Browsing by Subject "creativity"
Now showing items 1-3 of 3
-
(2024)The purpose of this research is to explore the concept of creativity and its significance in the context of education. The investigation was mainly guided by the theoretical approach of Vlad Glăveanu and Ronald Beghetto who define creativity as an experience that involves novel encounters between a person and the world. This approach focuses not on the outcome of one’s creative work or creative abilities but rather on an individual as a unique being. Creativity as an experience can be analysed in the light of the philosophy of Gilles Deleuze and Félix Guattari (1987) who explore the concepts of rhizome and becoming. Rhizome refers to a plant that spreads its horizontal stems and grows irregularly in all directions. Creativity seems to ‘‘grow’’ as a rhizome – it can be seen as an experience that unfolds unpredictably and irregularly in unknown directions. Moreover, creativity can be understood as a transformative movement, called by Deleuze and Guattari becoming. Drawing on these theories, my inquiry investigates what is creativity as a rhizomatic experience of becoming, how does it unfold and what happens during this experience. To answer these questions, I decided to use a/r/tography as a methodology and conduct an art experiment as a research method. The essence of the art experiment was the creation of installation art together with a 7-years-old boy. It was an a/r/tographic inquiry that combined artistic practice, research practice, and teaching practice. The pivotal outcome of my a/r/tographic inquiry is, in fact, the art experiment itself, and its verbal and visual presentation as they illustrate what occurs during the creative experience. Along with this, the inquiry brought into light theoretical insights, artistic insights, and educational insights, which all indicate that creativity can be indeed viewed as a rhizomatic experience of becoming.
-
(2008)This work studied the creative process of musicians. The subject was chosen partly due to the attention given to creativity in social discussion. The approach was material-based, because during the work it became clear that the theoretical models describing the creative process in general did not provide adequate tools for the examination of musical creation. In this study, the creative process was defined as a process, which generated a work found by the musician novel to him or her. There were two principal research questions: 1) How does the creative process of musicians progress? 2) What makes a process creative? The main emphasis was on the first question, because the study aimed at modeling the creative process of musicians. The material for this study was collected by interviewing five professional musicians, each qualified by an expert of music to be creative. The interviews were thematically linked with each musician's recently implemented creative process. The work generated in the process was used as a stimulant in the interview. The main themes of the interview dealt with the musician's concrete action, cognitive functioning and affective experience during the process. Secondary themes included his or her goals as well as the factors that enhanced or inhibited the process. A material-based analysis was made of the interviews. The conceptualization and modelling of the creative process was founded on a phenomenological-hermeneutic interpretation. In addition to the primary interviews, also supplementary interviews were made in order to ensure that the description of the musician was understood correctly. Further supplementary interviews were made when the material was analyzed and results were deduced. This aimed at increasing the reliability of interpretations and conclusions. The study resulted in a four-level model representing the progress of a creative process. The levels were defined by means of the conception of state. The levels used in defining the process were 1) the state determining the potential of the process, 2) the state delimiting the process, 3) the state orienting the process, and 4) the state determined by the process. The progress of the process was described as changes taking place in the state. It was discovered that the factors having an effect on the creativity of the process were the dynamism of the process, the musician's work in relation to his or her inner standard and the impulses that caused variation in the musician's thinking. The interview method used in this study proved to be a very suitable tool in an examination of a creative process. Thus it may well be applicable in other research contexts associated with creative processes. The outcome of this study, the model of the progress of a creative process, should also provide a feasible basis for the examination of different kinds of creative processes. It enables a comprehensive examination of a creative process, simultaneously justifying the dynamic nature of the process.
-
(2018)Purpose of this masters’s thesis is to find and describe pedagogical elements of the studio practices at the Faculty of Fashion, Clothing and Textile, at the Aalto University School of Art, Design and Architecture. The focus is on renewed textile design education, especially in The Woven Fabrics Studio practices. Another aim is to examine the pedagogical views behind the main findings. The studio pedagogy is theoretically approached by R. Keith Sawyer’s (2018) research and the studio model, which is a cultural model of teaching and learning at the schools of art and design. Another theoretical frame is conducted from the field of materiality and the theory of embodied cognition, which can explain the importance of material explorations. The studio pedagogy has indicated to have remarkable benefits in design education by mastering creativity, and it could offer potential ideas extended to other school levels as well. In present study, I also summon an overview about the requirements needed from the operational unit, as offering studio pedagogy needs special arrangements. The ethnographic data is collected from the semi-structured theme interviews of the five professionals, deeply involved in design pedagogy at the faculty. In addition, two short observation phases were conducted at the weave studio and at the fabric print studio. The qualitative content analysis is done as theory and data-driven analysis. According to the results, one of the most distinct pedagogical element are the design assignments, that are based on the students’ individual concept and visual research, before going further with the material explorations at the studios. Lots of time and effort is put on this very early phase of the design process, and it is seen to lead originality and innovative results. The assignments include always both the artistic and technical sides, which is found effective and convenient way of learning. Processes such as creative and learning processes are seen the most important learning outcome. Preparing students to become design professionals, project management skills are practiced with advanced courses including lots of independent work. The Woven Fabric Studio courses are often intensive few week modules, which are available also for students from other faculties. Studio masters’ role is crucial at daily studio work. In addition to proper learning environments and up-to-date facilities, studio pedagogy requires great amount of resources, scheduling, pedagogical visions, and engagement. Learner-centerness and social aspects of learning are strongly emphasized, and many voluntary multidisciplinary projects are offered.
Now showing items 1-3 of 3