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Nelson, Christopher Barnaby. "The Creative process : a phenomenological and psychometric investigation of artistic creativity /." Connect to thesis, 2005. http://eprints.unimelb.edu.au/archive/00001401.
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Puskas, Marcia L. "Creative play and child development." CSUSB ScholarWorks, 1985. https://scholarworks.lib.csusb.edu/etd-project/185.
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Chambers, Sara E. "Beyond Ability: Effects of Caffeine and Impulsivity on Academic and Creative Performance." W&M ScholarWorks, 2001. https://scholarworks.wm.edu/etd/1539626331.
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Vartanian, Oshin. "Cognitive Disinhibition and Creativity." Fogler Library, University of Maine, 2002. http://www.library.umaine.edu/theses/pdf/VartanianO2002.pdf.
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Liu, Ying. "The effects of implicit theories on motivation and performance in creative tasks." Click to view E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B37091220.
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Wan, Wing-nga Wendy, and 尹咏雅. "Effects of novel conceptual combination on creativity." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31223576.
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Wan, Wing-nga Wendy. "Effects of novel conceptual combination on creativity /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21924004.
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Doares, Lesli Michelle Wilcox. "Sex differences in creative achievement : a cognitive processing approach." Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/29824.
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Eastman, Jennifer A. "The effects of expected evaluation and reward on motivation and creativity in Turkish children." Waltham, Mass. : Brandeis University, 2009. http://dcoll.brandeis.edu/handle/10192/23322.
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Lewandoski, Clare D. "A demonstration of the animus in creative women /." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487585645575299.
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Geyser, Richard Conrad. "The relationship between personality type and creative preference." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/52009.
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Thesis (MA) -- Stellenbosch University, 2000.ENGLISH ABSTRACT: As the human race enters the new millennium it is challenged by factors such as continuos changed, demand for improved quality and increased competition of global proportions. This requires of organisations to be more responsive to change as well as that individuals will need to position themselves to meet the challenges of the knowledge era. These challenges demand creativity in order to meet the demands for value adding contributions to the organisation. The above mentioned situation gives rise to a number of questions: Firstly, how can the creative processes of an individual be assessed? Secondly, what role does personality play as an indicator of creativity? Lastly, can the knowledge concerning the relationship between creativity and personality be applied to enhance the expression of creativity in the working environment? This research is aimed at investigating the relationship between personality dimensions and creative thinking preferences. 305 managers from the 1st, 2nd and 3rd reporting levels of an organisation in the aviation maintenance and manufacturing industry took part in the study. Two instruments were used namely the Myers-Briggs Type Indicator Step II, to assess the personality dimensions and the Neethling Brain Instrument (NBI) to assess the subjects creative thinking preference. A Pearson Product Moment analysis was conducted to determine the correlation between the subscales of the MBTI Step II personality dimensions and the NBI. Next a Principal Component analysis was conducted to determine if any of the NBI thinking style preferences measure the same factor as the subscales of the MBTI Step II, as well as to reduce the number of variables used to determine if a significant relationship exists between the principle dimensions of the MBTI and thinking styles of the NBI. Finally, a regression analysis was performed to determine if the principle dimensions of the MBTI Step II are significantly related to the thinking style dimensions of the NBI. The results of the Pearson Product Moment correlation indicated that significant correlations exist between the sub-scales of the MBTI Step II and the NBI thinking preferences. However, the significance of these correlations range from weak to strong, posing a challenge with regard to determining which of these correlations have any practical value. The results of the Principle Component analysis indicated the existence of four distinct factors, which are common to both the MBTI Step II, and the NBI. However, it was of interest to note that two of the dimensions of the NBI each loaded on two of the factors leading to the conclusion that these two dimensions each measure two unique factors. The results of the Regression analysis provided evidence that the NBI measures two dimensions of the MBTI Step II. Firstly, a preference for thinking is measured by the L1, Upper Left quadrant scale of the NBI and a preference for feeling is measured by the R2, Right Lower quadrant scale of the NBI. Secondly, that a combination of the Judging/Perceiving and Sensing/Intuition preferences are related as follows. The R1, Right Upper quadrant preference scale measures a combination of Perceiving and Intuition. The L2, Left Lower quadrant scale appears to measure a combination of Judging and Sensing. An obvious question that arises is, which personality type is more creative? The process perspective on creativity would appear to indicate that certain personality types have a preference for contributing more effectively to specific parts of the creative process. Thus it can be concluded that no single personality type is more creative than the other is, but that creativity requires the use of all the functions of Personality Type. The key to creativity is the integration of all the Type functions both preferred and not preferred in a synergistic manner. This requires recognition that creativity will require the expenditure of significant amounts of psychic energy to apply non-preferred functions in the process of being creative.
AFRIKAANSE OPSOMMING: Organisasies wat die nuwe millenuim betree het, staar toenemende uitdagings in die gesig. Faktore soos konstante verandering, toenemende eise vir die verbetering van kwaliteit en die verhoging in kompetisie wereldwyd, stel aan organisasies hoer eise om vinniger te reageer op verandering. Dit verg ook van individue om hulself te posisioneer ten einde die uitdagings van die kennis-era aan te durf. Die uitdagings vereis kreatiwiteit om aan die eise van waarde-toevoeging in die organisasie by te dra. Die voorafgenoemde situasie laat 'n paar vrae ontstaan. Eerstens, hoe ‘n individu se kreatiewe prosesse geevalueer kan word, tweedens watter rol persoonlikheid speel as ‘n aanduider van kreatiwiteit en laastens of kennnis van die verband tussen kreatiwiteit en persoonlikheid prakties toegepas kan word om die uitdrukking van kreatiwiteit in die werksomgewing te verhoog. Hierdie navorsing is daarop gemik om die verband tussen persoonlikheidsdimensies en kreatiewe denk voorkeure te ondersoek. 305 bestuurders in die eerste, tweede en derde rapporteringsvlak van 'n lugvaart vervaardiging en onderhoud organisasie het aan die navorsing deelgeneem. Twee meetinstrumente is gebruik in die navorsing naamlik die Myers-Briggs Type Indicator Step II, om die persoonlikheidsdimensies te meet en die Neethling Brein Instrument (NBI) om die individue se kreatiewe denkvoorkeure te meet. Die Pearson Produk Moment ontleding is gebruik om die korrelasie tussen die persoonlikheidsdimensie sub-skale van die MBTI Step II en die NBI te bepaal. Daarna is 'n Hoofkomponent ontleding uitgevoer om te bepaai of enige van die NBI denk voorkeurstyle dieselfde faktor as die MBTI Step II subskale meet, asook om die aantal veranderlikes te verminder om sodoende te bepaai of daar ‘n betekenisvolle verband bestaan tussen die hoofdimensies van die MBTI Step II en die denkstyle van die NBI. Laastens is ‘n Regressie ontleding gebruik om te bepaai of die hoofdimensies van die MBTI Step II ‘n betekenisvolle verband toon met die denkstyl dimensies van die NBI. Die resultate van die Pearson Produk Moment ontleding het daarop gedui dat daar ‘n betekenisvolle korrelasie bestaan tussen die sub-skale van die MBTI Step II en die NBI denk voorkeure. Die betekenisvolheid van die korrelasies wissel egter van swak tot sterk korrelasies, wat ‘n uitdaging skep in terme van die bepaling van die korrelasies wat enige praktiese waarde inhou. Die resultate van die Hoofkomponent ontleding het die bestaan van vier kenmerkende faktore aangedui wat biede algemeen is in die MBTI Step II, en die NBI. Dit was egter interressant om te merk dat twee van die NBI se dimensies op twee verskillende faktore gelaai het. Die gevolgtrekking wat gemaak word is dat die twee dimensies elk twee afsonderlike faktore meet. Die resultate van die Regressie Ontleding het aangedui dat die NBI twee dimensies van die MBTI Step II meet. Eerstens, word ‘n voorkeur vir “Thinking” gemeet deur die L1, Linker Bokantste kwadrant op die NBI en 'n voorkeur vir “Feeling” word gemeet deur die R2, Regter Onderkantste kwadrant van die NBI. Tweedens, dat 'n kombinasie van “Judging/Perceiving” en "Sensing/Intuition” voorkeure die volgende verband toon. Die R1 Regter Bokantste kwardrant meet 'n voorkeur vir ‘n kombinasie van “Intuition” en “Perceiving”. Die L2 Linker Onderkantste kwadrant meet ‘n voorkeur vir 'n kombinasie van “Sensing" en “Judging”. ‘n Ooglopende vraag wat gevra word is die van watter persoonlikheidstipe meer kreatief is? Uit die prossess perspektief wat geneem is in die studie, wil dit voorkom dat sekere persoonlikheidstipes ‘n voorkeur het om meer effektief te kan bydra tot specifieke gedeeltes van die kreatiewe prosess. Die afleiding kan dus gevorm word dat geen enkele persoonlikeidstipe meer kreatief is as die ander nie, maar eerder dat die gebruik van al die funksies van persoonlikheidstipe nodig is om kreatiewiteit te ontsluit. Die sleutel tot kreatiewiteit is dus die sinergistiese integrasie van al die Tipe funksies, beide die waarvoor ‘n voorkeur bestaan en die waarvoor daar nie ‘n voorkeur is nie. Dit verg ook die besef dat kreatiwieteit die spandering van groot hoeveelhede psigiese energie benodig, om funksies waarvoor daar nie 'n voorkeur is nie, toe te pas om die kreatiewe process te volbring.
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Liu, Ying, and 劉穎. "The effects of implicit theories on motivation and performance in creative tasks." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37091220.
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Theberge, Janice E. "The effect of guided imagery exercises on the creative performance of fourth grade students." Online version, 1999. http://www.uwstout.edu/lib/thesis/1999/1999thebergej.pdf.
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Singer, Jessica Elizabeth. "Being and becoming : the creative balance of the artist teacher." Thesis, University of Aberdeen, 2018. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=235793.
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In this study, identity is conceptualised as a joint accomplishment between individuals and their interactions with norms, practices, cultural tools, relationships, and institutional and cultural contexts (Gee, 2000; Holland et al., 1998; and Wenger, 1998). From this stance, this research is within a situative approach which aims to understand motives and engagement of people as they participate in formal and informal learning contexts. This is accumulated from experiences (Dewey, 1934) which are processed and retained. From this state of being, the individual's identity is in the process of becoming; affected by personal circumstances and experiences gathered throughout the life course. In response to this, this research views identity not as a thing but as a process of being and becoming. (Beijaard, 2003). Through the process of living, individuals come into constant interaction with different contexts and cultures which inform their personalised identities. Individuals live in the world and, in so doing, create a 'meshwork' (Ingold, 2011) in which individuals do not exist in one location but move along paths acknowledging the role of other people and places in the formation of identity. Transitions throughout the individually lived life course (Elder, 1994) and the emotional experiences (Dutton and Heaphy, 2003) of these transitions aid in the identity formation of the artist teacher. The artist teacher is in a constant state of 'negotiating' between the identities of the artist and the artist teacher. The theoretical framework guiding this study merges Urie Bronfenbrenner's theory of ecological systems (1979)- the micro-, meso-, and macro- levels of human development with Barbara Rogoff's three planes of analysis (1995) - the personal, interpersonal and community levels of development. Data were built with the participation of six artist teachers living and working in North East Scotland, Aberdeen. Findings revealed fascinating ways in which the six artist teachers negotiated their artist and artist teacher identities in/through: art practice and pedagogy, collaborations with others in processes of dialogue and joint activity, and both solo and collaborative participation across persons in-contexts (Nolen et al., 2015).This study contributes to knowledge in exploring both psychological and sociological emotional experiences of the artist teacher to provide a more comprehensive and thorough examination of identity formation from a situative perspective.
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Tateishi, Isaku. "Impact of Group Collaboration on the Improvement of Individual Creative Thinking Ability." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/3059.
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Creativity plays a crucial role in innovation, and innovation is essential for any organization's continuous success and survival. Past creativity research focused on the studies of individual creativity (West, 2009); however, in recent years there has been an increased emphasis on understanding how a group of people work together to produce creative ideas and products (Paulus & Nijstad, 2003). This collaborative creativity process is often referred to as group creativity. Despite the increased interest in group creativity, there is still a lack of empirical studies (Taggar, 2002). This study explored the impact of group collaboration on the improvement of individual creative thinking ability. During the 2009–2010 school year, approximately 120 undergraduate technology and engineering students participated in the Innovation Boot Camp (IBC), a creativity training program. The participants were teamed up with people from different majors and asked to work together to design an innovative solution to a problem. Their individual creativity was also measured before and after the IBC using the Torrance Test of Creative Thinking (TTCT). Interestingly, a significant TTCT score improvement was found only in a few groups, but not in all groups. This study qualitatively analyzed video-recorded team interactions of three groups that significantly increased their creativity scores (improved groups) and three groups who did not (non-improved groups). The findings of this analysis revealed six major differences between the improved and non-improved groups. These differences were (1) idea and information exchange, (2) critique, (3) idea improvement, (4) prototype design, (5) challenging solution, and (6) engagement level. Based on these differences, this report presents a theory that could explain how group collaboration can improve individual creative thinking ability. The implications of the study findings for future research were also discussed.
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Miller, Angela L. "Creativity and cognitive style : the relationship between field-dependence-independence, expected evaluation, and creative performance." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1347732.
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This study explored the effects of cognitive style and expected evaluation on creativity. Past research has shown that an expectation of evaluation can have a negative impact on creativity, and those individuals classified as field-independent rather than field-dependent are more likely to have higher creativity scores. An interaction between expected evaluation and cognitive style was hypothesized. Participants created a collage to measure creativity, either with or without an expectation of evaluation, and then cognitive style was measured. The hypothesis was partially supported. The more field-independent an individual, the higher the creativity score. Those in the evaluation condition scored higher in creativity than those in the non-evaluation condition, but this effect disappeared when controlling for time and previous art experience. The effect of expected evaluation is discussed in terms of the experimental situation and the conceptualization of motivation. Further investigations of cognitive style and motivational conditions are suggested.Department of Educational Psychology
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Czarniecki, Laura. "Teacher impact on student creativity." Online pdf file accessible through the World Wide Web, 2009. http://archives.evergreen.edu/masterstheses/Accession89-10MIT/Czarniecki_LMITthesis2009.pdf.
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Wright, David, University of Western Sydney, Faculty of Social Inquiry, and School of Social Ecology. "Creativity and embodied learning." THESIS_FSI_SEL_Wright_D.xml, 1998. http://handle.uws.edu.au:8081/1959.7/534.
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This thesis looks at the way in which drama education constructs opportunities for learning. Constructivism and self-organising systems theory are used to further understand how individuals and societies construct their own learning. Important in this process is the self-conscious experience of the learner. The notion of being ‘in learning’ rather than outside of and observing the learning is central. This consciousness facilitates the creation of meaning, which plays a role in determining the manner in which further participation in learning occurs, hence further learning. This emphasises the process of learning over the product of learning. The function that language and emotion serve in this process also deserves consideration. This perspective upon process has a considerable impact upon the way in which learners make meaning and the way in which they approach learning. Questions surrounding a consciousness of participation bring the senses, the feelings, the emotions and other physical experience to the fore. They require that the learning of the body be experienced. Embodied learning is insufficiently acknowledged and theorised in drama education. Through bringing together constructivism, systems theory, drama education and contemporary performance theory this thesis argues for a greater recognition of the relationship between the body and learning.Doctor of Philosophy (PhD)
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Gascón, Luis Daniel. "Artists and crooks: A correlational examination of creativity and criminal thinking." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3298.
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This study explores some of the possible correlations between creativity and criminal thinking evident in the literature in an attempt to link the two forms of cognition. An understanding of the concept of Malevolent Creativity can serve the purpose of elucidating another component of the criminal personality.
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Aselage, Justin. "Incremental effects of reward on intrinsic interest and creativity the role of performance pressure /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.20 Mb., 52 p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:1430764.
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Trebes, Claudia. "A cross-cultural investigation in suggestibility and creative imagination in young adults." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1245.
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Coelho, Talitha Priscila Cabral. "O desenvolvimento da criatividade em Piaget e Vigotski /." Assis, 2017. http://hdl.handle.net/11449/152481.
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Orientador: Mario Sérgio VasconcelosBanca: Leonardo Lemos de Souza
Banca: Alvaro Marcel Palomo Alves
Banca: Silvana Calvo Tuleski
Banca: Flávia Cristina Oliveira Murbach de Barros
Resumo: A presente pesquisa explora o tema da criatividade ao longo da trajetória intelectual de Piaget e Vigotski. Trata-se de um estudo teórico no qual foi utilizada a análise comparativa como procedimento metodológico. A evolução do problema da criatividade ao longo de suas obras e a síntese conceitual extraída das formulações permite a defesa de três argumentos fundamentais: a) a ocorrência de autocrítica que os levou a uma reformulação em suas teorias, com repercussão para o tema da criatividade; b) a concordância sobre a criação como um problema das idades psicológicas; e c) a discordância quanto ao papel da linguagem para a originalidade criativa. A reformulação teórica feita por Piaget se deu logo no início de sua carreira e consistiu no rebaixamento da importância da linguagem para a origem da atividade intelectual e criativa. Desde então, o acontecimento psicológico que explica a originalidade deixa de contar com a participação diretiva e decisiva de algo externo ao próprio mecanismo de adaptação da vida. Embora em seus últimos trabalhos reconheça as iniciativas engenhosas conquistadas pelo pensamento lógico-formal na idade da adolescência, Piaget entende que o processo funcional e biopsíquico de equilibração, alimentado pelas ações do sujeito, possui maior força explicativa para a compreensão da originalidade, que é a principal característica da criação. Já a autocrítica realizada por Vigotski o levou a explicar a criação, em seus últimos trabalhos, no interior da dinâmica... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This research explores the theme of creativity along the intellectual trajectory of Piaget and Vygotsky. It is a theoretical study in which the comparative analysis was used as a methodological procedure. The evolution of the problem of creativity throughout his works and the conceptual synthesis extracted from the formulations allows the defense of three fundamental arguments: a) the occurrence of self-criticism that led to a reformulation in his theories, with repercussion for the theme of creativity; b) concordance on creation as a problem of psychological ages and c) discordance on the role of language for creative originality. The theoretical reformulation made by Piaget occurred early in his career and consisted in lowering the importance of language to the origin of intellectual and creative activity. Since then, the psychological event that explains the originality no longer counts on the directive and decisive participation of something external to the own mechanism of adaptation of life. Although in his later works he acknowledges the ingenious initiatives achieved by formal-logical thinking in his teenage years, Piaget understands that the functional and biopsychic process of equilibration, fueled by the actions of the subject, has greater explanatory power for the understanding of originality, which is the main characteristic of creation. Vygotsky's self-criticism led him to explain the creation in his last works within the psychological dynamics of the ages, defe... (Complete abstract click electronic access below)
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Brissette, Pascal. "La malédiction littéraire : constitution et transformation d'un mythe." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84481.
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Long before the publishing of Verlaine's Poetes maudits , it has been written and thought, in various circles and contexts, that writers of genius were doomed to an unhappy life. Nevertheless, it was only about 1760--1770 that the conditions allowing for the emergence of a myth of the unhappy writer were gathered. This myth affirms the christlike vocation of the author and associates greatness to unhappiness. This thesis seeks to understand this mythical phenomenon within a historical perspective. The first part recounts the three principal families of topoi associated, before 1770, to authorial unhappiness. These three series are those of melancholy, poverty and persecution. In the chapters concerning these topoi, the objective is to bring to light their specificity and also the representations and the exempla that they call to mind. Moreover, the goal is to identify the connections that are at work, in discourses, between melancholy and genius on the one hand, poverty and truth on the other hand, and finally persecution and merit. Even if one can't already consider that these various discursive connections are sufficient to build a mysticism of the unhappy man of letters, they still can be studied, in their context, for what they are: a pool of topoi where the writers would soon draw some discursive materials, and from which this myth will get its historical acceptability, its obviousness. The second part of the thesis is devoted to the study of this obviousness. After Rousseau, some believe that unhappiness is inseparable from genius, and that literary vocation is a curse spelled on the poet. From then on, the object of study is not anymore to follow each topos as if it was a separate thread, but instead, to see how all this acquires the value of commonplace (lieu commun ) between 1770 and 1840, in addition to imposing itself as an horizon of meaning. The last chapter and the epilogue show that the myth lives on, during the second half
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Murphy, Donald. "An investigation of relationships between television viewing and the artificial fulfillment of creative, right brain properties." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1992. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.S.)--Kutztown University of Pennsylvania, 1992.Source: Masters Abstracts International, Volume: 45-06, page: 2717. Abstract precedes thesis as 2 preliminary leaves. Typescript. Includes bibliographical references (leaves 53-54).
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Murase, Toshio. "The effects of participative safety and support for innovation on group creativity." CSUSB ScholarWorks, 2006. https://scholarworks.lib.csusb.edu/etd-project/3051.
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This study examined the effects of Participative Safety (PS) and Support for Innovation (SI) on team creativity. It has been proposed that PS helps develop teamwork processes where members feel comfortable expressing and exchanging their ideas freely and SI makes a team perceive that creativity is valued. The study hypothesized that groups trained on PS score higher on creativity, feel less anxiety, have more cohesiveness, and have higher satisfaction than groups without PS training. The study also hypothesized that groups in the SI condition score higher on originality than groups in the non-SI condition. These climate conditions were created by providing a 15-minute PS training and a chance for participants to win monetary rewards. Student participants (N=123) were formed into 41 groups to write a proposal to a given problem. The proposals were analyzed by 5 graduate students. Correlational analyses revealed significant relationships between participative safety, cohesiveness, and satisfaction. However, results indicated the manipulations were ineffective and did not support all the hypotheses.
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Garbutt, Ian. "Asperger's syndrome and fiction : autistic worlds and those who build them." Thesis, University of Stirling, 2017. http://hdl.handle.net/1893/26133.
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Do tangible, testable links exist between the autistic spectrum and creativity? How would such links work from the perspective of an author with Asperger's Syndrome? To what degree would autism mould the author's work, and how would it affect writing technique and style compared to neurotypical (non autistic spectrum authors)? Do these links provide a tangible advantage? Can an Asperger's author successfully engage a non-Asperger's readership? Has Asperger's become fashionable in fiction and if so what are the benefits/consequences? Can an “extraterrestrial stranded without an orientation manual”1 communicate ideas in a meaningful way to non-autistics? Asperger's Syndrome is a form of high functioning autism where those affected express a range of social, behavioural and perceptual traits which have no actual bearing on their level of intelligence. As an author with Asperger's my intention is to examine the degree to which my autism affects my writing technique and style compared to neurotypical (non autistic) creatives. Asperger's sufferers lack empathy and social skills, therefore creating situations a reader can empathise with is challenging. To an Asperger's other people are 'aliens'. If the characters and scenarios in my work are coloured by my difference, then it may be the difference itself which provides the hook for the reader. To what extent do Asperger's authors need to 'pretend to be normal' in order to engage a neurotypical reader, or to make their work generally marketable? Is there an argument that they shouldn't even try? With increasing diagnosis and better understanding of the autistic spectrum, the Asperger's limited but intense range of interests and ability to focus without human distraction might link in to creative excellence that has an appeal far beyond the boundaries of the autistic spectrum. The purpose of this thesis is to investigate whether claims of autistic links to creativity are more than heresay. I examine alleged positive evidence for these links, and see how this evidence ties in with my experience both as an Asperger's and an author, with particular regard to my decisions in crafting my novel The Ghost Land.
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Hector, Juliann. "Hooking the big idea: Working titles in creative problem solving by young Latino adolescents." CSUSB ScholarWorks, 1999. https://scholarworks.lib.csusb.edu/etd-project/1522.
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Problem representation/problem finding skills are frequently the catalyst facilitating adroit knowledge base access and subsequent positive creative outcomes in adult populations. To determine whether judged creativity is similarly enhanced through young adolescents' use of a working title representation strategy within a curriculum knowledge base, 40 Latino partyicipants at two Southern California middle schools received brief written interactive directions for one of two different types of problem representation or a third, non-representational control group.
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Holt, Nicola J. "Creativity, altered states of consciousness and anomalous cognition : the role of epistemological flexibility in the creative process." Thesis, University of Northampton, 2007. http://nectar.northampton.ac.uk/2847/.
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In this PhD research a question is posed that concerns ‘varieties of creativity’ that have infrequently been explored empirically, although often described anecdotally. This question being: is, and if so, how, is creativity related to altered states of consciousness (ASCs) and parapsychological experiences? This thesis systematically explores the relationship between multiple dimensions of creativity and: personality traits characterised by an openness to intrapersonal experience and a fluid cognitive-style; specific altered states of consciousness and anomalous experiences (such as mystical experiences and subjective paranormal experiences); and anomalous cognition. The common thread is conceived as an examination of the extent to which creativity might involve ‘epistemological flexibility’ — that is, involves shifts into, and between, different ‘ways of knowing’. As such, a major part of this thesis was the psychometric development of a new self-report instrument, the Creative Cognition Inventory, which measures the reported use of different epistemological resources (such as intuition, dreams and rational logic) in the creative process. Creativity is defined in terms of a process, participated in at the person-level, which leads to a novel and adaptive product or performance. Drawing upon models of the creative process and person, it is suggested that a biphasic process is common to most theories of creativity, and that individuals with particular traits have been hypothesised to engage in this with more facility. Models that have explored cognitive, affective and perceptual ‘looseness’ as facilitating novelty are examined. As altered states of consciousness involve subjective shifts in these same dimensions, it is proposed that creativity and ASCs may be experientially related, either directly, or in terms of an overarching trait, such as ‘boundary-thinness’ or ‘transliminality’, which propitiates both. A multi-dimensional approach was taken to creativity measurement, accepting its complexity as a componential construct that might consist of multiple creativities. In Study One, the benefits of a multidimensional approach to creativity measurement were evident, refuting earlier work that had used only cognitive estimates of creativity and found no relationship with either boundary-thinness or transliminality. These constructs are experiential-traits that assess ones degree of intrapersonal openness, cognitive fluidity and sensitivity, and are associated with a proclivity to have unusual experiences. In Study One, they were found to be significantly correlated with both domain general measures of creativity (creative personality) and domain specific measures (emotional creativity and involvement in the arts). The sample for Study One consisted of 65 psychology undergraduates (49 females; 16 males). A second study assessed the degree to which different dimensions of creativity were related to different experiences of consciousness. 211 participants were recruited from the general population through opportunity sampling (108 females; 101 males). The sample included professional artists (n = 36) and scientists (n = 27). Competing models of a relationship between creativity and ASC-proclivity were assessed: cognitive expansion; affective openness; and motivational impetus. This study provided numerous insights into the experiences of consciousness that might be related to varieties of creativity. The key findings were that emotional creativity was most robustly associated with ASCs; artistic creative-personality was associated with ‘positive’ ASCs, including those along an oneiric continuum (e.g. hypnagogia and hallucinations), and those along an affective expansion continuum (e.g. dissociation and positive mystical experiences). Further, original and flexible cognition appeared to be associated with states along an oneiric continuum. Thus, Study Two found support for the affective and cognitive models, yet within different ranges of experience. This ‘model’ helps to clarify, by using heterogeneous, rather than homogenous constructs of ‘unusual experiences’, specific processes by which ASCs and creativity may be related and as such deserves further exploration. The final piece of research developed a novel protocol for recording impressions thought by participants to involve extrasensory perception (ESP) and associated states of consciousness in daily life, using experience- sampling methodology. As success in ESP experiments has consistently been reported amongst visual artists, the above models were used to explore what aspects of the creativity complex might be associated with ESP-performance. As only emotional creativity related to the reporting of parapsychological experiences in Study Two, the affective openness model was expected to predict ESP-performance. Further, a carefully matched control group (n = 15) was used against which to compare success of artists (n = 15). Artists did not demonstrate a superior ESP effect in this study, although they did perform at a level commensurate with previous research. The affective openness hypothesis for ESP performance was rejected. Rather, it was questioned whether previous studies had not adequately matched controls or that the ‘take-home’ methodology, perhaps increasing relaxation and control for the participants, increased performance levels for the non-artists
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Puryear, Jeb S. "The Role of Chosen Creativity Measurements in Observed Relationships to Personality." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849658/.
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Creativity is a complex construct that is conceptualized and measured in multiple ways. This study examined the relationship between creativity and personality taking this into account. It was hypothesized that applying different conceptions and measures would cause variation in the creativity-personality relationship. The participants (N = 224) were undergraduate students completed six creativity measures, a personality inventory, and a demographic questionnaire. Personality predicted more creative production (R2 = .277) than creative potential (R2 = .176) and more self-reported creativity (R2 = .348) than that which was externally-rated (R2 = .149). Personality predicted creativity beyond demographic and intellect variables, but the effects varied based on the creativity measure. Openness was most consistently and strongly related to creativity. Other personality factors demonstrated suppression effects in multiple models. Overall, the results suggest that despite relatively small effects of personality on creativity, it can help strengthen prediction in creativity models. Implications for educational settings and future research are discussed.
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Wright, David George. "Creativity and embodied learning : a reflection upon and a synthesis of the learning that arises in creative expression, with particular reference to writing and drama, through the perspective of the participant and self organising systems theory /." View thesis, 1998. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030807.134153/index.html.
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Benningfield, Savannah. "The Effects of Gender and Implicit Theories on Science Achievement and Interest in Elementary-Aged Students." TopSCHOLAR®, 2013. http://digitalcommons.wku.edu/theses/1254.
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The current study set out to determine the relationship between student gradelevel, implicit views of science ability, science achievement and science interest.Differences by grade level were also explored. The study also considered the differences in male and female implicit theories of science ability, science interest, and science achievement. Participants in the current study consisted of a total of 1910 students from six elementary schools from one south-central Kentucky district that participate in Project GEMS (Gifted Education in Math and Science). Data were analyzed by means of analysis of variance and Pearson correlations. Younger students evidenced lower scores on the implicit theories measure. No gender differences were observed in implicit theories of science ability or science interest. Females did evidence lower achievement in science than males. Implicit theories of science ability were significantly and positively correlated with science achievement. Conversely, no such relationship existed between implicit theories of science ability and interest. Limitations of the current study are discussed and possible future directions are offered. Findings from the current study underscore the importance of considering domain-specific views of ability when addressing poor science performance and when considering gender gaps in science achievement.
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Dowd, Ron. "An inquiry into an imaginal landscape." Thesis, View thesis View thesis, 2001. http://handle.uws.edu.au:8081/1959.7/25791.
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This thesis describes an inquiry taken into the nature and genesis of landscapes experienced imaginally. The inquiry proceeds by introspection, by art making, and by exploring related writings. The terms pre-conceptual and pre-imaginal are used to refer to an unknowable dimension from which the conceptual and the imaginal rise, and attempts are made to confirm the conceptual and the imaginal as expressions and effects of this dimension. The possibilities of a continual interplay between the imaginal and the pre-imaginal in the inner life of writers and artists are explored.
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No, Yeon Ji. "Inventor motives, collaboration and creativity." Diss., Georgia Institute of Technology, 2013. http://hdl.handle.net/1853/50340.
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This study examines the relationship between an inventor’s motives and creativity, invention commercialization, and collaboration pattern. Special emphasis is placed on the educational background of inventors when examining the effect of inventor motive on invention commercialization. The data are based in a unique survey of patent inventors in the United States, and archival data. The GT/RIETI 2007 Inventor Survey includes information on commercialization for patented inventions and measures of inventor motives. Archival data based on Lai et al. (2011) was the basis for the collection of creativity measures based on U.S. patent technology subclasses.
The results indicate that inventors’ motives differentiate the outcome of innovative activities. We found a firm motive has a positive effect on creating new combinations, commercialization of patents, and collaboration with coworkers. The results also suggest that the recognition motive negatively affects the creation of new combinations, and that there is no effect on the commercialization of the patent. As for collaboration pattern, the results show that individual differences in motives are associated with different patterns in collaboration. For example, task-oriented inventors are less likely to collaborate with others outside of the firm entity, whereas inventors with recognition motives are more likely to have a larger collaborative network with other professionals in the same field.
This paper suggests that policy-makers should consider individual heterogeneity in innovative performance, knowledge creation, and patterns of collaboration. Based on the findings, future research and policy implications are discussed.
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Botha, S. (Sonja). "'n Ondersoek na die rol van strukturele groepfaktore en groepprosesse met betrekking tot bestuurspaninnoverendheid." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52962.
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Thesis (MA)--University of Stellenbosch, 2002.ENGLISH ABSTRACT: Innovation and creativity are established research areas but both are relatively new research areas within the field of organisational psychology. Early research on innovation and creativity were primarily the focus area of academics in related social sciences disciplines. Research on innovation and creativity was integrated with the orientations and perspectives of organisational psychologists over a period of time. In other words the development and identification of innovation as a success factor of the work environment is something that took place over decades. Changes in the competitive environment over the last few decades contributed to the increasing interest in the concept of innovation. Today managers recognise innovation as a necessity that needs to be managed and developed. Three levels of analyses (the individual, group and organisation) can be identified in the innovation literature. Until recently researchers focused primarily on the individual and the organisation as units of analysis. As a results of this, research that focuses on the individual and the organisation are quite comprehensive compared to studies that focus on the group as a unit of analysis. The utilisation of teams have increased in organisations, but our knowledge of the factors and dimensions that determine group innovation are still restricted. The complex nature of group innovation could perhaps be a contributing factor in terms of the amount of research studies that have been done on group innovation. It is especially in this regard that this study sets out to thoroughly investigate existing group innovation literature and to combine this with an investigation into the possible contributions of related social psychological research (for example group decision making, intragroup conflict and creative problem solving) to the innovation literature. Each one of the three units of analysis (individual, group and organisation) has a unique impact on group innovation, but not one of them explains exclusively the innovativeness of a team. An interdependent relationship exists between these factors. This stresses the complexity of the concept and as a result of this, researchers are encouraged to investigate the possible contributions of related social psychological themes to the innovation research and literature. In this regard this study focused extensively on a input, process and output model of group innovation by West and Anderson (1996) to determine to what extend some of the aspects of the model explained the innovativeness of a group. This is a comprehensive model and for the purposes of this study only certain aspects of the model were included in the research process. The size of the team and team tenure were the two input elements that were included in the study. The process elements of the model includes clarity and commitment to team objectives, participation, task orientation and support for innovation. In terms of the output aspects of the model the focus was on the following: how radical, effective, new and extensive the innovation is, as well as the number of innovations per team. The results of the study indicate that there are a relationship between the variables of West and Anderson's input, process and output model (1996) and the innovativeness of the team. The results of this study indicate that the model by West and Anderson is a valuable contribution to the research literature on group innovation behaviour. Although group innovation has not been researched extensively, it seems that group innovation is starting to make an impact on the organisational psychology domain and that it will be a central aspect of the research agenda of organisational psychologists in future. If we are able to establish a sound theoretical basis organisations will be able to understand and predict group innovation behaviour. It can be concluded that this study made a contribution to the research literature on group innovation behaviour in terms of an awareness of the impact and necessity of innovation in today's work environment, and also in extending the existing knowledge base of group innovation behaviour
AFRIKAANSE OPSOMMING: Alhoewel innovasie al VIr 'n geruime tyd as navorsingsdomein gevestig IS, het organisasiesielkundiges eers redelik onlangs aan innovasie en kreatiwiteit begin aandag skenk. Een van die redes waarom dit so lank geneem het voordat innovasie as 'n waardige wetenskaplike navorsingsonderwerp besef was, was die feit dat vroeëre navorsing oor hierdie onderwerp deur akademici in ander sosiaal wetenskaplike dissiplines uitgevoer was. Die integrering van sodanige navorsing met organisasiesielkundiges se perspektiewe en oriëntasies het skynbaar slegs met verloop van tyd plaasgevind. Die ontwikkeling van innovasie as 'n verskynsel van die werksomgewing het dus stelselmatig oor dekades heen plaasgevind. Die impak van omgewingsveranderinge op organisasies het ook oor die afgelope paar dekades beduidende belangstelling ten opsigte van innovasie ontsluit. Innovasie, as 'n komponent van organisatoriese-kompeterendheid en -effektiwiteit, is vandag 'n noodsaaklikheid wat toenemend deur hedendaagse bedryfsleiers ondersteun en bestuur word. Binne die werksomgewing kom innovasie op drie verskillende vlakke (die individu, die groep en die organisasie) voor. Tot dusver het innovasienavorsers egter in hoofsaak op die individu en organisasie as ontledingseenheid gefokus. Navorsing wat die individu of organisasie as ontledingseenheid gebruik, is volop in vergelyking met studies wat die groep as ontledingseenheid gebruik. Met ander woorde, alhoewel die gebruikmaking van spanne in organisasies toeneem, is ons kennis van die faktore en dimensies wat spaninnoverendheid bepaal, steeds beperk. Die beperkte teoretiese basis van bestaande groepinnovasienavorsing kan deels aan die omvangryke en komplekse aard van die verskynsel toegeskryf word. Dit is juis in hierdie opsig dat hierdie studie dit ten doel gestel het om bestaande groepinnovasieliteratuur deeglik te ondersoek en om vas te stel tot watter mate verwante sosiaal-sielkundige navorsing (onder andere groepbesluitneming, intragroepkonflik en kreatiewe probleemoplossing) 'n bydrae tot die innovasieliteratuur kan lewer. Elk van die drie ontledingsvlakke (individu, groep, organisasie) het 'n unieke effek op die innoverendheid van 'n span, maar nie een van hierdie kategorieë verklaar uitsluitlik die innoverendheid van 'n span nie. Die interafhanklike verhouding van hierdie faktore beklemtoon die kompleksiteit van die verskynsel en dit moedig toekomstige navorsers aan om die nuttige bydraes van verwante sosiaal-sielkundige temas te ondersoek. In hierdie verband is daar ook breedvoerig gebruik gemaak van 'n inset, proses en uitset model van groepinnoverendheid deur West en Anderson (1996), ten einde vas te stel tot watter mate sekere aspekte van die model die innoverendheid van 'n span voorspel. Vanweë die omvangrykheid van die model is slegs sekere veranderlikes in die navorsing ingesluit. In terme van die insette is daar op grootte en spandienstydperk gefokus. Die proses faset van die model verwys na die duidelikheid en verbondenheid tot doelwitte, deelname, taakoriëntasie en ondersteuning vir innovasie. Ten opsigte van die uitset faset van die model is daar op die volgende aspekte gefokus: die radikaalheid, omvangrykheid, nuutheid en effektiwiteit van die innovasie asook die getal innovasie items binne die groep. Die resultate van die studie dui daarop dat daar wel 'n verband tussen hierdie veranderlikes van West en Anderson (1996) se model en die innoverendheid van groepe bestaan. Hierdie model van groepinnoverendheid blyk vanuit die resultate van hierdie studie, en vorige studies, nuttig te wees vir die bestudering van groepinnovasiegedrag. Alhoewel daar tot dusver min lig gewerp is op die faktore wat groepinnoverendheid bepaal, wil dit voorkom asof groepinnovasienavorsing 'n sentrale faset van die organisasiesielkunde se navorsingsagenda in die toekoms sal wees. Die vestiging en uitbreiding van 'n teoretiese basis salorganisasies in staat stelom die innovasiegedrag van spanne beter te verstaan en te voorspel. Ten slotte kan dit vermeld word dat hierdie studie In bydrae gelewer het tot groepinnovasiegedrag, nie net in terme van 'n bewusmaking van die impak en noodsaaklikheid van innovasie in die hedendaagse werksomgewing nie, maar ook in terme van die uitbreiding van die bestaande kennisbasis oor groepinnovasiegedrag.
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Robins, Amanda School of Arts UNSW. "Slow art : meditative process in painting and drawing." Awarded by:University of New South Wales. School of Arts, 2006. http://handle.unsw.edu.au/1959.4/31214.
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This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called "meditations," which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).
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Evans, Michelle Louise. "Socioeconomic status and domains of creativity: Is the artist really starving?" CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3240.
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Socioeconomic status (SES) influences many aspects of a person's life, and stereotypes concerning level of SES and the domain of creativity exist. It was hypothesized that children classified as low SES would perform more creatively in the visual arts and language arts domains of creativity than in the mathematic and scientific domains.
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Taylor, Aisha Smith. "Transformational Leadership, Diversity, and Creativity at Work: A Moderated Mediation Model." PDXScholar, 2015. https://pdxscholar.library.pdx.edu/open_access_etds/2341.
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Organizational leaders often seek to hire and retain innovative employees as a source of competitive advantage. Both transformational leadership and effectively managed workplace diversity have been theorized and shown to lead to increased employee creative performance at work; however, a full model of the relationships between leadership and the multi-dimensional construct of workplace diversity has not yet been tested. Using a sample of 371 employees in three Chinese high-technology firms matched with 64 supervisors collected at three time points, this study theorized and tested a moderated mediation path model in which transformational leadership and diversity climate were predicted to significantly interact to influence the workplace diversity constructs of organizational justice and organizational identity, which in turn, influence individual creative performance. Based on major theories of leadership, diversity, and creativity, several partial mediation hypotheses are presented, including diversity climate as a mediator of the relationship between transformational leadership and creative performance as well as organizational justice and organizational identity as mediators of the relationship between the interaction of transformational leadership and diversity climate and creative performance. Several single- and multilevel path analyses were conducted to test the model, using two measures of creative performance: self-ratings and supervisor ratings. The results showed that the interaction of transformational leadership and diversity climate significantly predicted self-rated creative performance, and organizational identity significantly predicted supervisor ratings of creative performance. In addition, transformational leadership was found to significantly predict diversity climate and organizational justice was a significant predictor of organizational identity. Finally, transformational leadership had a significant indirect effect on creative performance through diversity climate. The contributions of this study to three major bodies of literature, as well as the implications of the results for research and practice, are discussed.
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Danks, Shelby. "Measuring Culture of Innovation: A Validation Study of the Innovation Quotient Instrument." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc848105/.
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The ability for an organization to innovate has become one of the most important capabilities needed in the new knowledge economy. The research has demonstrated that an organization’s culture of innovation in particular predicts organizational innovativeness across multiple industries. To provide support to these organizations in their abilities to understand the culture of innovation, researchers have developed instruments to measure culture of innovation, and while many of these instruments have been widely used to inform organizational opportunities for improvement, few of these instruments have been validated or replicated beyond their initial use. The current study employs multiple factor analytic methods to validate the factor structure of the Innovation Quotient instrument developed by Rao and Weintraub and assess the extent to which the instrument is reliable for multiple organizational groups. The results of this study, as well as implications for researchers interested in culture of innovation, are presented.
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Swart, Diederick Bernard. "The development of an innovation leadership questionnaire." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85651.
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Thesis (MComm)--Stellenbosch University, 2013.ENGLISH ABSTRACT: The ability of organisations to be successful in the current global business environment will ultimately be dependent on their ability to be innovative. However, creativity and innovation will not take place spontaneously in any team setting and will be the result of meticulous planning and implementation efforts on the part of the team’s members. The current global business environment is characterised by constant change and this makes leadership more important than ever before as leaders are considered the drivers of change and ultimately responsible for organisational success. Leaders within organisational team settings have an essential role to fulfil in stimulating and facilitating innovative behaviour in their subordinates. The fact that some leaders manage to successfully stimulate and facilitate innovative behaviour in their subordinates, while others fail to do so, might well be contributed by some to a number of simplistic variables– but this is not the case. The fact that some leaders manage to successfully stimulate and facilitate innovative behaviour in their subordinates can be attributed to the fact that these leaders possess specific competencies based on different sets of knowledge, skills and attitudes. The innovation process consists of four distinct phases (idea generation, idea screening, feasibility and commercialisation) and innovative outcomes for a team will only result if team members successfully progress through each of these four phases. The reality, however, is that the innovation process itself is filled with challenges that will need to be overcome by team members if innovation is to flourish. Accordingly leaders should apply specific sets of knowledge, skills and attitudes during each of the phases in the innovation process to help guide subordinates successfully through the innovation process. It should hence be clear that being aware of the specific leadership competencies that will stimulate and facilitate innovative behaviour in subordinates will be of immense value to any organisation who wishes to act more innovatively. The primary purpose of this study was consequently to design a psychological measurement instrument that would provide a measure of the specific competencies leaders should possess to stimulate and facilitate innovative behaviour in subordinates. This instrument would enable management to customise training and development programmes to meet the specific needs of leaders and hence develop the necessary knowledge, skills and attitudes on their part. A pilot study was conducted with the experimental version of the ILQ to obtain information regarding the psychometric properties of the instrument. Results obtained from the pilot study provided evidence that the ILQ instrument possesses high levels of internal reliability and satisfactory levels of concurrent validity. It can therefore be claimed that the ILQ instrument would serve as a valuable diagnostic tool for organisations who wish to improve their innovative capabilities.
AFRIKAANSE OPSOMMING: Die mate waartoe organisasies suksesvol sal wees in die huidige globale besigheidsomgewing sal bepaal word deur hul vermoë om innoverend op te tree. Dit is belangrik om daarop te let dat kreatiwiteit en innovasie nie spontaan sal plaasvind binne ‘n spankonteks nie, maar eerder die resultaat sal wees van doelbewuste praktyke en gedrag deur spanlede. Die huidige globale besigheidsomgewing word gekenmerk deur konstante verandering en lei daartoe dat leierskap belangriker as ooit geag word vanweë die feit dat leiers beskou word as die dryfkrag vir verandering en verantwoordelik is vir organisasie sukses. Spanleiers in organisasies moet ‘n essensiële rol vervul met betrekking tot die stimulering en fasilitering van innoverende gedrag in hul ondergeskiktes. Die feit dat sommige leiers dit regkry om suksesvol innoverende gedrag in hul ondergeskiktes te stimuleer en te fasiliteer, terwyl ander leiers misluk om dit reg te kry, word deur sommige individue aan ‘n klein aantal eenvoudige veranderlikes toegeskryf – dit is egter nie die geval nie. Die feit dat sommige leiers dit regkry om suksesvol innoverende gedrag in hul ondergeskiktes te stimuleer en te fasiliteer, kan toegeskryf word aan die feit dat hierdie leiers oor sekere bevoegdhede beskik gebaseer op spesifieke stelle kennis, vaardighede en houdings. Die innovasieproses bestaan uit vier onderskeie fases (idee-generering, idee-evaluering, bepaling van uitvoerbaarheid en kommersialisering) en werkspanne sal slegs innoverende uitkomstes behaal indien hulle suksesvol vorder deur elkeen van hierdie vier fases. Die realiteit is egter dat die innovasieproses inherent gevul is met uitdagings wat oorkom sal moet word deur spanlede indien innovasie enigsins sal floreer in die spanne. Dit is dus noodsaaklik dat leiers ‘n spesifieke versameling kennis, vaardighede en houdings sal aanwend om die pogings van ondergeskiktes suksesvol te bestuur deur die verskeie fases van die innovasieproses. Om kennis te dra omtrent die spesifieke leierskap-bevoegdhede – gebaseer op kennis, vaardighede en houdings – wat innoverende gedrag in ondergeskiktes sal stimuleer en fasiliteer, sal van onskatbare waarde wees vir organisasies. Die doel van hierdie studie was gevolglik om ‘n meetinstrument te ontwerp wat die bevoegdhede sal meet waaroor leiers moet beskik indien hulle beoog om suksesvol innoverende gedrag in hul ondergeskiktes te stimuleer en te fasiliteer. ‘n Meetinstrument van hierdie aard sal organisasies en hul bestuur in staat stel om opleiding en ontwikkeling programme nommerpas te maak en sodoende spesifieke bevoegdhede in hul leiers te ontwikkel. ‘n Loodsstudie is vervolgens uitgevoer om inligting rakende die psigometriese eienskappe van die instrument te verkry. Die resultate het getoon dat die ILQ oor hoë vlakke van interne betroubaarheid beskik, asook bevredigende vlakke van samevallende geldigheid. Die aanspraak kan gevolglik gemaak word dat die ILQ as ‘n waardevolle diagnostiese instrument vir enige organisasie sal dien wat beoog om hul innoverende vermoë uit te brei.
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Avalon, Alexxis. "Arts in new directions : the development and application of a construct that uses the arts to promote transformation and self-actualization in health care and education/therapy." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001421.
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Wood, James Michael. "Imaginativeness in dreams as related to the waking ability to create metaphors and form remote associates." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/292063.
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The relationship of dream imaginativeness and dream implausibility to waking creativity and metaphorical ability was examined among 126 undergraduates using two-week dream diaries. A significant relationship was found between scores on the College Vocabulary Test and the Remote Associates Test on the one hand, and report length, implausibility and dream recall frequency on the other. A causal analysis suggested that verbal intelligence, rather than creativity or metaphorical ability, was the factor underlying the correlations.
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Koo, Soojin. "Reexamining the creative artistic ability of children with autism /." 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3337831.
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Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2008.Source: Dissertation Abstracts International, Volume: 69-11, Section: A, page: 4215. Adviser: Julia Kellman. Includes bibliographical references (leaves 247-253) Available on microfilm from Pro Quest Information and Learning.
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Cameron, Samuel. "The Creative Sector and Class of Society." 2011. http://hdl.handle.net/10454/5799.
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"Effects of goal orientation and self-regulation on creative behaviors." Thesis, 2006. http://library.cuhk.edu.hk/record=b6074217.
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Further analyses of comparing the creativity scores of the experimental groups also showed inconsistent results. Participants in the promotion cue condition scored significantly higher in uniqueness and unusualness of standardized assessment, and fluency and flexibility of creative problem solving than those in the prevention cue condition. The correlation between promotion focus and creativity was found significantly higher under the promotion cue condition than the prevention cue condition. But other mixed results showed that the control group scored significantly higher fluency and flexibility of standardized assessment than participants in the promotion cue condition. Participants' levels of promotion focus trait also had main effects on their creativity scores. Participants with higher trait of promotion focus tended to score higher in most of the creativity indicators.In conclusion, the present study provided some limited evidence that promotion focus as a personality trait had weak but positive associations with creativity, and achievement goal as a weak mediator in affecting students' creativity. Students' promotion trait had stronger main effect on their creative performance than situational promotion focus. Ways to improve the manipulation effects and future direction on research had been suggested.
Results showed that the manipulation was relatively ineffective as reflected by the manipulation questions. Participants' promotion trait had, however, main effects on the manipulation items. Participants with high promotion trait scored significantly higher in all the checking items of promotion focus. Participants' prevention trait also had main effects on their perception of checking items of prevention focus. Participants with high prevention trait got higher scores of prevention situation than individuals with medium and low trait level.
Study 2 took a further step to examine the effects of regulatory focus on creativity in 490 Grade 7 students who had taken part in the previous study. Participants of 13 intact classes were randomly assigned to one of the conditions, namely promotion-framing condition (188 students from 5 classes), prevention-framing condition (149 students from 4 classes), and the control condition (153 students from 4 classes). Verbal and written instructions were provided with an intention to frame the regulatory focus of individual students. Participants completed a parallel item of the alternate use battery of the standardized creativity assessment, another item of creative problem solving, and six checking questions. Previous scores of achievement goals and regulatory foci were used as covariates in analysis of variance to examine the differences in the checking items.
The present study aimed at examining the influence of two motivational variables---achievement goal and regulatory focus on creativity. It was composed of two empirical studies. Study 1 was designed to investigate how achievement goal and regulatory focus affected creativity. A total of 824 Grade 7 students took part in completing a questionnaire which comprised an alternate use item of a standardized creativity assessment, a creative problem solving task, an instrument on achievement goal and two instruments on regulatory focus. Exploratory factor analyses and confirmatory factor analyses were conducted to confirm the factor structures of achievement goals (mastery-approach goal, performance-approach goal, mastery-avoidance goal, and performance-avoidance goal) and regulatory foci (promotion focus and prevention focus). Results showed that these two variables were basically distinctive in nature. Positive but weak correlations were found between promotion focus and creativity, as well as prevention focus and creativity. Positive and weak correlations were also found between mastery-approach goal and creativity, performance-approach goal and creativity, as well as mastery-avoidance goal and creativity. Promotion focus had moderately high associations with both approach goals (mastery-approach and performance-approach) and avoidance goals (mastery-avoidance and performance-avoidance), and so had prevention focus. Regression analyses indicated that the strongest predictor for creativity was promotion focus. Performance-approach goal and mastery-avoidance goal served as weak mediators of regulatory focus on creativity.
Hui Na Na Anna.
"November 2006."
Adviser: P. C. Cheung.
Source: Dissertation Abstracts International, Volume: 68-08, Section: A, page: 3279.
Thesis (Ph.D.)--Chinese University of Hong Kong, 2006.
Includes bibliographical references (p. 206-224).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract in English and Chinese.
School code: 1307.
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Way, Pamela Jo. "Redefining the muse self-regulatory aspects of creative behavior /." Thesis, 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3086732.
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Blumberg, Zachary. "The Ego-functioning of the creative child." Thesis, 2016. http://hdl.handle.net/10539/20858.
Full textAbstract:
A Research Report submitted to the Faculty of Arts
University of the Witwatersrand, Johannesburg, in
partial fulfillment of the requirements for the Degree
of Mnster of Arts in Clinical Psychology.
September ~991The study aimed to examine the ego functioning of the creative child, with a view to testing theories of creative functioning. The development of these theories is reviewed from Freud'e writings at the beginning of the century to more current conceptions of Creativity as a function of ego proCeSses. The theories examined related to the ego functions of Tolerance of Ambiguity, Regression in the Service of the Ego and Empathy, all of which were hypothesised .a being employed to a greater degree by creative individuals. A theoretical conception of the autonomous 1 intellective and creative ego was developed according to Norma Haan's (1977) view of Constructivist Man. The ego function of 60 children (39 male and 21 female' batween the ages of 8 and 12 years were tested by having their mothers rate them on Haan's Q-sort of Ego Processes. A measure of Creativity was obtained using activities from the Torrance Test of Creative Thinking (Torrance 1974) completed by the chiIdren. AnalysiS for the results failed to show any significant support for the hypotheses concerning the 3 main Ego Functions. Of the other Ego functions also exmined using the Haan instrument, only that of Substitution showed a significant (and negative) correlation with Creativity. This suggested that (a) children employing this ego function to a significant degree tend not to be creative and (b) Mothers valuing substitution highly may tend to stifle creativity in their children by their expectations and parenting styles. The failure to find significant support for the hypothesis is attributed to Ca) possible incomplete measures of Creativity and (b) the Mother's difficulty in using the ego rating instrument in an unbiased way rather than rating for Racial desirability and perceived expectations of the research on Certain key functions. It was concluded that trained professionals may be better equipped to accurately assess ego functioning. A discussion of the results and 1imitations of the study follows with a consideration of methodological problems in the measurement of both Personality and Creativity. suggestions are made for further research. No strong conclusions can be drawn regarding the validity of the theories discussed but they are felt to be very useful formulations for work in the educational and clinical fields.
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Chou, Yung-Yi Juliet. "Improvising Everyday Uses: Creative Mindsets and Design Heuristics on Idea Generation." Thesis, 2016. https://doi.org/10.7916/D8NP248T.
Full textAbstract:
Idea generation is the essence of design as everyday problem solving. Generating ideas can be a matter of life and death or simply a distraction from our normal existence. The eureka moment also means that sometimes people improvise and repurpose whatever is at hand to solve their own problems. As a consequence, a chair becomes a bookshelf; a shoelace can be used to stop bleeding. Generating alternative uses for common household objects should be facilitated by generating alternative situations in which improvisational design might be needed. One way to encourage as many alternative ideas as possible is to think through heuristics of discovery. A number of directions have emerged concerning what can be used as good design heuristics to trigger creative mindsets. Does "walking away from the problem" or "letting the mind wander" really help generate a greater number of alternative ideas? How might shifting a perspective activate proper associative processing and enhance creative performance? Prior studies in generating novel uses often directed people to focus on objects, situations, and events, or to switch between a different time or space. One plausible method yet to be studied systematically, however, is for participants to think of different roles people can take in a society, such as chef, physician, mechanic, athlete, and so on.
This dissertation research sets out to uncover certain creative mindsets and potential design heuristics that promote alternative solutions to problems ordinary people encounter in daily life. The studies conducted for this dissertation particularly focus on two mindset conditions: the mind-wandering group was manipulated to "let things come to your mind" and the human-centric group was manipulated to "think of different roles," both conditions representing widespread beliefs among professional designers about generating ideas. In two online experiments, participants were asked to generate as many alternative uses of common household objects as they could using either the mind- wandering or the human-centric mindsets triggered by different search heuristics. Study 1 had a control group and names of objects. Study 2 presented pictures of objects to half the participants and names of objects to the other half. The dependent variables were the fluency of ideas, the originality of ideas, the diversity of assignable roles and the response time between ideas.
Results in both studies support the effectiveness of thinking of different roles in the human-centric mindset condition in increasing the fluency of alternative uses and the originality of ideas. Participants given no particular search strategy frequently reported that they tended to have things come to their minds, but they didn’t differ from the mind- wandering mindset group and were outperformed by those using the human-centric mindset strategy. Furthermore, seeing pictures didn’t necessarily give either mindset group the edge in generating more uses and more original ideas. Presenting the names of objects and providing specific roles with the search heuristics seemed enough to help induce a diversity of roles and hence more alternative uses and more original ideas. Those who let their minds wander did take longer to generate ideas than those using the focused associations of roles.
The general findings in the dissertation are consistent with previous research showing that those who generated more ideas were more likely to generate more original ideas and those who persisted in ideation more frequently produced more original uses. On the whole, this dissertation research provides significant evidence for the heuristics of roles as a powerful perspective shifter to enhance everyday design concepts for human scale.
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Gutbezahl, Jennifer. "Emotional creativity :: exploration via creativity tasks, mood manipulation and self-report." 1994. https://scholarworks.umass.edu/theses/2257.
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Carlisle, John. "Peak creative performance." Thesis, 2014. http://handle.uws.edu.au:8081/1959.7/uws:32210.
Full textAbstract:
Terms such as peak performance, creativity, genius, intelligence and eminence have, for more than one hundred years, been used to describe people who change the world. The literature which exists today is fragmented; difficulties exist regarding the definition of the concepts which are used and the ways in which these concepts relate to each other. Furthermore, at a time when performance and creativity are becoming increasingly important, there is no adequate explanation of how high levels of performance and creativity are achieved. Much of the existing literature explains performance and creativity in terms of isolated variables, such as general intelligence. Several recent studies have, however, made important advances by using a systems approach to examine topics such as creativity and prodigiousness. Notwithstanding the advances made by these studies, they are preliminary studies (i.e. in terms of their scope, and the theoretical frameworks and the methodologies which are used) which are relatively few in number. Research is needed which clearly defines the concepts being used, synthesises the existing literature and then utilises an established theoretical framework and methodology to identify the ways in which various biological, psychological, social and contextual influences interact to produce Peak Creative Performance (PCP). The primary aim of this study is, therefore, to identify the pattern(s) which produce PCP. In achieving this aim, the present study sheds light on several supplementary matters including the definition of PCP, the role of innate ability, the importance of learned expertise, behavioural preference and personality, motivation level and type, the organisational form which is most conducive to PCP, the role of contextual influences and the ways in which each of these variables interact to produce PCP. The present study builds upon systems research into creativity and prodigiousness, consensual methods for defining creativity, and the theoretical framework and methodology employed by ‘Open Systems Theory’ (OST). Qualitative case studies are used in conjunction with quantitative causal path analysis to examine interview data from six participants who are regarded as unambiguous cases of PCP (referred to as ‘Performers’), and twenty four individuals who act as advisors to ‘Performers’ (referred to as ‘Observers’). It is argued that the Peak Creative Performer is an individual who is able to introduce novel methods, and convince experts within their field that such methods transcend existing limitations. The study finds that the highest levels of human achievement (PCP) require expert performance as well as creativity. Moreover, PCP is found to occur when twelve variables come together in a particular pattern during the course of the Peak Creative Performer’s lifetime.
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Uparna, Jayaram. "Information diversity and group culture of creativity a look intothe innovation paradigm /." 2008. http://hdl.rutgers.edu/1782.2/rucore10005600001.ETD.000051330.
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