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Aquest treball de final de màster té com a objectiu principal la creació d'un spot publicitari per a englobar el contingut de la unitat didàctica "Organització, disseny i producció d'informació digital", inclosa a l'assignatura TIC (Informàtica) de 4t d'ESO. L'objectiu d'aquesta unitat és ensenyar als alumnes les diferents fases del procés de producció d'una campanya publicitària, des de la idea fins a la postproducció, i així capacitar-los per a crear les seves pròpies campanyes publicitàries. En aquesta memòria s'exposa la metodologia utilitzada per a la creació del spot publicitari, a través de la qual s'ajuda a millorar el treball i l'aprenentatge autònom dels alumnes, i sobretot, afavorir el desenvolupament de la seva creativitat. Un aspecte que en molts casos és deixat de banda en els centres educatius.

ilustraciones, fotografías a color Resumen A mi parecer, el itinerario de la maestría podría asimilarse a una estela que sucede o la línea que traza el encuentro y desencuentro de los acontecimientos que constituyen mi vida, una trama que aparece desde la singularidad y sus deseos, un diluirse en el silencio. A través de dispositivos concienzudamente previstos, el proceso genera una serie de provocaciones que despiertan la reflexión y el dialogo constante. Desde un punto de vista estético, la exploración es orientada por sensaciones que atraviesa el cuerpo, es percibir los elementos de la naturaleza cuando corresponden a un estado caótico e incomprensible y a su vez, como una advertencia sensible e ineludible de su transición. Este trabajo me permite construir una relación de identidad con el hacer artístico, en cierto sentido, es la conciliación de circunstancias estructurantes (que ahogan mi voz) con las acciones en función de la creación artística. El problema de la representación lo simbolizo con el silencio o la ausencia de reflexión, además, propongo su transformación a partir del papel esencial del dibujo en la construcción de propósitos pedagógicos y necesidades expresivas. Cada interpretación grafica de la mano, ha sido relevante en la medida que mi acción es dibujar, es la reivindicación con el oficio. Así, voy de un silencio a otro contemplando los espacios que he transitado como docente artista donde me propongo la apertura y la transformación. Tiempo de silencio es un indicio que permite reconfigurar la acción y contemplación como conjetura en la articulación de lenguajes. Desde mi experiencia docente-artista, las coincidencias con otros en espacios comunes; entre formas de descubrimiento y la relación singular con el propio tiempo… propongo trazos, la convicción justa, el movimiento dinámico que reivindica en silencio la consciencia. Palabras clave: Grieta, silencio, imagen, permanecer, tiempo, acción, contemplación, historia. (Texto tomado de la fuente) Abstract In my opinion, the master's itinerary could be assimilated to a wake that happens or the line that traces the meeting and disagreement of the events that constitute my life, a plot that appears from the singularity and its desires, a dilution in silence. Through conscientiously planned devices, the process generates a series of provocations that arouse reflection and constant dialogue. From an aesthetic point of view, the exploration is guided by sensations that go through the body, it is to perceive the elements of nature when they correspond to a chaotic and incomprehensible state and, in turn, as a sensitive and inescapable warning of its transition. This work allows me to build a relationship of identity with artistic work, in a certain sense, it is the reconciliation of structuring circumstances (which drown out my voice) with the actions based on artistic creation. I symbolize the problem of representation with silence or the absence of reflection; furthermore, I propose its transformation based on the essential role of drawing in the construction of pedagogical purposes and expressive needs. Each graphic interpretation of the hand has been relevant to the extent that my action is to draw, it is the claim with the trade. Thus, I go from one silence to another contemplating the spaces that I have traveled as a teacher artist where I propose the opening and transformation. Quiet time is an indication that allows action and contemplation to be reconfigured as a conjecture in the articulation of languages. From my teacher-artist experience, coincidences with others in common spaces; between forms of discovery and the unique relationship with time itself... I propose lines, the right conviction, the dynamic movement that silently claims consciousness. Keywords: Crack, silence, image, stay, time, action, contemplation, history Maestría Magíster en Educación Artística Creación

Dewey (1938) once wrote that the most effective forms of learning connect intellectual processes with emotion, which is able to inspire curiosity and excite the learner. This paper adds to the body of research that attests to the transformative role of affect in teacher education, which is able to be cultivated through arts-based service-learning experiences. Pre-service teachers at two universities in Sydney, Australia were placed in service-learning settings that were based around participatory experiences in drama and storytelling, music, dance or visual art. The pre-service teachers’ reflections on the placement revealed a transformative experience which combined emotional learning with critical analysis of social justice issues as they relate to education. As part of their placement, they experienced arts engagement that utilised affect and emotion as a transformative pedagogy. They broadened their understanding of the role of teachers, both in an institution and in society. These emerging understandings led them to find voice as advocates, investigate arts education and community projects as alternative career paths and re-evaluate their own perceptions of quality teaching. Some participants continued engaging with the community arts projects after the placement had concluded, and others became advocates for the arts in education and society. Finally, they adopted a critical stance on social justice issues, and shed light on the ways that arts learning service-learning placements can become deeper engagements, leading to sustainable benefits for all parties., peer-reviewed

Module Program, as a training manual that teaches independent reading at the time of reading the block of educational material included in the module of study for the student the effectiveness of training increases if it is given for permanent use.

The advancements made in generative AI over the last few years have been phenomenal. These systems can now generate content that is hard to distinguish from actual human output. In this paper I put forth a design for an augmented content generation system, which produces a story generated using OpenAI's GPT system, before "musing" on, an revising the story. The current goal is to gather a research team in order to test whether this system alters the level of apparent creativity generative AIs are capable of achieving.

The uniqueness of each viewpoint, each point of effect, can be "overcome" only by changing the viewpoint to other viewpoints and returning. Such an alternation, which can also appear as constant change, makes up the unity of the world. The wholeness of an alternation, however, is a consciousness structure because of the special relationship between the circumscribing periphery and the infinitesimal center. This process structure unites determinacy and indeterminacy at every point also totally. We are dealing, therefore, with forms of consciousness everywhere, with more or less freedom of choice and an increasingly unknown depth. We live in a world of choosing consciousness or better: awareness. In this respect, our environment expresses a deep truth about ourselves.Published in: Journal of Consciousness Exploration & Research (2020), 11(1), p.1-16.

zine handout for session, Imagination in Action: Cultivating Creativity in the Library & Classroom at ARLIS/NA 2023 in Mexico City, Mexico. physical description: 8-pages (printed on 11x17 paper), color.

Scholarly research has increasingly examined the role of STEM (Science, Technology, Engineering, and Mathematics) education, and that of creativity as a transversal skill. However, far fewer studies have investigated the relationship between the two, particularly in secondary-school contexts, and they have obtained inconsistent results. This paper contributes to the literature by asking: To what extent is studying STEM associated with higher levels of creativity in a secondary-school context? The study utilises a pre-existing dataset gathered in Malta (EU) from some 400 students aged between 11 and 16 years old. It yields information on both the engagement in STEM (measured by exposure to STEM chosen by students as optional subjects, and the enjoyment of STEM considered by students to be their favourite subjects), as well as creativity levels (measured by Divergent Thinking performance on Alternate Uses Tests). Correlation analysis revealed a strong positive link between the two phenomena, lending support to the notion that STEM students tend to be more creative than other students. Using regression analysis, a model is estimated to identify the possible effects of engaging in STEM subjects on creativity, once the other co-determinants of creativity are controlled. The results indicate that both the exposure to STEM subject/s and enjoyment thereof significantly and positively predict creativity, even after controlling for the other possible determinants of creativity (such as age, gender, parental education, and participation in creative activities). These findings offer encouraging insights into 21st century education and for curriculum development as they suggest that, in addition to having value in their own right, STEM subjects can contribute to the development of creativity in young people., peer-reviewed

El presente artículo detallará los resultados de las investigaciones sobre «Los ratones de fray Martín» y «Al pie de la letra», textos que forman parte de las Tradiciones peruanas, obra representativa del tradicionalista Ricardo Palma. Nos interesa resaltar la relación de la habilidad creativa y la interpretación de los personajes fray Martín y el capitán Paiva con el perfil profesional de la carrera de Arquitectura, propia del siglo XIX, al ser la habilidad creativa y la interpretación partes del perfil del arquitecto actual. El texto también analizará la importancia de la habilidad creativa y la interpretación que debe poseer el arquitecto contemporáneo.

Mathematics creativity is very important in studying mathematics at every level of education but less attention is paid to it in the teaching-learning process and this has resulted to poor performance in the subject. The study investigated how activity based learning approach can enhance the creative skills of primary school pupils. A sample of 185 pupils from six purposively selected government owned primary schools in Owerri west local Government area of Imo state was used for the study. The study was a quasi-experimental research type adopting the pre-test, posttest non equivalent control design. The instrument for data collection was a researcher made objective test titled “Mathematics Creativity Test (GAT)”Instrument which had reliability coefficient of 0.79 determined using Kuder-Richardson formula (KR21). The experiment group was taught geometric concepts using Activity-Based Learning Approach while the control group was taught using the traditional approach. The data generated was analyzed using mean and standard deviation to answer research questions while the hypotheses were tested using ANCOVA statistical tool at 0.05 level of significance. The result of the study revealed that Activity-Based Learning Approach enhanced pupils’ mathematics creative ability irrespective of gender and ability levels. Based on the result, it was recommended that Mathematics teachers at the primary school level should apply pupils centered approaches such as activity-based learning approach in teaching to enhance pupils’ creativity in mathematics.

Aurora Battery is a corresponding test of successful intelligence. This study aims to examine the factorial structure of the Chinese version of Aurora Battery and to investigate its internal consistency and validity, as well as to discover the developmental features of Chinese students. A total number of 2007 students were recruited from 13 schools across eastern, central, and western China, ranging from 4th to 8th grade (mean age = 12.29 years) and among them, 43.9% are girls. Confirmatory factor analysis (CFA) was used to examine the factorial structure. Among the tested models, a second-order factor model, in which the three ability factors serve as indicators of a general factor, provided an acceptable model fit to the data. Moreover, measurement invariance across gender and grades were supported, which suggests the mean scores of analytical, creative, and practical abilities are comparable in this research. The criterion-related validity analysis suggests that the battery and its three subscales have good criterion validity. The scale reliability analysis shows that the Cronbach’s alpha and the McDonald’s omega value of the whole test were .84 and .87, respectively, indicating the scale’s internal reliability is good. For ability differences among grades, students’ analytical and practical abilities increase across all grades, while creativity presents an upward trend from grade 4 to 6, followed by a downward trend from grade 6 to 7, and an increase from grade 7 to 8. Female students outperform male students on both analytical and creative ability, while with no obvious difference on practical abilities.

مسرحية الناصر للشاعرعزيز أباظة -عرض وتحليل ونقد وجيهة محمد المکاوي قسم الأدب والنقد کلية الدراسات الإسلامية والعربية للبنات بالسادات، جامعة الأزهر. البريد الإلکتروني: WagehaALmekkawy. 419@azhar. edu.eg ملخص البحث: الفن المسرحي فن عريق ؛ وإن کان وجوده في البيئة العربية وفي الأدب المصري تأخر عن وجوده في البيئات الأخرى. ومسرحية الناصر للشاعر القدير عزيز أباظة تتبنى فکرة قيمة الأوطان ونفاستها، والجود بالنفس والنفيس للدفاع عنها ضد کل خطر، وحمايتها من کل شر. وعزيز أباظة من رواد المسرح الذي طبقت شهرته الأدبية والمسرحية الآفاق، والمسرحية وشخصياتها، وحواراتها،و مواقفها، وأحداثها المتلاحقة، وصورها الفنية، نمت عن ثقافة بليغة لمؤلفها: ثقافة دينية وتاريخية ومجتمعية ، بدت في حوارات متوازنة وأحداث متراکبة ترتب بعضها على بعض عکست قدرة المؤلف الإبداعية وتمکنه من الصياغة، المنضوية على فکر راق سيق في لفظ أنيق، وعبارة مشرقة. وقد استخدمت المنهج التاريخي والفني في أعطاف البحث بما يتناسب مع الجزئية المتناولة، وقد جاءت خطة البحث في ثلاثة فصول ، ثم الخاتمة التي تلخص نتائج البحث، تليها المصادر والمراجع.. AL NASSER Aplay of THE POET Aziz Abaza , presentation ANALYSIS and criticism By: Wajehah Mohammed Al- Makkawi Department of Literature and Criticism Faculty of Islamic and Arabic Studies for Women in Al- Sadat City Azhar University Abstract Although the art of theatre is deeply- rooted in history, its presence in the Arab world in general and in the Egyptian literature in particular has fallen behind its presence in other environments. The play Al-Nasser by the prolific poet Aziz Abaza adopts the idea of ​​the value and psychology of homelands through sacrificing the soul and what could be considered precious for the sake of defending them against any danger or evil. Aziz Abaza is one of the pioneers of the theater whose literary and theatrical reputation reached the stars. Abaza's play Al- Nasser with its characters, dialogues, stances, its successive events and its artistic images uncover the eloquent culture of its author as well as his religious, historical and social culture that appeared in the balanced dialogues and superimposed events arranged one after the other. Such talent reflected the author’s creative ability and control over forming and shaping his literary work. Thus, his play includes a refined thought in an elegant shape and bright phrases. The historical and technical approaches have been applied throughout this research and its chapters. The research includes three chapters a preface and a conclusion which sums up the findings. Then, it closes with the sources and references.

This manuscript aims to act as a spell in the search for the cure for what could be named as colonial disease. It supports the adoption of the term pedagogy as enchantment in order to conceive the teaching and learning processes as a way of intervening in the world and change the objective reality of humans. Therefore,pedagogy could be considered as a kind of everyday magic. The manuscript also reflects upon how such recognition can echo in performance practices, reaching the understanding that it may transform the methodologies that already exist, and create other ones, as long as those methodologies consider some aspects: the reliance in the creative ability/capacity of others, an action that guides their practice and the conception that the world can be transformed.

Pottery making in technology education aims to foster students’ practical and creative ability. In a typical pottery making class, students receive the teacher’s instruction on the fundamental tech...

This article examines the development of students' creativity in science and creative activity through history, logic, philosophy, psychology and physiology, the importance offactors such as personal development, individuality, creativity, stages of development of creativity in creative activity, through creative activity. The ability to form researchers' own intellectual, cultural, pedagogical and psychological approaches to the concept of creative activity, a researcher, the formation of creative activity as a result of research conducted by researchers and the stages of development of creative activity and determined by the research of scientists, the stages of the historical development of creative activity, research methods aimed at increasing creative activity of medical students, creative processes, medical education are devoted to the creative abilities and personal characteristics of students, including aspects of the development of the creative activity of the individual, the main aspects of creative research among teachers are the basics of the concept of creative activity and the criteria of creativity, ideas of creative researchers, a creative approach to development of creative activity, pedagogical analysis of creative thinking and creative thinking. The relationship between pedagogical analysis, the concept of creativity and creative activity, technology for the development of knowledge, skills and abilities of students through creative activity in improving the quality of the educational process, theoretical and methodological foundations of medical education in the educational process to bring the creative activity of students to a higher level.

Введение. Вопросы развития творческих способностей учащихся через новое явление фасилитации вызывают повышенный интерес со стороны как исследователей, так и практических работников образования. Цель – теоретический анализ обеспечения требований, предъявляемых технологией педагогической фасилитации к процессу обучения математике для развития творческих способностей обучающихся. Материал и методы. Проведен анализ трудов отечественных и зарубежных исследователей в области общей психологии, педагогической фасилитации, развития творческих способностей. Основными методами исследования являются изучение и анализ психолого-педагогической литературы по данной проблеме, анкетирование обучающихся. Результаты и обсуждение. Педагогическая фасилитация предъявляет определенные требования к процессу обучения (обеспечение значимости учения, психологической безопасности и психологической свободы), а также к личности педагога и его умению строить взаимоотношения с обучающимися. Значимое учение предполагает изменение личности, поведения обучающегося вследствие накопления его внутреннего чувственно-когнитивного опыта. Для выполнения данного требования при обучении математике можно использовать различные инструменты фасилитации в интеграции с занимательными задачами, нетрадиционные формы организации занятий с созданием ситуаций успеха, демонстрацию уважения педагога к обучающимся. В процессе фасилитации психологическая безопасность достигается за счет создания обстановки, обеспечивающей при сутствие доверия со стороны обучающегося, а также отсутствие страха, тревоги и других негативных чувств, возникающих при внешнем оценивании. Важна организация работы со слабоуспевающими, использование современных педагогических технологий для создания ситуации успеха, повышение уровня комфортности на занятии. Психологическая свобода предполагает формирование креативности обучающихся, их самовыражения. В данном процессе важное значение имеет предоставление возможности проявить активность, самостоятельность, ответственность. Заключение. Выявлены особенности организации учебного процесса с применением технологии педагогической фасилитации.

Where children are engaged in design, whether in the classroom or participatory design, the process often involves adults to a greater or lesser extent. Adult involvement has been shown to have a negative influence on children’s creative ability in design. This study introduces an independent child-led approach to design by allowing children to print embroidered designs onto textiles using carefully selected technology and materials that do require adult involvement and are suitable for use by children. The approach allows children the opportunity to realise their imaginations without adult impediment and create within a new design paradigm. Using focus groups, the study reveals that children welcome the opportunity to design independently from adults and that such independence leads to motivation and a sense of increased creativity

As startups são modelos de negócio dinâmicos, baseados no desenvolvimento de soluções de forma ágil, que atuam com recursos mínimos em processos operacionais de ciclos repetidos, sendo adequados para contextos de incerteza. São negócios de alto risco que podem apresentar crescimento exponencial e grande impacto econômico. Em uma economia da inovação, este modelo de negócio gera valor por meio da relação entre a criatividade, a inovação e o empreendedorismo (CIE). Vistos através da abordagem de sistema adaptativo complexo (SAC), é possível compreender o processo de geração de valor por meio da inter-relação destes três campos teóricos. O objetivo desta tese é analisar como a abordagem de sistema adaptativo complexo articula a relação entre criatividade, inovação e empreendedorismo no processo de geração de valor em startups. A pesquisa aborda a problematização de duas formas. Na abordagem teórica, autores como Dino (2015), Czop e Leszczynska (2011), Erro-Garcés (2019) e Edralin et al. (2019) defendem que o tratamento destes campos teóricos sejam trabalhados de forma sistêmica e não de forma isolada. Na abordagem empírica, a pesquisa busca entender como as startups, como modelo de negócio, geram valor por meio da operacionalização sistêmica dos campos teóricos da criatividade, inovação e empreendedorismo. Esta tese adota o paradigma interpretativista, com abordagem qualitativa exploratória e estratégia de pesquisa de estudo de caso único integrado de acordo com Yin (2015). Para a técnica de coleta de dados, utilizaram-se 22 entrevistas semiestruturadas e em profundidade entre os fundadores de startups das principais regiões dos três estados do sul do Brasil. As técnicas de análise de dados utilizadas foram a análise de conteúdo, baseada em Mayring (2014), e a análise da rede de valor, de Allee (2008). Os resultados apontam que a abordagem SAC, através da atuação conjunta de suas propriedades, determina a organização dos fatores CIE, cujas interações, estimuladas pelos comportamentos do fundador e pelas eficientes trocas de valor entre os agentes da rede, ocorrem por meio de relação associativa dinâmica atendendo às propriedades. A articulação entre as propriedades e os fatores CIE desencadeia o processo de geração de valor em três frentes, nas dimensões teórica e empírica. Na primeira, a geração de valor ocorre através: (i) da relação associativa dinâmica resultante da interação dos fatores CIE, como sustentação do sistema; (ii) do fim ou da alteração do sistema, gerando valor ao reduzir a complexidade; (iii) da ampliação dos limites do sistema. Na segunda, a geração de valor ocorre através: (i) da interação entre os agentes da rede, conduzindo a startup à fase de escala; (ii) da entrega da solução para o cliente; (iii) da incorporação dos papéis dos demais atores com os quais a startup troca os valores mais importantes. [resumo fornecido pelo autor] Coordenação de Aperfeiçoamento de Pessoal de Nível Superior, Capes Startups are dynamic business models, based on the development of solutions in an agile way, which work with minimal resources in operational processes of repeated cycles, being suitable for contexts of uncertainty. These are high-risk businesses that can show exponential growth and great economic impact. In an innovation economy, this business model generates value through the relationship between creativity, innovation and entrepreneurship (CIE). Seen through the complex adaptive system (CAS) approach, it is possible to understand the value generation process through the interrelation of these three theoretical fields. The objective of this thesis is to analyze how the complex adaptive system approach articulates the relationship between creativity, innovation and entrepreneurship in the process of generating value in startups. The research approaches the problematization in two ways. In the theoretical approach, authors such as Dino (2015), Czop and Leszczynska (2011), Erro-Garcés (2019) and Edralin et al. (2019) argue that the treatment of these theoretical fields should be worked on in a systemic way and not in isolation. In the empirical approach, the research seeks to understand how startups, as a business model, generate value through the systemic operationalization of the theoretical fields of creativity, innovation and entrepreneurship. This thesis adopts the interpretivist paradigm, with an exploratory qualitative approach and a single integrated case study research strategy according to Yin (2015). For the data collection technique, 22 semi-structured and in-depth interviews were used among startup founders from the main regions of the three southern states of Brazil. The data analysis techniques used were content analysis, based on Mayring (2014), and value network analysis, by Allee (2008). The results indicate that the SAC approach, through the joint action of its properties, determines the organization of the CIE factors, whose interactions, stimulated by the founder's behaviors and by the efficient exchanges of value between the network agents, occur through a dynamic associative relationship. serving the properties. The articulation between the properties and the CIE factors triggers the process of generating value on three fronts, in the theoretical and empirical dimensions. In the first, value generation occurs through: (i) the dynamic associative relationship resulting from the interaction of CIE factors, such as system support; (ii) the end or alteration of the system, generating value by reducing complexity; (iii) expanding the limits of the system. In the second, value generation occurs through: (i) the interaction between network agents, leading the startup to the scale phase; (ii) delivery of the solution to the customer; (iii) the incorporation of the roles of the other actors with which the startup exchanges the most important values. [resumo fornecido pelo autor]

Η παρούσα έρευνα εστιάζει στη μελέτη των αντιλήψεων των εκπαιδευτικών και των μαθητών αναφορικά με τη δημιουργικότητα των τελευταίων, καθώς και στην καλλιέργεια της δημιουργικότητας μαθητών Ε΄ και Στ΄ τάξης Δημοτικού μέσα από την εφαρμογή στοχευμένων δραστηριοτήτων στο μάθημα της Γλώσσας. Για τον σκοπό αυτό διενεργήθηκε μία έρευνα ημι-πειραματικού σχεδιασμού. Το δείγμα αποτέλεσαν 98 μαθητές με μέση ηλικία τα 11,5 έτη, οι οποίοι χωρίστηκαν σε πειραματική ομάδα, στην οποία εφαρμόστηκαν οι δραστηριότητες και σε ομάδα ελέγχου, στην οποία δε διενεργήθηκε καμία παρέμβαση. Τα δεδομένα συλλέχθηκαν μέσα από ένα ερωτηματολόγιο αυτό-αναφοράς για την καταγραφή των αντιλήψεων των εκπαιδευτικών και των μαθητών για τη δημιουργικότητα των μαθητών και ένα αυτοσχέδιο εργαλείο αξιολόγησης της δημιουργικότητας, το οποίο αποτελούνταν από δύο ισοδύναμα μέρη, ένα για την προ-μέτρηση και ένα για τη μετα-μέτρηση. Τα αποτελέσματα έδειξαν πως η δημιουργικότητα μπορεί να καλλιεργηθεί ακόμα και σε ένα κεντρικά κατευθυνόμενο Αναλυτικό Πρόγραμμα και ως εκ τούτου η εφαρμογή στοχευμένων δραστηριοτήτων για την καλλιέργεια της δημιουργικότητας στο πλαίσιο των καθημερινών μαθημάτων είναι εφικτή και αποτελεσματική., Over the past decades, creativity has been recognized as a critical factor of worldwide prosperity in various domains such as the economy and technology (Ambrose, 2005‧ Kaufman & Beghetto, 2009‧ Rawat, et al., 2012‧ Sternberg, 2012). Education curricula regulate educational processes and appear to play a very important role in creativity development. Especially in centrally controlled curricula where examinations, accountability and pressure for high achievement prevail creativity does seem to receive the required attention (Beghetto, 2005‧ Craft, 2003‧ Hunter, et al., 2007‧ Jeffrey & Craft, 2004). Although there is a need for such an educational aim in Greek society in recent years, cultivating creativity in Greek schools has not been a primary aim of formal educational policy. Most of the programs for cultivating students’ creativity have been implemented as extracurricular activities and, in general, they appeared to be very effective. Educational programs which are especially designed for creativity training have been characterized not only as extracurricular, but extra-extracurricular. In other words, they are considered less important than the core curriculum subjects and even less necessary than extra-curricular activities such as sports, drama etc. (Beghetto & Plucker, 2006). The real challenge for schools is to enhance creativity through their mainstream formal curriculum. Within this framework, the purpose of the present paper was to investigate whether student creativity can be enhanced through infusion of creative activities in everyday teaching in Greek primary schools which follow a mandatory, centrally imposed curriculum with state-issued handbooks and pre-defined activities. The present paper focuses on studying teachers’ and students’ perceptions of students’ creative abilities, as well as on investigating the possibility of enhancing creativity in the 5th and 6th grade of Greek primary school by using creative writing activities in the subject of Modern Greek Language. In order for this investigation to take place, a quasi—experimental design was employed. The sample consisted of 98 students with a mean age of 11.5 years, divided into two groups, the experimental group where participants received the formal curriculum-based instruction with supplementary infusion of ideas/generation tasks, while the control group participants received formal curriculum-based teaching. Data were collected through: a) a self-reporting questionnaire of student’s and teacher’s perceptions of student’s creative ability and b) a self-made test of creativity consisting of two equivalent forms for pre and post testing. The findings demonstrated that creativity can be improved even in strict centrally controlled curricula and therefore the infusion of creativity tasks in formal curricula could be beneficial to develop creative thinking.

The objective of this study is to examine the students’ purposes in conducting thought experiments while solving physics problems. There were 12 pre- and in-service physics teachers as the participants in this study and divided into three groups with four students in each. Physics problem-solving activities were used as a context for observing students’ processes in doing TEs. The results of the data analysis showed that there were three types of purposes of the students in doing the TEs during physics problem-solving activities: prediction, verification, and explanation. Therefore, it can be concluded that in the context of problem-solving, students design and run thought experiments as a creative ability tool to (1) predict solutions to the problem, (2) verify whether their hypothesis is correct or incorrect, (3) provide a detailed explanation to their hypothesis. Based on this study, we discuss the differences and similarities in the purposes of scientists and students in doing thought experiments. The importance and implications of thought experiments for current and future physics teachers are also discussed in the last part of this study

A divindade criadora egípcia, predominantemente masculina, tem sido interpretada como andrógina com base, entre outros motivos, no facto de esta executar acções-msj, habitualmente projectadas na esfera feminina. O presente artigo pretende auscultar as diferentes atestações de msj enquanto expressão de um acto cosmogónico nos hinos religiosos do Império Novo egípcio (c. 1539-1077 a.C.). Este exercício exploratório estrutura-se em dois eixos fundamentais: por um lado, a constatação de que nem todas as atestações de msj remetem para um acto biológico e/ou reprodutivo; por outro, a compreensão de que a capacidade (pro)criadora da divindade não a coloca forçosamente no espectro da não-binariedade de género. Para tal, atentar-se-á à distribuição dos determinativos nas diferentes grafias do vocábulo, mas também aos contextos fraseológicos em que o mesmo figura, a partir de uma selecção das fontes que constituem este corpus. Pretende-se assim encetar um entendimento mais matizado do vocábulo e, por extensão, questionar a pertinência do epíteto “andrógino” na caracterização do deus criador.

Purpose: The main objective of this research is to identify the impact of parallel performance of various tasks on the individual effectiveness. Moreover, a methodological goal was set for the research to explore the possibilities of using eye-tracking in the studies of multitasking. Design/Methodology/Approach: The study was conducted in the form of an experiment. All participants worked at the same computer station time was measured with Eye Tracker. Findings: It was confirmed that multitasking requires more time to accomplish tasks and deteriorates creativity, but not correctness of the answers in case of simple tasks. Interestingly, in case of multitasking under time pressure, the performance was worse. Practical Implications: Deeper understanding of the determinants and effects of multitasking on organizational and individual performance enables the adjustment of work organization and management style in order to achieve optimal results. Originality/Value: This paper brings new insights to the studies of multitasking not only in terms of the results of an experimental research, but also in terms of methodological concerns like eye-tracking as a new method of empirical diagnosis., peer-reviewed

We live in an age where thinking for the common good is often overshadowed by alienation and discontent due to the impact of human behaviour on the planet. Fast paced lifestyles are leading to unsustainable environments that may not be conducive to the physical, emotional and mental wellbeing of citizens. In the wake of the wish for a more serene post-Anthropocene life, applications of how we may get to this phase are being actively sought. There has never been a better time to rekindle notions in relation to creative cognition in search for new opportunities. This paper aims to expand on the concept of ‘the possible’ by focusing on the potential to enrich human experience by exploring alternatives while engaging with the what lies beyond the ‘here and now’ and to engage with the ‘not [yet] here’. Firstly, the possible is defined in the context of post-Anthropocene futures. The presentation moves on to explore how using cognitive processes novel ideas may be extracted with the potential to pave the way for strategies that may lead to a more sustainable approach to how we humans impact our own lifestyles and the planet. This concept invites us to aspire, to think ahead, fantasize, and to wonder. It is time for us to deliberately break free from what we know and what we take for granted and to think of the ‘possible’. Secondly, adopting a sociocultural position, this paper aims to explore how the possible may be approached through its embeddedness within human agency and world. A salient factor in this process is the need to reconsider our approach to thinking and to go beyond the actual by exploring the future. Understanding and accepting that nonhuman activity is present at all levels creates a further need to engage with the possible. This could potentially enhance the coexistence with new technological developments, and the subsequent ethical implications that these pose while enhancing civic engagement and nurturing of communities. In the light of need to rethink our future to engage with the possible, we depart from the idea that creative thinking is a skill that can be learned and that it can be used to design new prospects. Creative thinking is a tool that may facilitate our creative cognitive processes to imagine the possible both at an individual level and within, communities. Through the possible, aspirations may become realities. If humans develop the ability to break free with old concepts and engage with the possible a generative mindset could be created leading to engaged communities. These new opportunities that might emerge could lead us to the post-Anthropocene., peer-reviewed

Twelve years, twelve events. Despite the well-established tradition of our community to get together, share results and challenge partners with unexpected new threads, this year opens a new stage. After much discussion, the Ubiquitous Music Group decided to take up Teresa Connor’s proposal and coined a new name for our event, The Ubiquitous Music Symposium. Following the nice experiences of hybrid and remote events held in Porto Seguro, Bahia, Brazil in 2020 and Porto, Portugal, in 2021, this year our community decided to fully embrace the remote modality. The event was hosted by our partners at the State University of Paraná (Unespar), located in Curitiba, Brazil, under the able coordination of Felipe de Almeida Ribeiro.&nbsp

The idea of disobedient machines is developed from the perspective of artificial intelligence, rather than fiction. Misbehavior in humans and machines is presented as a one of the skills which are indispensable for natural intelligence. Different approaches to AI are presented, from symbolism to emergism. The limits of computational formalism are presented, together with Hofsdtader’s theory of consciousness. It is argued that a machine cannot reach human intelligence unless it is also able to disobey. Hence, an exploration of algorithmic misbehavior is urgent for further development of AI for the arts and society in general.

This paper explores the relationship between individual creative productivity and learning aboutideas of others. I report evidence from a two-stage real-effort lab experiment, in which subjects perform ideageneration tasks. In the first stage some subjects observe creative output of other players, while the othersnot. This design makes possible to assess whether learning ideas of others is an important input for ideageneration and quantify its importance. In the second stage, I make ideas costly and study the subjects’willingness to pay for them. I compare the costs of ideas to the expected monetary benefits from increasedcreative productivity and characterize investment behavior of the subjects. The results show that observingoutput of others boosts productivity in creative tasks, but only when it shows truly new, previously unknownby the subject items. When ideas of others become costly, I find that the subjects do not act in a profitmaximizing way. To minimize the costs they choose to see the ideas of less creative players, which usually donot contribute many original items. As a result, the participants get less than optimum benefits. This effect ismore pronounced for subjects of lower creative ability, more risk-averse or self-confident participants andfemales. In aggregate, such behavior does not lead to the highest possible level of creative production. Thesefindings make an argument for policies that encourage exchange of information at a workplace (e.g.teamwork, workshops) and at the same time show the need for oversight, central planning of collaborativeactivities or other actions that may help to creative professionals to invest efficiently, when access to ideas ofothers is costly.

Os avanços tecnológicos intensificados a partir das últimas décadas do século XX alteraram o cenário da competição global. No contexto, então, das sociedades contemporâneas, a cidade assume nova centralidade e, decorrente dela, novas funções. Seu território deve considerar atender às demandas dessa população urbana que não mais se alinha as das sociedades industriais. Nesse sentido, a oferta cultural e a criativa, nas localidades, passa a ser entendida como recurso estratégico no composto econômico das sociedades contemporâneas e, por meio das indústrias culturais e criativas e do turismo criativo, gera externalidades positivas promotoras de desenvolvimento econômico e social. Portanto, diante da acelerada urbanização, par e par ao fenômeno da desindustrialização que acomete grande parte das cidades na contemporaneidade, evidencia-se a necessidade de identificar e valorizar as práticas que utilizam a cultura e a criatividade para agregar valor à cidade, aos seus habitantes e a sua economia e que contribuam para a sua sustentabilidade. Assim, é preciso compreender quais são os aspectos essenciais, aqui entendidos como dimensões, que permitem avaliar o potencial existente em uma localidade para a oferta de bens e serviços culturais e criativos e sua contribuição ao turismo. Dessa maneira, a partir desse questionamento, objetiva-se, com este estudo, elaborar um Modelo Prático-Teórico, a fim de compreender as potencialidades de uma localidade para a oferta de bens e serviços culturais e criativos, com destaque ao turismo criativo (sustentadas na economia criativa). Para tanto, o estudo está assentado na metodologia compreensiva weberiana, que propõe a construção de uma espécie tipo ideal congregando todas as particularidades encontradas em fenômenos de mesma natureza, obtendo-se, portanto, um modelo abstrato e utópico, cujo principal objetivo é estabelecer um confronto com a realidade observada empiricamente. Dessa forma, adotou-se como procedimento metodológico, além da revisão teórica, a fim de sustentar os construtos deste estudo, uma pesquisa exploratória, por meio da análise de conteúdo de 16 estudos aplicados (Índices, Monitores, Redes, ISOs, Planos Estratégicos). A partir dessas análises, procedeu-se a definição dos elementos para integrar o Modelo: seis Dimensões (Humana, Econômica, Social, Cultural, Governança e Instrumental); 16 categorias de análise, indicadores e variáveis. A complexidade da estrutura requer, para sua operacionalização, ajustes coerentes com as características do local a qual será aplicado o Modelo e ao tamanho da equipe de investigação. [resumo fornecido pelo autor] The technological advances intensified in of the last decades of the 20th century have changed the scenario of global competition. In the context of contemporary societies, the city assumes a new centrality and, as a result, new functions. Its territory must consider meeting the demands of this urban population that is no longer aligned with those of industrial societies. In this sense, culture and creativity come to be understood as strategic resources in the economic mix of contemporary societies and, through cultural and creative industries and creative tourism, generate positive externalities that promote economic and social development. Therefore, in face of the accelerated urbanization that goes hand in hand with the phenomenon of deindustrialization that affects a large part of cities in contemporary times, the need to identify and value the practices that use culture and creativity to add value to the city, its inhabitants, and its economy, and that contribute to its sustainability, becomes evident. Thus, it is necessary to understand which are the essential aspects, here understood as dimensions, that allow us to evaluate the potential existing in a location, for the supply of cultural and creative goods and services and their contribution to tourism. Thus, based on this questioning, the objective of this study is to elaborate a Practical-Theoretical Model in order to understand a locality's potential for the supply of cultural and creative goods and services, with emphasis on creative tourism (supported by the creative economy). To this end, the study is based on the weberian comprehensive methodology, which proposes the construction of a kind of ideal type bringing together all the particularities found in phenomena of the same nature, thus obtaining an abstract and utopian model, whose main objective is to establish a confrontation with the empirically observed reality. Thus, it was adopted as a methodological procedure, besides the theoretical review, in order to sustain the constructs of this study, an exploratory research, through the content analysis of sixteen applied studies (Indexes, Monitors, Networks, ISOs, Strategic Plans). From these analyses, we proceeded to define the elements defined to integrate the Model: six Dimensions (Human, Economic, Social, Cultural, Governance, and Instrumental); sixteen categories, indicators, and variables. The complexity of the structure requires, for its operationalization, adjustments consistent with the characteristics of the place to which it will be applied and the size of the research team. [resumo fornecido pelo autor]

The master thesis mainly researched three topics: digital creative workshop, role-driven creativity, and gamification. After extensive research, the graduate found that all these three elements can be integrated together in a way that benefits each other. Ostory is the digital creative workshop where creative team members (internal or external) can complete individual and group tasks while being immersed with the game experience with increasing fun and engagement. The end result is a valuable creative outcome that provides insights for the actual creative challenge the team is working on.

The assessment of creativity presents major challenges. The many competing and complementary ideas on measuring creativity have resulted in a wide diversity of measures, making it difficult for potential users to decide on their appropriateness. Prior research has proposed creativity assessment taxonomies, but we argue that these have shortcomings because they often were not designed to (a) assess the essen tial assessment features and (b) are insufficiently specified for reliably categorizing extant measures. Based on prior categorization approaches, we propose a new framework for categorizing creativity measures including the following attributes: (a) measurement approach (self-report, other-report, ability tests); (b) construct (e.g., creative interests and attitudes, creative achievements, divergent thinking); (c) data type generated (e.g., questionnaire data vs. accomplishments counts); (d) prototypical scoring method (e.g., consensual assessment technique [CAT]); and (e) psychometric problems. We identified 228 creativity measures appearing in the literature since 1900 and classified each measure according to their task attributes by two independent raters (rater agreement Cohen’s kappa .83 to 1.00 for construct). We provide a summary of convergent validity evidence and psychometric shortcomings. We conclude with recommendations for using the taxonomy and some psychometric desiderata for future research., acceptedVersion

This article discusses the use of various materials from the language portfolio, how a student can use their opportunity to compare their level of English proficiency with other levels of their fellow students in the study group, as well as with specific European standards, thereby determining the most rational methods and ways to improve their skills, knowledge and skills. As well as the language portfolio, is designed to provide a rational approach to the organization of independent activities of students to master the studied English language.

Art teaching in schools is a key measure for students to improve their innovative ability. At present, teachers need to formulate various objectives of art education and teaching in colleges according to the specific conditions of students, while the purpose of art education and teaching in college students under the new curriculum is to combine students’ personality characteristics, constantly improve students’ personalized innovation, optimize the way of college art education, and provide reference for the future college art education.

LEE WORLEY: Am I still frozen? ANTON KRUEGER:...every now and then there's a little bit of a gap where it freezes...It's okay, we can use the pause to take a moment every now and then...

Chinese is one of the most important courses in China's educational subjects, a very important basic discipline. College Chinese language and literature, this course should be energetic, learning of college students' love and positive input. However, the innovation ability of Chinese teaching in China is still insufficient and lacks vitality. College Chinese teaching has not yet become a fortress that can provide talents for our country, and has not yet played a vanguard and exemplary role. This paper puts forward corresponding suggestions and suggestions on the problems existing in the current stage of cultivating students' innovative ability in college Chinese teaching classroom, so as to promote the better development of college Chinese education in China.

Fotografías y figuras Visual and iconic texts such as photographs have intensified their circulation in the public and private settings of the current citizenships. The photos are essential resources to stimulate conversations around certain topics because they represent diverse sensations that are expressed through textual creations. In social and familiar encounters, photographs are powerful resources that are used to enthrone memories about special occasions; thus, photos allow the spontaneous development of all communicative competences. In our eye – centered world, fixed images like photos, are a strategic axis of communication that gathers children and teenagers into having creative and authentic experiences in their family surroundings and formal school environment. In this line of ideas, this investigation inquires aspects related to the importance of photography on school and family environments. It dialogues with the subjectivities and cyber-citizenship, speaks about new narratives and demystifies banal photography from an innovative pedagogical characterization. According to the results, the research had as a main goal to strengthen the bonds between photography and reading, writing listening, and speaking processes through artistic and communicative creations. This process approaches the relations of photography as both text and pedagogical tool, it validates their impact on all four language dimensions (reading, writing, speaking, and listening) and it links these connections with verse, song, paint, and sculpture composition. The project is supported by the phenomenological methodology and systematization of experiences from which analyzes of photographic and artistic representations are carried out. The project ventures into photography as a multi – sense semiotic tool, immerse in a specific context. It also shows the relevance in formal education and the potential of communicative and discursive abilities, and its correlation implied in visual language, education, and aesthetics in school curricula and family dynamics. (Texto tomado de la fuente). Los textos icónicos – visuales como las fotografías intensifican su circulación en los escenarios públicos y privados de las vigentes ciudadanías. Las fotos constituyen recursos imprescindibles para estimular los diálogos alrededor de un tema, puesto que, su iconografía representa multívocas sensaciones que se entronizan en diversas creaciones textuales. En los espacios sociofamiliares las fotografías son recursos poderosos para dinamizar los recuerdos en torno a un evento especial, por tanto, propician el desarrollo espontáneo de las competencias comunicativas. En un mundo oculocéntrico, la imagen fija como la foto, es un eje de comunicación estratégico para convocar a los niños, niñas y jóvenes a ser creativos y auténticos con sus experiencias en el escenario familiar y escolar. De ahí que, este trabajo inquiere sobre la importancia de la fotografía en la escuela y sus correlaciones implicadas en los escenarios domésticos; dialoga con las subjetividades y las ciber ciudadanías, interpela nuevas rutas narrativas y desmitifica el universo banal de la fotografía desde una caracterización pedagógica innovadora. De acuerdo con los resultados, en la investigación se fortalecen los vínculos entre la fotografía y los procesos de lectura, escritura, escucha y habla a partir de creaciones artísticas-comunicativas. Este proceso aborda las relaciones de la fotografía como texto y herramienta pedagógica, valida su incidencia en las dimensiones del lenguaje (leer, escribir, hablar y escuchar) y vincula estas conexiones en la creación de versos, canciones, pinturas y esculturas. El trabajo está apoyado en la metodología fenomenológica y sistematización de experiencias desde los cuales se realizan los análisis a las representaciones fotográficas y artísticas. El proyecto incursiona en la fotografía como herramienta semiótica de múltiples sentidos, inmersa en un entorno, muestra la relevancia en la educación formal y la potencialidad de las habilidades comunicativas – discursivas y su relación en el lenguaje visual, la educación formal, y lo estético-comunicativo de las dinámicas del currículo escolar y sociofamiliar. (Texto tomado de la fuente). Maestría Magíster en Educación El trabajo está apoyado en la metodología fenomenológica y sistematización de experiencias desde los cuales se realizan los análisis a las representaciones fotográficas y artísticas. El proyecto incursiona en la fotografía como herramienta semiótica de múltiples sentidos, inmersa en un entorno, muestra la relevancia en la educación formal y la potencialidad de las habilidades comunicativas – discursivas y su relación en el lenguaje visual, la educación formal, y lo estético-comunicativo de las dinámicas del currículo escolar y sociofamiliar. Lenguajes y Literaturas

Resumo: Pretende-se problematizar sobre as condições de participação política da criança na sociedade de consumo, apontando o quanto a educação infantil tem a fazer para tornar-se uma via potencializadora que supere práticas de exclusão e de fragilidade dos laços sociais. Importa na atualidade uma discussão crítica sobre os ideais de uma cultura que desautoriza muitos dos seus membros, negando suas capacidades de realizar mudanças significativas em suas experiências cotidianas. Metodologicamente, análises bibliográficas pautadas na teoria crítica e histórico-cultural, articularam-se aos resultados de uma pesquisa de tese, visando refletir sobre a constituição da autonomia da criança em ambiente escolar na sociedade de consumo. Considerando a dinamicidade das relações e dos espaços sociais, a escola precisa se reinventar, injetando práticas pedagógicas que favoreçam junto à criança sua participação nos projetos coletivos e que fomentem sua capacidade criativa como forma de viabilizar seu desenvolvimento social e moral, bem como o exercício de sua cidadania. Palavras-chave: Criança. Sociedade. Educação. Abstract: It is intended to problematize on the conditions of political participation of the child in the consumer society, pointing out how much the child education has to do to become a potential way that overcomes practices of exclusion and fragility of the social bonds. A critical discussion of the ideals of a culture that disavows many of its members, denying their ability to make meaningful changes in their everyday experiences, is currently important. Methodologically, bibliographic analyzes based on critical and historical-cultural theory, were articulated to the results of a thesis research, aiming to reflect on the constitution of autonomy in children in school environment in the consumer society. Considering the dynamics of relationships and social spaces, the school needs to reinvent itself, injecting pedagogical practices that favor the child's participation in collective projects and that promote their creative ability as a way to enable their social and moral development, as well as the exercise of their citizenship.Keywords: Child. Society. Education.

الصورة الشعرية شکل من أشکال التعبير الفني وهي مکمن الإبداع وفيها تتجسد الأحاسيس وتشخص الأفکار، فهي روح الشعر وجوهره، وشاعرنا ابن حمديس له حظ وافر من الشاعرية في الوصف والتصوير، فقد أتقن صوره من خلال إثرائها بمختلف الأشکال والألوان مضفيا عليها بعدا فنيا عميقا، وکل ذلک نابع من جمال بيئة الأندلس وقدرة الشاعر الخيالية والإبداعية، فقد کانت الطبيعة المنهل الحقيقي لصوره الشعرية وکذلک استوحى شاعرنا المرجعية الدينية في تشکيل صوره الشعرية لما لها من تأثير جمالي و انفعالي وکذلک أدخل الموروث الشعري في بناء صوره الشعريه بأسلوب يکشف عن قدرة الشاعر الإبداعية فضلا عن ذلک فقد برزت الاستعارة في شعره بوصفها عنصرا بنائيا في تشکيل صوره الشعرية، وکذلک وظف الصورة الشعرية الکنائية معتمدا على الکنايات المتداولة وکذلک وظف الصورة الشعرية من خلال أسلوب التشبيه بأنواعه، وذلک لميله الشديد إلى الإفصاح عن أفکاره وتعميق المعنى The poetic image is aform of artistic expression and it where creativity is embodied in which feelings and personalities are emboelied, and our poet ibn hamdis has ample luck in poetics in describing and photographing it stems from the beauty of the Andalusian environment and the poets imaginative and creative ability nature was the true source of poetic images because of their anesthetic and emotional impact as well as well as introducing the poetic heritage in building his poetic images in away that reveals the poets creativing conscious, moreover the metaphor emerged in his poetry as a constructive element in shaping his poetic image, as well as employing the poetic image As well as employing the obedient poetic image of the metaphors in circulation well as employed poetic image through different kinds of metaphor style, so severe the tendency toreveal his thoughts and deepn the meaning of

Development of creative ability is influenced by multiple factors. This paper explores the role played by family's socioeconomic status (SES) and parents' involvement in their children's creative thinking development. Longitudinal data were collected four times in 5-month intervals from 75 primary school students and their parents. Latent growth curve model has demonstrated that although there was a significant linear increase in children's figural creative thinking, this level of change significantly varied across participants. Family's SES was related to the initial level of children's creative thinking but unrelated to its growth. Parents' involvement focused on performance orientation was negatively related to the level of change in creative thinking, while more intrinsic, mastery orientation was unrelated to observed changes in creative thinking. We discuss these findings in light of previous theories and research exploring the possibilities of supporting the development of creativity.

The literary is a type of an original work by the author, as an impression of the life combined with the power of imagination and the creative ability which is also supported by the experience and the observation of life. The authors who live amidst society appreciate and know the intricate details of that secular society presence. This research discusses the method to analyze local wisdom contains in the novel series and their relationship with the author’s society. The sample novel series used in this study entitled Full Moon (Padang Bulan/PB) and Love in the Glass (Cinta Dalam Gelas/CDG) by Andrea Hirata, one of Indonesia’s novelist. The analysis combines the analytic-descriptive techniques, the content analysis, and the hermeneutics. The local wisdom and their contradiction can be traced and uncovered in light of the author’s idea, which represents his society. Methods apply in this study can be easily applied to other similar stories which can help the readers understand the purpose of the story. Besides, the conflicting interest and the local wisdom can be compelling to be studied, while we can take the real lessons and the knowledge of another culture and their perspective to solve the issues of their life. This manuscript will help many of the analysis to traces, not just the explanation but forget the true wisdom contains in every stories and matter.

Creative cognition has been consistently associated with functional connectivity between frontoparietal control and default networks. However, recent research identified distinct connectivity dynamics for subnetworks within the larger frontoparietal system—one subnetwork (FPCNa) shows positive coupling with the default network and another subnetwork (FPCNb) shows negative default coupling—raising questions about how these networks interact during creative cognition. Here we examine frontoparietal subnetwork functional connectivity in a large sample of participants (n = 171) who completed a divergent creative thinking task and a resting-state scan during fMRI. We replicated recent findings on functional connectivity of frontoparietal subnetworks at rest: FPCNa positively correlated with the default network and FPCNb negatively correlated with the default network. Critically, we found that divergent thinking evoked functional connectivity between both frontoparietal subnetworks and the default network, but in different ways. Using community detection, we found that FPCNa regions showed greater coassignment to a default network community. However, FPCNb showed overall stronger functional connectivity with the default network—reflecting a reversal of negative connectivity at rest—and the strength of FPCNb-default network connectivity correlated with individual creative ability. These findings provide novel evidence of a behavioral benefit to the cooperation of typically anticorrelated brain networks.

Orientador: Wilson Florio Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes Resumo: A criatividade é uma característica própria e absolutamente intrigante do ser humano. Esta idiossincrasia gera mitos e controvérsias devido ao seu gênero subjetivo de atuação em níveis cognitivos, no interior de nossa mente. Assim, uma maneira de enxergarmos os momentos em que se manifesta a criatividade é através da análise do processo criativo durante a fase de desenvolvimento do processo de projeto. Neste caminho, tem-se o objeto de estudo o designer Norberto "Lelé" Chamma, sua produção na criação de identidades visuais e seu processo criativo. Esta pesquisa tem como finalidade observar o designer pesquisado enquanto cria e produz identidades visuais (e marca) em três projetos distintos. Pretende-se assim, rastrear os momentos em que podemos ver a criatividade do sujeito em ação, e de analisar seu processo criativo a fim de montar uma espécie de linha temporal da criatividade. Com isso, o objetivo principal é identificar na atividade prática de um sujeito experiente e criativo, as características abordadas dos conhecimentos teóricos da criatividade, cognição, design e projeto. Para realizar esta pesquisa, foi necessário acompanhar a rotina e a vida de Norberto durante cerca de dois anos e meio, realizar uma série de entrevistas, analisar seus projetos anteriores, observá-lo na produção das marcas e coletar dados em anotações, áudio, vídeo e arquivos. Deste período de pesquisa obteve-se o acompanhamento da produção de diversas marcas, nos quais podemos utilizá-los para ver as características criativas do sujeito e assim dar significado ao trabalho. Há poucos estudos que destinam-se a este fim, que exploram a análise da criatividade pelas teorias apresentadas da maneira como está proposta, sobretudo relacionado com o design gráfico. Por isso, acredita-se contribuir de maneira relevante e original ao campo dos conhecimentos aqui expostos. Tais conhecimentos estão apresentados e separados por capítulos, onde no primeiro temos termos e definições conceituais sobre processo de projeto, design, design gráfico e identidade visual. No segundo capítulo coloca-se as principais teorias da criatividade e cognição que foram utilizadas para embasar a pesquisa. E no terceiro capítulo é apresentada a análise do processo criativo do pesquisado com as três identidades visuais criadas no período da pesquisa. São elas Hospitais Lusíadas, Operis group e Grupo Bueno Netto Abstract: The creativity is an inner and intriguing feature of human being. This idiosyncrasy generate myths and controversies because their subjective genre acting in cognitive levels, inside the mind. A way to see these moments, that manifests the creativity is through the creative process analysis during the development phase of design process. In this way, it has the objective to study the designer Norberto "Lelé" Chamma, its production in the creation of visual identities and its creative process. That research has a purpose to observe the designer while it creates and produces visual identities (and its branding) in three distinct projects. It is intended thus, to track the moments where we can see the creativity of the citizen in action, and to analyze its creative process to mount a species of timeline of creativity. According to this, the main objective is to identify inside the practical activities of an experienced and creative person, the approached characteristics of the theoretical knowledge of creativity, cognition, design and project. To accomplish this research, it was necessary to follow the routine and the life of Norberto during about two and a half years, to carry through a series of interviews, to analyze its previous projects, to observe it in the production of brands and to collect data in notations, audio, video and files. In this period of research, it has obtained itself the accompaniment of the production of many brands, in which we can use them to see the creative characteristics of the person and thus to give meant to the work. There are few studies that destines itself to this purpose that explores the analysis of the creativity for the presented theories in the way as it is proposal, over all related with graphic design. Therefore, it is believed contribute in a relevant and original way to the field knowledge displayed here. Such Knowledge are presented and separate by chapters, where in the first one we have conceptual terms and general definitions of design process, design, graphic design and visual identity. In the second chapter, on places the main theories of the creativity and cognition that had been used to base the research. Further, in the third chapter show the analysis of the creative process of Noberto with three identities created by him in the research period. They are Lusíadas Hospitals, Operis group and Bueno Netto group Mestrado Artes Visuais Doutor em Artes Visuais

ilustraciones, gráficas, tablas La creatividad en el diseño de ingeniería (CDI) es una habilidad de alta demanda para el desempeño en la investigación, el desarrollo de productos y procesos. La sociedad demanda profesionales que encuentren y resuelvan problemas para integrar y aplicar conocimientos y habilidades con soluciones creativas con el trabajo colaborativo de diferentes áreas del conocimiento. El aprendizaje basado en problemas (ABP o PBL) es una práctica educativa que desarrolla conocimientos y habilidades en estudiantes con valores culturales. Este estudio explica cómo el PBL con sus valores culturales puede desarrollar la creatividad en los estudiantes de pregrado, mediante el uso de estadística descriptiva cualitativa y cuantitativa y con un enfoque realista crítico. El estudio diseñó un marco teórico para estudiar el desarrollo del CDI desde el punto de vista de los principios del PBL y la influencia de la cultura de los estudiantes durante el trabajo del proyecto. Primero, explica la relación entre PBL y CDI con las dimensiones de aprendizaje de Illeris y la influencia intelectual sobre PBL de algunos autores en cómo ocurre el aprendizaje. Luego, las 4p’s de la creatividad explican la relación entre los CDI y los principios de aprendizaje del PBL. El marco conceptual utiliza las dimensiones del aprendizaje para comprender cómo los diferentes estudiantes aprenden en diversas prácticas educativas. Así mismo, el marco teórico se completa con un marco metodológico de cuatro etapas para procesar y analizar cuantitativamente los datos. La investigación también desarrolló el Cuestionario de Factores Culturales Revelados, QFR, que tiene 108 afirmaciones en una escala Likert de 1 a 5. Usó preguntas abiertas para diseñar declaraciones de dos grupos de estudiantes de dos universidades. El primer grupo entrevistó a 17/83 estudiantes del trabajo de proyecto del primer semestre de dos programas académicos en la Universidad de Aalborg en Dinamarca, cuya tradición en PBL se acerca a los 50 años. El segundo, con 8/19 entrevistas a estudiantes de un curso con una implementación de los principios de trabajo del modelo de Aalborg en la Universidad Nacional de Colombia, con un modelo educativo tradicionalmente centrado en el docente. El análisis utilizó respuestas textuales con Análisis Temático a 1262 minutos de transcripción literal. Luego lo aplicó a varios cursos para estudiar cultura. El QFR recopiló respuestas de una muestra independiente de 22 cursos seleccionados y 1183 estudiantes, luego se redujo a 12 cursos en el caso de participación no significativa, no completar la evaluación de creatividad o agruparlos por similitudes. Finalmente, el estudio describió esos cursos utilizando el triángulo de Illeris. El análisis de los datos QFR utilizó Componentes Principales, PCA y los valores asociados con el trabajo del proyecto, caracterizados individualmente y descritos de acuerdo con sus valores culturales sobre los principios de PBL. Luego, con las diferencias estadísticas de Kruskal Wallis, Conover-Iman y las direcciones de los ejes PCA encontró diferencias entre cursos. El instrumento para evaluar la creatividad fue CEDA (Creative Engineering Design Assessment), con pruebas a priori y a posterior aplicada en 1088 estudiantes de 16 cursos de ingeniería, de los cuales 14 participaron en el QFR. Se analizó la creatividad en función de la fluidez, flexibilidad, originalidad y utilidad de las ideas, utilizando el t-test y las estadísticas de Wilcoxon para establecer diferencias significativas antes y después del proyecto. El estudio encontró que el trabajo del proyecto como tema central aumentó la creatividad y que, en ninguno de los cursos estudiados, la creatividad disminuyó significativamente. De hecho, el desarrollo de la creatividad ocurre debido a cómo funciona el problema del proyecto en un modelo de PBL. El estudio encontró que la formulación del problema como tema central, el lugar donde los estudiantes realizan el proyecto y el estilo de colaboración grupal afectan la creatividad. El estudio también encontró, utilizando una transformación lineal novedosa entre los valores culturales del trabajo de proyectos en un curso visto desde los valores expuestos en otro curso, que los mecanismos culturales que operan en el PBL tienen un efecto directo o moderador sobre la creatividad. Este procedimiento encontró 15 orientaciones culturales operando como mecanismos y afectando el desarrollo de la creatividad con PBL. Con los resultados de este estudio, se puede investigar la implementación de modelos PBL en cualquier disciplina, a la vez que es útil para el desarrollo de estrategias para desarrollar la creatividad y llegar a soluciones creativas a los proyectos. Además, el marco metodológico demostró ser efectivo en el estudio de los valores culturales del trabajo del proyecto, pudiendo investigar otros temas fuera de la creatividad. (Texto tomado de la fuente). Creativity in Engineering Design (CDI) is a high-demand skill for performance in research, product, and process development. Society demands professionals who find and solve problems to integrate and apply knowledge and skills with creative solutions from collaborative work from different areas of knowledge. Problem-based Learning (PBL) is an educational practice developing knowledge and skills in students with cultural values. This study explains how PBL, with its cultural values, can develop creativity in undergraduate students, by using qualitative and quantitative descriptive statistics and with a Critical Realistic approach. The study designed a theoretical framework to study CDI development from the point of view of PBL principles and the influence of students' culture during project work. First, it explains the relationship between PBL and CDI with the Illeris learning dimensions and the intellectual influence on PBL of some authors in how learning happens. Then, the 4p's of creativity explain the relationship between CDIs and PBL learning principles. The conceptual framework uses the dimensions of learning to understand how different students learn in various educational practices. Likewise, the theoretical framework is completed with a four-stage methodological framework to quantitatively process and analyze the data. The research also developed the Questionnaire of Cultural Factors Revealed, QFR, with 108 statements on a 1-5 Likert scale. It used open-ended questions to design statements from two groups of students from two Universities. The first group interviewed 17/83 students from the first-semester project work of two academic programs at Aalborg University in Denmark, whose tradition in PBL is close to 50 years. The second, with 8/19 interviews with students of one course with an implementation of the working principles of the Aalborg model at the National University of Colombia, with an educational model traditionally centred on the teacher. The analysis used verbatim answers with Thematic Analysis to 1262 minutes of literal transcription. Then applied it to various courses to study culture. The QFR collected answers from an independent sample of 22 selected courses and 1183 students, then reduced to 12 courses in the case of non-significant participation or failure to complete the creativity assessment or grouped by similarities. Finally, the study described those courses by using the triangle of Illeris. The analysis of the QFR data used Principal Componentes, PCA and the values associated with the project work, individually characterized and described according to its cultural values about PBL principles. Then, with the Kruskal Wallis, Conover-Iman statistical differences, and PCA axis directions found differences between courses. The instrument to assess creativity was CEDA (Creative Engineering Design Assessment) by applying pretest and postest on 1088 students from 16 engineering courses, of which 14 participated in the QFR. Creativity was analyzed based on the fluency, flexibility, originality and usefulness of the ideas, using the t-test and Wilcoxon statistics to establish significant differences before and after the project. The study found that the project work as a central theme increased creativity and that, in none of the courses studied, creativity decreased significantly. Indeed, the development of creativity happens due to how the problem of the project function in a PBL model. The study found that the formulation of the problem as the central theme, the place where students do the project, and the style of group collaboration affect creativity. The study also found, using a novel linear transformation between the cultural values of project work in one course seen from the values exposed in another course, that the cultural mechanisms operating in the PBL have a direct or moderator effect on creativity. This procedure found 15 cultural orientations operating as mechanisms and affecting the development of creativity with PBL. With the results of this study, research can be carried out on the implementation of PBL models in any discipline, while it is helpful for the development of strategies to develop creativity and reach creative solutions to projects. Furthermore, the methodological framework proved effective in studying the cultural values of the project work, which could investigate other topics outside of creativity. Incluye anexos Doctorado Doctor en Ingeniería Diseño en Ingeniería Educación en Ingeniería

Individual differences in creativity have been studied and measured for over a century. However, our understanding of creativity as a cognitive ability and its relation to other psychological constructs is still limited. This might partly be due to a) lack of interdisciplinary collaboration, b) low convergent validity of measures that supposedly assess creativity, and c) the small number of multivariate studies investigating the nomological net of creativity. This dissertation addresses these limitations by studying the interdisciplinary understanding of creativity (Manuscript I), its measurement (Manuscript II), and the nomological net of creativity (Manuscript III and IV). The first Manuscript considers and discusses an interdisciplinary view on similarities and dissimilarities between creativity in applied linguistics and psychology. Based on this review, I introduce and relate common terminology and discuss domain-general processes in both disciplines. I conclude by stating that applied linguistics can contribute important expertise for improving the psychometrics of performance appraisals through creativity measures in psychology. In the second Manuscript, I develop a taxonomy for categorizing creativity indicators and summarize the creativity measurements applied since the 1900s based on an exhaustive literature review. This taxonomy—including measurement approaches, definitions of constructs, data types, scoring, and psychometric problems—allows assessing the convergent validity of measures and the development of new and more innovative ones. It is concluded that the application of divergent thinking tasks (tapping aspects such as fluency and originality) shows the smallest discrepancies between the standard definition of creativity as ability and the measures' scope. In the third Manuscript, a selection of these tasks was included in two extensive multivariate studies to shed new light on measurement models of creativity and embed creativity into a nomological net of established ability constructs, personality, and insight. The findings imply that a distinction between the two major aspects of divergent thinking (fluency and originality) is psychometrically difficult. Additionally, the results encourage an interpretation of divergent thinking as an ability construct that is more than just a linear combination of intelligence, personality, and insight. In a fourth study, the threshold theory is thoroughly investigated. It states that an individual's creativity might benefit from intelligence at low intelligence levels, but not once intelligence is above a certain threshold. Based on hitherto proposed and improved methodological approaches and two data sets, I conclude that intelligence and creativity are linearly related across the continuum of intelligence. In total, these four Manuscripts provide guidance in understanding and measuring creativity as a unique psychological construct. This inspires future research approaches, such as a) new assessments, b) alternative scoring procedures, and c) an enlargement of the nomological net of creativity by potentially related constructs (e.g., retrieval ability and emotional creativity).

This paper proposes a multi-dimensional progressive mechanical and electrical engineering virtual simulation experimental teaching platform for large sophisticated equipment aimed to cultivate students' comprehensive design and creative ability. Combining with related industries experimental teaching requirements such as automobile and building material and integrating and optimizing the existing resources such as software resources, information equipment and experimental course resources, the platform incorporates virtual simulation, multimedia and other information technology and consists of virtual simulation experiment platform for assisting real experiment teaching, virtual simulation experiment platform for expanding real experiment teaching and virtual simulation experiment platform for supplementing real experiment teaching. The teaching practice proves that the platform improves the students' engineering practice ability, comprehensive design ability and innovation ability, which provides a good support for cultivating compound talents mastering the structure and application of large industrial equipment.