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- All Subjects: Choruses
Description
There is a popular notion that creativity is highly valued in our culture. However, those "in the trenches," people in creative endeavors that actually produce the acts of creativity, say this is not so. There is a negative correlation between the value stated and the true value placed on creativity by our contemporary culture. The primary purpose of this study was to investigate that correlation as well as a possible contributing factor to this negative correlation--the fear of risk involved in enacting and accepting creativity. The methods used in this study were literature review and interview. An extensive literature review was done, as much has been written on creativity. The review was done in four parts: 1) the difficulty in defining creativity; 2) fear and the fear of creativity; 3) solutions - ways to be, express, and accept creativity; and 4) the plethora of articles written about creativity. Six one-on-one interviews were conducted with creative individuals from a variety of commercial creative endeavors. Creatives in commercial fields were chosen specifically because of their ability to influence the culture. The results of this study showed that the hypothesis, that there is a negative correlation between the value stated and the true value placed on creativity, is true. The fear of risk involved in enacting and accepting creativity as a factor in this dichotomy was also shown to be true.
ContributorsGelman, Howard P (Author) / Heywood, Wil (Thesis advisor) / Patel, Mookesh (Committee member) / Knox, Gordon (Committee member) / Arizona State University (Publisher)
Created2013
Description
This thesis document encapsulates the findings of my research process in which I studied my self, my artistic process, and the interconnectivity among the various aspects of my life. Those findings are two-fold as they relate to the creation of three original works and my personal transformation through the process. This document encapsulates the three works, swimminginthepsyche, applecede and The 21st Century Adventures of Wonder Woman, chronologically from their performance dates. My personal growth and transformation is expressed throughout the paper and presented in the explanation of the emergent philosophical approach for self-study as creative practice that I followed. This creative-centered framework for embodied transformation weaves spiritual philosophy with my artistic process to sustain a holistic life practice, where the self, seen as an integrated whole, is also a direct reflection of the greater, singular and holistic existence.
ContributorsDeWitt, Inertia Q.E.D (Author) / Mitchell, John D. (Thesis advisor) / Dyer, Becky (Committee member) / De La Garza, Sarah (Committee member) / Arizona State University (Publisher)
Created2013
Description
Through the disciplines of art education, anthropology and psychology the researcher examined research-based traits and characteristics of the creative process among a second year Title 1 urban high school art class. Within the theoretical framework of social justice, this micro-ethnographic study explored exactly what teaching and learning to be creative implies and proposes a potential resolution for art teachers learning how to enhance teaching children how to think creatively. The research proposition is that student creativity occurs as a function of a series of interrelated factors including a nurturing classroom context, strong teacher-student dialogue, strategic questioning, purposeful incorporation of visual culture, and manipulation of content in favor of student interests within the culturally situated context of the art classroom. Navigating teacher-student relationships at moments of creative origination produced results indicating that the art teacher alone is the single most influential factor for enhancing creative outcomes in a classroom. Through incorporation of a variety of collaborative activities and comparative analysis of dissimilar content-driven projects generated evidence that artistic skills and creativity do not necessarily go hand-in-hand. The study finds that the artworks produced evidence based nuances of the creative traits of originality, fluency, flexibility, and elaboration in which profoundly varied in character depending on the content and the context. The study concludes that creativity cannot be strictly taught or learned, but rather that it can be enhanced through teacher nurturing and manipulation of content to encompass a socially intelligent uptake in the culture of art-making. Broader implications are suggested focusing on the significance of creative education and the impact it can have for educational systems, schools and undergraduate programs in art education. The researcher proposes an art education curriculum model that fosters both creative thinking and the unique learning needs of Title 1 urban students. The curriculum suggests the art teacher begin initial instruction by teaching students about the traits, characteristics and obstructions of creativity prior to teaching artistic skills sets to serve as a foundation of creative awareness from the start.
ContributorsForeman, Angela (Author) / Young, Bernard (Thesis advisor) / Stokrocki, Mary (Committee member) / Fischman, Gustavo (Committee member) / Arizona State University (Publisher)
Created2014
Description
"Linked Together" is a choreographic piece inspired by at-risk youth and their ability to learn, grow, and transform their lives through dance. The idea for the piece originated from dance programs implemented with under-resourced populations in Virginia, Panama, and India. My teaching experiences in these places sparked the development of a longer, more comprehensive dance program in Arizona, with a Boys and Girls Club. The Arizona dance program included specific somatics exercises, focused on the integration of mind and body, as well as other types of improvisations, to help the participants learn about movement concepts and develop original movement.
The title "Linked Together" suggests that all people are connected in many ways, regardless of personal differences such as socioeconomic status or language. The dancers included myself, Arizona State University (ASU) dance students, as well as Boys and Girls Club dance program participants. For the concert, all dancers portrayed stories and concepts related to empowerment through emotionally charged movement, and thereby provided audience members with a visceral lens through which to see the transformative powers of dance. The data collected from this project through observations, surveys, and interviews suggest that constructive behaviors that are internalized through dance can flow seamlessly into the non-dance world, encouraging people to think creatively, collaborate with others, gain a sense of ownership, and feel empowered in all parts of life.
The title "Linked Together" suggests that all people are connected in many ways, regardless of personal differences such as socioeconomic status or language. The dancers included myself, Arizona State University (ASU) dance students, as well as Boys and Girls Club dance program participants. For the concert, all dancers portrayed stories and concepts related to empowerment through emotionally charged movement, and thereby provided audience members with a visceral lens through which to see the transformative powers of dance. The data collected from this project through observations, surveys, and interviews suggest that constructive behaviors that are internalized through dance can flow seamlessly into the non-dance world, encouraging people to think creatively, collaborate with others, gain a sense of ownership, and feel empowered in all parts of life.
ContributorsDaniel, Chareka (Author) / Fitzgerald, Mary (Thesis advisor) / Britt, Melissa (Committee member) / Manning, Linda (Committee member) / Arizona State University (Publisher)
Created2015
Description
ABSTRACT
This study intended to provide people diagnosed with autism spectrum disorder a creative outlet to experience dance and other art forms as a way of expressing themselves. Other potential benefits were observed throughout the exploration, including social interaction, coordination, and confidence. An interpretive phenomenological research model analyzed participant and parent verbal reflections, written feedback, and video recorded movement sessions to understand and interpret the participant's experience and the potential value of creative movement. The study was conducted over a seven-week period, which included 13, 30-minute movement sessions held biweekly along with interviews, discussions, surveys, and journaling. The research revealed dance empowered each participant to explore his/her creativity and exercise personal expression. The feedback received from the participants and parents through interviews and reflections revealed the participants did exercise and discover social, physical, emotional, and creative expression throughout the study.
This study intended to provide people diagnosed with autism spectrum disorder a creative outlet to experience dance and other art forms as a way of expressing themselves. Other potential benefits were observed throughout the exploration, including social interaction, coordination, and confidence. An interpretive phenomenological research model analyzed participant and parent verbal reflections, written feedback, and video recorded movement sessions to understand and interpret the participant's experience and the potential value of creative movement. The study was conducted over a seven-week period, which included 13, 30-minute movement sessions held biweekly along with interviews, discussions, surveys, and journaling. The research revealed dance empowered each participant to explore his/her creativity and exercise personal expression. The feedback received from the participants and parents through interviews and reflections revealed the participants did exercise and discover social, physical, emotional, and creative expression throughout the study.
ContributorsFinlayson, Kelsey (Author) / Fitzgerald, Mary (Thesis advisor) / Murphey, Claudia (Committee member) / Brown, Karen (Committee member) / Arizona State University (Publisher)
Created2015
Description
With the rapid growth of mobile computing and sensor technology, it is now possible to access data from a variety of sources. A big challenge lies in linking sensor based data with social and cognitive variables in humans in real world context. This dissertation explores the relationship between creativity in teamwork, and team members' movement and face-to-face interaction strength in the wild. Using sociometric badges (wearable sensors), electronic Experience Sampling Methods (ESM), the KEYS team creativity assessment instrument, and qualitative methods, three research studies were conducted in academic and industry R&D; labs. Sociometric badges captured movement of team members and face-to-face interaction between team members. KEYS scale was implemented using ESM for self-rated creativity and expert-coded creativity assessment. Activities (movement and face-to-face interaction) and creativity of one five member and two seven member teams were tracked for twenty five days, eleven days, and fifteen days respectively. Day wise values of movement and face-to-face interaction for participants were mean split categorized as creative and non-creative using self- rated creativity measure and expert-coded creativity measure. Paired-samples t-tests [t(36) = 3.132, p < 0.005; t(23) = 6.49 , p < 0.001] confirmed that average daily movement energy during creative days (M = 1.31, SD = 0.04; M = 1.37, SD = 0.07) was significantly greater than the average daily movement of non-creative days (M = 1.29, SD = 0.03; M = 1.24, SD = 0.09). The eta squared statistic (0.21; 0.36) indicated a large effect size. A paired-samples t-test also confirmed that face-to-face interaction tie strength of team members during creative days (M = 2.69, SD = 4.01) is significantly greater [t(41) = 2.36, p < 0.01] than the average face-to-face interaction tie strength of team members for non-creative days (M = 0.9, SD = 2.1). The eta squared statistic (0.11) indicated a large effect size. The combined approach of principal component analysis (PCA) and linear discriminant analysis (LDA) conducted on movement and face-to-face interaction data predicted creativity with 87.5% and 91% accuracy respectively. This work advances creativity research and provides a foundation for sensor based real-time creativity support tools for teams.
ContributorsTripathi, Priyamvada (Author) / Burleson, Winslow (Thesis advisor) / Liu, Huan (Committee member) / VanLehn, Kurt (Committee member) / Pentland, Alex (Committee member) / Arizona State University (Publisher)
Created2011
Description
The Mathematical and Theoretical Biology Institute (MTBI) is a summer research program for undergraduate students, largely from underrepresented minority groups. Founded in 1996, it serves as a 'life-long' mentorship program, providing continuous support for its students and alumni. This study investigates how MTBI supports student development in applied mathematical research. This includes identifying of motivational factors to pursue and develop capacity to complete higher education.
The theoretical lens of developmental psychologists Lev Vygotsky (1978, 1987) and Lois Holzman (2010) that sees learning and development as a social process is used. From this view student development in MTBI is attributed to the collaborative and creative way students co-create the process of becoming scientists. This results in building a continuing network of academic and professional relationships among peers and mentors, in which around three quarters of MTBI PhD graduates come from underrepresented groups.
The extent to which MTBI creates a Vygotskian learning environment is explored from the perspectives of participants who earned doctoral degrees. Previously hypothesized factors (Castillo-Garsow, Castillo-Chavez and Woodley, 2013) that affect participants’ educational and professional development are expanded on.
Factors identified by participants are a passion for the mathematical sciences; desire to grow; enriching collaborative and peer-like interactions; and discovering career options. The self-recognition that they had the ability to be successful, key element of the Vygotskian-Holzman theoretical framework, was a commonly identified theme for their educational development and professional growth.
Participants characterize the collaborative and creative aspects of MTBI. They reported that collaborative dynamics with peers were strengthened as they co-created a learning environment that facilitated and accelerated their understanding of the mathematics needed to address their research. The dynamics of collaboration allowed them to complete complex homework assignments, and helped them formulate and complete their projects. Participants identified the creative environments of their research projects as where creativity emerged in the dynamics of the program.
These data-driven findings characterize for the first time a summer program in the mathematical sciences as a Vygotskian-Holzman environment, that is, a `place’ where participants are seen as capable applied mathematicians, where the dynamics of collaboration and creativity are fundamental components.
The theoretical lens of developmental psychologists Lev Vygotsky (1978, 1987) and Lois Holzman (2010) that sees learning and development as a social process is used. From this view student development in MTBI is attributed to the collaborative and creative way students co-create the process of becoming scientists. This results in building a continuing network of academic and professional relationships among peers and mentors, in which around three quarters of MTBI PhD graduates come from underrepresented groups.
The extent to which MTBI creates a Vygotskian learning environment is explored from the perspectives of participants who earned doctoral degrees. Previously hypothesized factors (Castillo-Garsow, Castillo-Chavez and Woodley, 2013) that affect participants’ educational and professional development are expanded on.
Factors identified by participants are a passion for the mathematical sciences; desire to grow; enriching collaborative and peer-like interactions; and discovering career options. The self-recognition that they had the ability to be successful, key element of the Vygotskian-Holzman theoretical framework, was a commonly identified theme for their educational development and professional growth.
Participants characterize the collaborative and creative aspects of MTBI. They reported that collaborative dynamics with peers were strengthened as they co-created a learning environment that facilitated and accelerated their understanding of the mathematics needed to address their research. The dynamics of collaboration allowed them to complete complex homework assignments, and helped them formulate and complete their projects. Participants identified the creative environments of their research projects as where creativity emerged in the dynamics of the program.
These data-driven findings characterize for the first time a summer program in the mathematical sciences as a Vygotskian-Holzman environment, that is, a `place’ where participants are seen as capable applied mathematicians, where the dynamics of collaboration and creativity are fundamental components.
ContributorsEvangelista, Arlene Morales (Author) / Castillo-Chavez, Carlos (Thesis advisor) / Holmes, Raquell M. (Committee member) / Mubayi, Anuj (Committee member) / Arizona State University (Publisher)
Created2015
Description
Design problem formulation is believed to influence creativity, yet it has received only modest attention in the research community. Past studies of problem formulation are scarce and often have small sample sizes. The main objective of this research is to understand how problem formulation affects creative outcome. Three research areas are investigated: development of a model which facilitates capturing the differences among designers' problem formulation; representation and implication of those differences; the relation between problem formulation and creativity.
This dissertation proposes the Problem Map (P-maps) ontological framework. P-maps represent designers' problem formulation in terms of six groups of entities (requirement, use scenario, function, artifact, behavior, and issue). Entities have hierarchies within each group and links among groups. Variables extracted from P-maps characterize problem formulation.
Three experiments were conducted. The first experiment was to study the similarities and differences between novice and expert designers. Results show that experts use more abstraction than novices do and novices are more likely to add entities in a specific order. Experts also discover more issues.
The second experiment was to see how problem formulation relates to creativity. Ideation metrics were used to characterize creative outcome. Results include but are not limited to a positive correlation between adding more issues in an unorganized way with quantity and variety, more use scenarios and functions with novelty, more behaviors and conflicts identified with quality, and depth-first exploration with all ideation metrics. Fewer hierarchies in use scenarios lower novelty and fewer links to requirements and issues lower quality of ideas.
The third experiment was to see if problem formulation can predict creative outcome. Models based on one problem were used to predict the creativity of another. Predicted scores were compared to assessments of independent judges. Quality and novelty are predicted more accurately than variety, and quantity. Backward elimination improves model fit, though reduces prediction accuracy.
P-maps provide a theoretical framework for formalizing, tracing, and quantifying conceptual design strategies. Other potential applications are developing a test of problem formulation skill, tracking students' learning of formulation skills in a course, and reproducing other researchers’ observations about designer thinking.
This dissertation proposes the Problem Map (P-maps) ontological framework. P-maps represent designers' problem formulation in terms of six groups of entities (requirement, use scenario, function, artifact, behavior, and issue). Entities have hierarchies within each group and links among groups. Variables extracted from P-maps characterize problem formulation.
Three experiments were conducted. The first experiment was to study the similarities and differences between novice and expert designers. Results show that experts use more abstraction than novices do and novices are more likely to add entities in a specific order. Experts also discover more issues.
The second experiment was to see how problem formulation relates to creativity. Ideation metrics were used to characterize creative outcome. Results include but are not limited to a positive correlation between adding more issues in an unorganized way with quantity and variety, more use scenarios and functions with novelty, more behaviors and conflicts identified with quality, and depth-first exploration with all ideation metrics. Fewer hierarchies in use scenarios lower novelty and fewer links to requirements and issues lower quality of ideas.
The third experiment was to see if problem formulation can predict creative outcome. Models based on one problem were used to predict the creativity of another. Predicted scores were compared to assessments of independent judges. Quality and novelty are predicted more accurately than variety, and quantity. Backward elimination improves model fit, though reduces prediction accuracy.
P-maps provide a theoretical framework for formalizing, tracing, and quantifying conceptual design strategies. Other potential applications are developing a test of problem formulation skill, tracking students' learning of formulation skills in a course, and reproducing other researchers’ observations about designer thinking.
ContributorsDinar, Mahmoud (Author) / Shah, Jami J. (Thesis advisor) / Langley, Pat (Committee member) / Davidson, Joseph K. (Committee member) / Lande, Micah (Committee member) / Ren, Yi (Committee member) / Arizona State University (Publisher)
Created2015
Description
The Imagination + Imagery model for design pedagogy is presented. Two studies were conducted to develop the model: (a) the visual imagery assessment of design students; and (b) a historical research on the concept of imagination. Results suggest the following implications as the components of strong imagination for design thinkers: (a) the ability to shape vivid images of objects in mind; (b) the ability to mentally transform the spatial representations of images; (c) to consider the ethical consequences of imagined situation; (d) to use imagination for resolving design wicked problems; and (e) to actively imagine for mental and emotional health.
ContributorsHedayati, Farzaneh (Author) / Takamura, John (Thesis advisor) / Lerman, Liz (Committee member) / Heywood, William (Committee member) / Arizona State University (Publisher)
Created2018
Description
An old proverb claims that “two heads are better than one”. Crowdsourcing research and practice have taken this to heart, attempting to show that thousands of heads can be even better. This is not limited to leveraging a crowd’s knowledge, but also their creativity—the ability to generate something not only useful, but also novel. In practice, there are initiatives such as Free and Open Source Software communities developing innovative software. In research, the field of crowdsourced creativity, which attempts to design scalable support mechanisms, is blooming. However, both contexts still present many opportunities for advancement.
In this dissertation, I seek to advance both the knowledge of limitations in current technologies used in practice as well as the mechanisms that can be used for large-scale support. The overall research question I explore is: “How can we support large-scale creative collaboration in distributed online communities?” I first advance existing support techniques by evaluating the impact of active support in brainstorming performance. Furthermore, I leverage existing theoretical models of individual idea generation as well as recommender system techniques to design CrowdMuse, a novel adaptive large-scale idea generation system. CrowdMuse models users in order to adapt itself to each individual. I evaluate the system’s efficacy through two large-scale studies. I also advance knowledge of current large-scale practices by examining common communication channels under the lens of Creativity Support Tools, yielding a list of creativity bottlenecks brought about by the affordances of these channels. Finally, I connect both ends of this dissertation by deploying CrowdMuse in an Open Source online community for two weeks. I evaluate their usage of the system as well as its perceived benefits and issues compared to traditional communication tools.
This dissertation makes the following contributions to the field of large-scale creativity: 1) the design and evaluation of a first-of-its-kind adaptive brainstorming system; 2) the evaluation of the effects of active inspirations compared to simple idea exposure; 3) the development and application of a set of creativity support design heuristics to uncover creativity bottlenecks; and 4) an exploration of large-scale brainstorming systems’ usefulness to online communities.
In this dissertation, I seek to advance both the knowledge of limitations in current technologies used in practice as well as the mechanisms that can be used for large-scale support. The overall research question I explore is: “How can we support large-scale creative collaboration in distributed online communities?” I first advance existing support techniques by evaluating the impact of active support in brainstorming performance. Furthermore, I leverage existing theoretical models of individual idea generation as well as recommender system techniques to design CrowdMuse, a novel adaptive large-scale idea generation system. CrowdMuse models users in order to adapt itself to each individual. I evaluate the system’s efficacy through two large-scale studies. I also advance knowledge of current large-scale practices by examining common communication channels under the lens of Creativity Support Tools, yielding a list of creativity bottlenecks brought about by the affordances of these channels. Finally, I connect both ends of this dissertation by deploying CrowdMuse in an Open Source online community for two weeks. I evaluate their usage of the system as well as its perceived benefits and issues compared to traditional communication tools.
This dissertation makes the following contributions to the field of large-scale creativity: 1) the design and evaluation of a first-of-its-kind adaptive brainstorming system; 2) the evaluation of the effects of active inspirations compared to simple idea exposure; 3) the development and application of a set of creativity support design heuristics to uncover creativity bottlenecks; and 4) an exploration of large-scale brainstorming systems’ usefulness to online communities.
Contributorsda Silva Girotto, Victor Augusto (Author) / Walker, Erin A (Thesis advisor) / Burleson, Winslow (Thesis advisor) / Maciejewski, Ross (Committee member) / Hsiao, Sharon (Committee member) / Bigham, Jeffrey (Committee member) / Arizona State University (Publisher)
Created2019