Matching Items (3)
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- Genre: Art--Psychology.
- Genre: Art--Study and teaching (Preschool)--Kuwait--Methodology.
- Genre: Music--Computer network resources.
- Creators: Arizona State University
- Member of: Theses and Dissertations
Description
As the desire for innovation increases, individuals and companies seek reliable ways to encourage their creative side. There are many office superstitions about how creativity works, but few are based on psychological science and even fewer have been tested empirically. One of the most prevalent superstitions is the use of objects to inspire creativity or even make a creative room. It is important to test this kind of notion so workplaces can find reliable ways to be innovative, but also because psychology lacks a breadth of literature on how environmental cues interact with people to shape their mental state. This experiment seeks to examine those gaps and fill in the next steps needed for examining at how multiple objects prime creativity. Participants completed two creativity tasks: one for idea generation and one that relies on insight problem solving, the Remote Association Task. There were four priming conditions that relied on objects: a zero object condition, a four neutral (office) objects condition, a single artistic object condition, and finally a four artistic objects condition. There were no differences found between groups for either type of task or in mood or artistic experience. The number of years a participant spent in the United States, however, did correlate with mood, idea generation scores, and insight problem scores. This potentially demonstrates that performance on idea generation and insight tasks rely on the tasks created and culture.
ContributorsJariwala, Shree (Author) / Branaghan, Russell (Thesis advisor) / Cooke, Nancy J. (Committee member) / Song, Hyunjin (Committee member) / Arizona State University (Publisher)
Created2013
Description
To understand the visual culture and art education practices within three ideologically distinct kindergartens, I employed an interdisciplinary approach, utilizing tools from the fields of art, education, anthropology, literary theory, visual studies and critical social theory. Each of the three schools was considered to be the "best" of its kind for the community in which it resided; TBS was the original bilingual school, and the most Westernized. It was set in the heart of a major city. The second school, OBS, operated from an Islamic framework located in an under-developed small transitioning suburb; and the last school, NBS, was situated in Al-Jahra, an "outlying area" populated by those labeled as bedouins (Longva, 2006). The participants' attitudes towards art education unfolded as I analyzed my visual observations of the participants' daily practices. I have produced a counter-hegemonic visual narrative by negotiating my many subjectivities and methods to gain new knowledge and insights. This approach has provided a holistic understanding of the environment in each site, in which attitudes and practices relating to art education have been acquired by the community. Operating from three different educational paradigms, each school applied a different approach to art education. The more Westernized school viewed art as an individual act which promoted creativity and expression. In the Islamic school art was viewed as an activity that required patterning (Stokrocki, 1986), and that the child needed to be guided and exposed to the appropriate images to follow. In the bedouin school, drawing activities were viewed as an opportunity for representing one's individual story as well as a skill for emergent literacy.
ContributorsAl-Bader, Jawaher Khaled (Author) / Young, Bernard (Thesis advisor) / Margolis, Eric (Committee member) / Tobin, Joseph (Committee member) / Arizona State University (Publisher)
Created2012
Description
This study examined discussion forum posts within a website dedicated to a medium and genre of music (chiptunes) with potential for music-centered making, a phrase I use to describe maker culture practices that revolve around music-related purposes. Three research questions guided this study: (1) What chiptune-related practices did members of chipmusic.org discuss between December 30th, 2009 and November 13th, 2017? (2) What do chipmusic.org discussion forum posts reveal about the multidisciplinary aspects of chiptunes? (3) What import might music-centered making evident within chipmusic.org discussion forum posts hold for music education? To address these research questions, I engaged in corpus-assisted discourse analysis tools and techniques to reveal and analyze patterns of discourse within 245,098 discussion forum posts within chipmusic.org. The analysis cycle consisted of (a) using corpus analysis techniques to reveal patterns of discourse across and within data consisting of 10,892,645 words, and (b) using discourse analysis techniques for a close reading of revealed patterns.
Findings revealed seven interconnected themes of chiptune-related practices: (a) composition practices, (b) performance practices, (c) maker practices, (d) coding practices, (e) entrepreneurial practices, (f), visual art practices, and (g) community practices. Members of chipmusic.org primarily discussed composing and performing chiptunes on a variety of instruments, as well as through retro computer and video game hardware. Members also discussed modifying and creating hardware and software for a multitude of electronic devices. Some members engaged in entrepreneurial practices to promote, sell, buy, and trade with other members. Throughout each of the revealed themes, members engaged in visual art practices, as well as community practices such as collective learning, collaborating, constructive criticism, competitive events, and collective efficacy.
Findings suggest the revealed themes incorporated practices from a multitude of academic disciplines or fields of study for music-related purposes. However, I argue that many of the music-related practices people discussed within chipmusic.org are not apparent within music education discourse, curricula, or standards. I call for an expansion of music education discourse and practices to include additional ways of being musical through practices that might borrow from multiple academic disciplines or fields of study for music-related purposes.
Findings revealed seven interconnected themes of chiptune-related practices: (a) composition practices, (b) performance practices, (c) maker practices, (d) coding practices, (e) entrepreneurial practices, (f), visual art practices, and (g) community practices. Members of chipmusic.org primarily discussed composing and performing chiptunes on a variety of instruments, as well as through retro computer and video game hardware. Members also discussed modifying and creating hardware and software for a multitude of electronic devices. Some members engaged in entrepreneurial practices to promote, sell, buy, and trade with other members. Throughout each of the revealed themes, members engaged in visual art practices, as well as community practices such as collective learning, collaborating, constructive criticism, competitive events, and collective efficacy.
Findings suggest the revealed themes incorporated practices from a multitude of academic disciplines or fields of study for music-related purposes. However, I argue that many of the music-related practices people discussed within chipmusic.org are not apparent within music education discourse, curricula, or standards. I call for an expansion of music education discourse and practices to include additional ways of being musical through practices that might borrow from multiple academic disciplines or fields of study for music-related purposes.
ContributorsO'Leary, Jared Duane (Author) / Mantie, Roger A (Thesis advisor) / Tobias, Evan S (Thesis advisor) / Schmidt, Margaret (Committee member) / Stauffer, Sandra (Committee member) / Thompson, Jason (Committee member) / Arizona State University (Publisher)
Created2018