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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.

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.

In the process of art education and teaching, the improvement of students' aesthetic quality and creative ability is the main goal of art teaching. At the same time, it is also the fundamental basis and direction of teaching. In art teaching, aesthetic education is not only reflected by art skills and teaching basis, but also can not separate aesthetic education from basic knowledge and skills of art education. The cultivation of students' artistic quality and creative ability is the main content of the current development of art education and teaching. Colleges and universities should effectively improve and optimize the teaching courses and teaching contents from the aspects of teaching methods, teaching environment, teaching resources, so as to realize the effective cultivation of students' aesthetic quality and creativity. This paper mainly expounds the significance of cultivating students' aesthetic quality and creative ability, and effectively expounds the methods of improvement, aiming to promote the continuous development and reform of art education in colleges and universities, and improve the level of art education.

In recent years, creativity has been a topic of increased interest in the educational environment. Developing creativity is increasingly viewed as an educational imperative because it drives individual student performance and influences their future success as participants in an economy based on knowledge. The objective of this study was to measure and assess 5th grade student creativity, from 24 educational institutions, and compare whether results show significant differences in certain variables. It was concluded that there were significant differences for certain variables such as type of school, gender, socioeconomic status and participation in extracurricular activities. It was also found that as socioeconomic level increased, so did creative ability, with standardized test results following similar trends as applied creativity tests.

today the architectural design activity is increasingly globalized, Based on the study of the architectural culture methods of creative thinking and the process of training, this paper discussed the develop and training of students thinking creative in the process of university architectural education, in order to cultivate the architectural talent with creative ability.

Despite an increasing need for creativity in all corners of business, the spotlight of most recruitment and selection procedures has not shifted accordingly. Measures of creative ability that are to be used in practice should preferably be brief and operationally valid in the small and relatively homogenous pools of subjects that companies typically have to deal with. This article examines the performance of different assessment methods of creative ability in two small-scale hiring contexts, i.e., with prospective marketing employees (marketing students) and with current employees of a creative marketing agency. With prospective marketing employees, a combination of test ratings and student CV ratings of creative ability shows high operational validity. Supervisory ratings and self-ratings of creative ability are reasonable alternatives to test ratings for senior and long-time employees, but should be used with caution when junior employees and recent recruits are concerned.

When we examine the recent official curriculum documents published by the Curriculum Development Council in Hong Kong, we can observe that generic skills such as Collaboration Skills, Communication Skills, Creativity, Critical Thinking Skills, Problem-solving Skills etc. are identified as fundamental in helping students to learn. As most people agree that creativity is an essential element in the computer world, we are going to discuss the ways to develop students' creative ability in computer lessons in this paper.

This paper examines and compares definitions of advertising creativity held by samples of New York agency practitioners and members of the television-viewing public. Specifically, the research investigates (1) definitions of creativity, and (2) evaluations of advertising from a creative perspective. Significant disagreement between the two sets of subjects was found. Explanations and insights are offered and implications are discussed.

This study proposes the Ecological Systems Model of Creativity Development, which emphasizes the dynamic relationships among 4 ecological systems, each individually representing personal characteristics, the family and school experiences, organizational environment, and the social milieu. The findings here confirm the patterns of influence of the first 3 ecological systems-namely the microsystem, the mesosystem, and the exosystem-along with that of creative ability on information technology R & D staff across software and hardware companies. The findings fully support the proposed model and strongly suggest that the 3 ecological systems tested dynamically and interactively influence R & D employees' degree of technological creativity, although the patterns of influence vary somewhat across types of companies.

Creativity is a strategic business weapon. It is an imperative for gaining competitive advantage in the market place. Today, organisations that can unleash, apply and manage the creativity of their workforce can only thrive. However, there is no exact recipe for creativity management. In this paper, some strategies have been designed to help the managers to renew the creative ability of their people, thereby to help their business to become a clear winner.

Artistic activities are frequently touted as being imaginative or valuable in helping develop the imagination of students. However, it is not always clear what is meant by the imagination. Is the imagination a faculty of the mind? Do some people have it while others do not? Is it something that can be developed? Or is having an imagination having the ability to conceive of ideas in a certain way? If having an imagination is an ability to conceptualize in a certain manner, can educators provide experiences which foster this ability? How does this ability differ from creative ability or the ability to fantasize? These questions, among others, must be dealt with if we are to come to an understanding of what we mean by the concept of imagination. Having a clearer understanding of what we mean by the imagination still leaves unanswered questions concerning why we should want to be imaginative and why being imaginative is important for arts education. These are the questions to be addressed in the following paper.

The purpose of this paper is to provide a framework for exploring and studying extraordinary creativity when it comes to an organizational response to digital security. Three areas – inspiration, transformational leadership, and social capital – are argued to significantly impact the creative ability of IT professionals charged with the task of responding to digital security threats. Drawing from diverse literature, the framework offered has the potential to form a foundation for future research to enhance creativity to extraordinary levels when it comes to digital security.

Using a sample of 403 technical professionals from 129 Chinese companies in 28 cities, we found that (1) comparing with supervisors, work support from coworkers may have potentially long-lasting effects on creativity,(2)intrinsic motivation partially mediated the contribution of work support from coworkers to technical professional creative ability. We discuss implications of these results for research and practice.

The article provides a detailed analysis of the problem of development of creative abilities of high school students. The study was conducted by examining the theoretical and practical literature in the field of pedagogy and psychology with reference to the authoritative sources. The article is of topical importance because today the work on the development of creative abilities of university graduates is not effective enough and this problem needs further studies and search of the ways to solve it. The author has carried out a profound work to determine the effectiveness of the fantasy genre as a means of developing creative abilities, the potential of which to date is not used or is used not in full. The article presents a list of characteristic features of fantasy genre, as well as a brief historical background of this literary trend and its differences from other literary genres. The authors make a detailed analysis of the concepts of creativity, creative personality and creative ability and come to the conclusion about the necessity of in-depth studies of the problem raised in the article and elaboration of effective methods enhancing and developing creative abilities of students.

The article focuses on employee creativity and what factors help spark the creative process in employees. It states that new products and product improvements are important in creating a competitive advantage for a company. It mentions that the elements that help promote creativity in emploees is unknown. It comments on a study at the University of Illinois at Urbana-Champaign which examined employee creativity and suggested that self-confidence, intuition, and broad interests help influence an employee's creative ability. It mentions that employee work performance and whether they plan on remaining in the company are also factors that influence employee creativity.

In this article we explore assumptions about the levels of analysis embedded in the extant literature on creativity in organizations. Uncovering and then relaxing these assumptions allow us to extend the literature with an alternative but complementary model of how creativity unfolds in complex, large-scale, and long-duration organizational projects. We build on the paradigm of sensemaking and propose a multilevel model of creativity that, as its defining feature, examines how periodic organizational crises reframe the negotiated order of belief structures about creativity.

To examine the relationships between creative ability in dance and selected attributes of creativity for 61 female dance majors three dance performance tests were devised. These assessed originality, fluency, and flexibility. Four Guilford divergent-production measures and two personological inventories were also administered. Analysis of a cluster analysis and a multidimensional scaling technique indicated the variables grouped into four clusters according to the type of measures administered: (a) dance performance, (b) verbal and visual-figural creativity, and (c) personological information. No interrelationships were found among variables across clusters. This supports consideration of the creativity variables as separate factors of divergent production in dance.

It has been assumed that the associative process plays a central and important role in advertising creativity. Yet, although this assumption has long been recognized, we know very little, other than intuitively, about the creative process itself. This paper represents a preliminary inquiry into this gap of advertising theory, formulating an associative model for the individual copywriter's creative process. More specifically, this study examines the relationship of associative ability, attitude, and creative ability, as conceptualized in the presented model. The findings suggest a direct and significant relationship among these three variables.

Scientists and engineers, like other people, vary in their ability to be creative. Although some jobs in R & D are of a purely routine nature, it is commonly believed that creative ability is a useful attribute for the man in the laboratory. Yet when we measured the creative ability of some scientists and engineers, we found no simple relationship between it and their performance. Upon further exploration, we learned that whether or not creative ability “paid off” depended upon the man's laboratory environment. This paper describes the environments which proved to be good climates for creativity.

Offers an overview of the operational creativity efforts of Kimberly-Clark Corp. History of its business operation; Problems faced in creative efforts within a large corporation; Reactions of the m...

Even if advertising educators cannot teach students to be creative, they can guide and encourage those students with creative talent to enter the creative areas of advertising. Comparing advertising educators' judgments of their students' creative talent with measures of each student's associative creative ability at two major state universities, this study examines the question: Are advertising educators good judges of creative talent?