, and 4) the educational and ethical values of creative interactions. The study was carried out in a private music school in Rome, Italy. A group of eight 5-7-year-old children participated over eight months in 30 weekly sessions of group creative activities in music and movement. I was the teacher researcher and worked with a co-teacher. This exploratory, interpretive inquiry was framed by sociocultural perspectives on learning and creativity. A qualitative research methodology was adopted, which combined methodological elements derived from case study research, ethnographic approaches, and practitioner research. Data collection methods included participant observation, video-recording of sessions, documentation, and strategies for eliciting children's meanings. Thematic analysis, both theory-driven and data-driven, was conducted in order to identify relevant issues. The findings of the study suggest that in creative collaborative work in music bodily interactions and musical interactions have a stronger significance than verbal interactions. A conceptual distinction was made between 'cooperative' vs 'collaborative' which helped to characterise the different degrees of interactivity in the group's creative work. The study identified a range of component aspects which influenced the quality and productivity of children's collaborative interactions. These included: children's characteristics, context and setting, pedagogical approach, task design, collaboratively emergent processes, underlying tensions in creative learning, reflection on and evaluation of creative work, and time. Children actively gave meaning to their group creative music making mostly in terms of imagery and narrative, though they were gradually shifting towards more purely musical conceptualisations. Creating music in groups had the potential to enhance their sense of competence, ownership and belonging, and supported ethical values such as promoting the person, freedom, responsibility, a multiplicity of perspectives, and democracy. Three meta-themes run throughout the findings of the study, which are in line with sociocultural perspectives: i) a systems perspective as necessary to gain a more comprehensive view of collaborative creativity; ii) creativity as an inherently social phenomenon, and iii) creativity as processual and emergent. The implications for pedagogical practice highlight the importance of including creative collaborative activities in the music curriculum.
49
Gazan, Rich. "Creating hybrid knowledge a role for the professional integrationist /." Diss., Restricted to subscribing institutions, 2004. http://proquest.umi.com/pqdweb?did=765350831&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full text
50
Stroud, Zelda. "Making matters : the hand of the artist in contemporary South African sculpture / Creative work: Vanities." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/62658.
Full textAbstract:
This research stems from the view that although the twenty-first century has witnessed a return to the skilfully crafted art object, many of these artworks are not made by the artists, but produced instead by fabricators and assistants according to the specifications of the artists. Some of these artists lack the relevant skills to produce any material portion of their artworks and, in addition, may have no interest in developing those particular skills, instead relying solely on the craftsmanship of others. I contend, in this study, that many valuable benefits, inherent in an artist's personal engagement with the material, are lost to the artist and the artwork, as well as to the viewer of the artwork, when the artwork is outsourced and produced by others. My research, via questionnaires and an interpretative analysis of critical theory, argues that the act of personally making one's own work provides a number of psychological rewards to the artist, in addition to other advantages such as the development of a laboriously achieved signature style, enhanced creativity and the opportunity to exploit serendipity. Supplementary to this, four South African sculptors, who conceive of and make their own work, have provided their individual insights into the experience and value of personal art-making. My individual experience, as a sculptor of both personal and commissioned works, forms a significant aspect of the study due to my familiarity with the 'hands-on' experience of making, the need to outsource larger work, and in addition, deadlines which require the type of digital assistance which, arguably, creates a further loss of connection between the artist and the artwork. An examination of the perceived value of skills in general, and skilled art-making in particular, contributes to my research's call for a return to the employment of both the artist's head and hand in the creation of art in general, and sculpture in particular. This research contributes to an existing body of knowledge that argues for a return to skill and a renewed appreciation of the value inherent in material contact with the artwork, in order to reduce the current tendency towards a disconnect between the artist and their work.Dissertation (MA)--University of Pretoria, 2017.
Visual Arts
MA
Unrestricted