The Prototype Development of Dummy Companies as A Learning Organization in Communication Arts for Rajabhat Universities

The purposes of this research are to 1) study the factors in the establishment of the prototype of dummy companies as a learning organization in communication arts for Rajabhat Universities, 2) manage the teaching and learning in practical courses of communication arts, Rajabhat University that focus on the dummy companies, and 3) develop and validate the prototype of dummy companies as a learning organization in communication arts for Rajabhat Universities. The samples used for the survey and interviews contain four groups, and four groups for simulation of situation, total of 8 groups. The total sample is 20 people per course.Research tools are composed of Questionnaire; skills test analysis process, including a record of observations and the criteria for observation, approach skills test results were a score and rating criteria to measure performance oriented, Five-force Model Analysis, Value Chain Analysis, analytical strategies to take advantage of the competition, analysis to create a learning organization by learning based on the capability and suitability assessment and certification model. The statistics, used in analyzing data includes frequency, percentage, average, standard deviation, One-Sample T-Test, and Confirmatory Factor Analysis Model to measure the weight of each variable by using LISREL program.The results show that:By examining the consistency of its dummy companies with empirical data by the method of Confirmatory Factor Analysis using the dummy companies, indicates the company has a latent of 11 and a total of 41 indicators. The analysis is used to check the consistency of the dummy companies in its communication on the empirical data and found that the dummy companies are consistent with empirical data X2 = 501.83, p = 1.00, df = 747, GFI = 0.90, AGFI= 0.88, RMR = 0.086. The prototype of dummy companies as a learning organization in communication arts for Rajabhat Universities is composed of; Philosophy, Vision, Mission, Strategy, Policy, and Tactics. Philosophy is the creative development, learning from practice to create a professional entrepreneur media and principles of business to society. Vision is the development of the prototype of dummy companies as a learning organization in communication arts by learning and teaching practice as a professional and creative development of sustainable media

Next Steps in the Journey toward Self-Fulfillment through Critical and Creative Thinking

This work addresses the need for organizational change in the workplace. Too often businesses and companies ignore the advantages of critical and creative thinking. This project first explores some of my thinking patterns relative to designing a synthesis project. What are my interests and what effect do these have in determining a direction for this synthesis paper? Next, I discuss the concepts and ideas surrounding critical and creative thinking from both an individual and organization point of view. Theories and ideas are presented from key critical and creative thinking researchers. My introspection of what I deem to be important aspects of critical and creative thinking are also provided. To help promote understanding of critical and creative thinking, I developed four workshops. Each of these workshops demonstrates specific key elements of both critical and creative thinking along with common pitfalls that occur in our thinking processes. For example, the first workshop pertains to critical thinking concepts and principles and the pitfalls of point of view and frame of reference. In this particular workshop individuals are given an exercise to complete. Then small groups are formed to share their individual results followed by an interactive discussion on critical thinking characteristics. Next, working with the group we try to identify the key elements of critical thinking. After this discussion I present a table that represents these elements of critical thinking. Next, the group and I explore obstacles that get in our way, that prevent us from being good critical thinkers. Then the group and I look at ways to help nurture the critical thinking process. As this particular workshop unfolds and critical thinking principles develop, there is time devoted to emphasizing the progression from individual thinking to team thinking. This progression demonstrates that individuals have different points of view and frames of reference. We approach analysis and evaluation from different perspectives. Mastering critical thinking takes time, awareness, and discipline. The remaining three workshops follow a similar format of using an exercise to help explain CCT principles and of directly involving individuals interactively in order to promote self-discovery. The conclusion of this synthesis provides a look at other considerations a practitioner may need to address relative to conducting workshops. Lastly, my personal thoughts about the CCT program are discussed along with my next steps in the journey

Culture at the Bottom of Startups: Reflections on Social Expectations

This article aims to define the culture at the bottom of the development of “startup” initiatives (or the startup movement). These are initiatives for improving an organization in three different ways: asking creative groups to collaborate with larger organizations for solving specific problems; inviting creative groups (hubs) into larger institutions for searching new ideas; and setting up collective spaces for the sake of public relations. I aim to define if the promotion of startup initiatives could be adequate for faith-based institutions such as the Catholic Church. Startup hubs are growing faster in our world, due to the common perception of social discomfort in regard to the political, economic or social systems. Not every creative initiative is a startup, as these initiatives aim to improve the system from within, thanks to mutual collaboration. Therefore they require common ground and respect for the principles of the larger body. Most startup hubs refer today to technological development, but some of them aim to enhance collective expectations. Our thesis is that some startup hubs could also be set up for changing personal behaviors. Startup hubs with the scope of changing personal lifestyles could also modify cultural interactions, becoming very attractive for faith-based institutions and also for the Catholic Church

The Application of the Principles of the Creative Environment in the Technical Colleges in Palestine

The study aimed to identify the creative environment of the technical colleges operating in Gaza Strip. The analytical descriptive method was used through a questionnaire which was randomly distributed to 289 employees of the technical colleges in Gaza Strip with a total number of (1168) employees and a response rate equal to (79.2%) of the sample study. The results confirmed the existence of a high degree of approval for the dimensions of the creative environment with a relative weight of (75.19%) according to the perspective of the employees of the technical colleges in Gaza Strip. The results of the study showed a high level of creative environment (fluency, flexibility, originality, sensitivity to problems) in the technical colleges in Gaza Strip, where the field (fluency) ranked first and relative weight (76.86%), in the second place came the area (sense of problems) and relative weight (74.89%). The field of elasticity came in third place with a relative weight of (74.59%). Finally, the field of originality came in fourth and final rank with a relative weight of (74.41%). The results showed that there are differences between the technical colleges in the principles of the creative environment in all fields and the overall degree except for the field of flexibility. The most available colleges in these principles were the university college of applied sciences, and that was the least of the Faculty of Al-Aqsa Society. The results showed that there were differences according to the age variable in the areas of creative environment only in the sense of problems for age groups (less than 30 years) and (from 40 to 50 years). The researchers suggested a number of recommendations, the need to enhance the dimensions of the creative environment in technical colleges by working to improve the faculties of fluency, flexibility, originality and sensitivity to problems. The need to work on continuity and improve aspects of the creative environment of the colleges and the creation of new and innovative ways to support and develop and support these aspects combined. Necessity of technical colleges to continue to develop the creative environment (fluency, flexibility, originality, sensitivity to problems) for employees by engaging them in specialized training courses for creative thinking and problem solving. Developing work procedures with new innovative methods that will accomplish the various tasks quickly and accurately, and provide the effort, time and costs. The researchers urged more future studies that address the same variables of the current study in the field of creative environment and applied to other sectors

Competency Implications of Changing Human Resource Roles

[Excerpt] The present study examines which competencies will be necessary to perform key human resource roles over the next decade at Eastman Kodak Company. This project was a critical component of an ongoing quality process to improve organizational capability. The results establish a platform that will enable Kodak to better assess, plan, develop, and measure the capability of human resource staff

An Interview with Julian Agyeman: Just Sustainability and Ecopedagogy

This interview with Julian Agyeman, a key originator of the concept of just sustainability, engages Agyeman in discussion of how just sustainability evolved, and how its theoretical and practical dimensions relate to the principles of ecopedagogy

Social Justice and the Arts

This document is designed to provide a concise, but representative sampling of the many arts programs, projects, networks, and individuals involved in creative, progressive change in their diverse communities. The purpose of this examination is to provide information to enhance the creative work of the Open Buffalo Arts Network as the initiative moves forward. Not meant as an exhaustive list of relevant places to study, this report represents a variety of small and large organizations that are currently addressing issues of justice and opportunity, worker equity, and high road economic development, and similar topics. The programs or policy organizations in this document are arranged by listing first those potentially the most useful to Open Buffalo or like-minded organizations. However, all the programs listed have interest as creative, purposeful, and sometimes “out of the box” ways to advance social justice and the arts

Something to Say: Success Principles for Afterschool Arts Programs From Urban Youth and Other Experts

Engagement in the arts can help youth in myriad ways: as a vehicle for self expression, acquiring skills, and developing focus and teamwork. Unfortunately, with the develine of arts education in public schools, few urban, low-income young people have high-quality engaging art experiences at school. Alternatives outside of school, such as private lessons or arts camps, are typically limited to children of families with the resources and savvy to get access to them. What narrow arts experiences low-income youth have are often dull arts and crafts projects where they are instructed to follow a prototype, rather than create something from their own imagination. Consequently, many urban, low-income youth grow up without even a cursory understanding of what high-quality arts programs are like, or what benefits may accrue from participation. Even when there is awareness or interest in out-of-school time (OST) arts programs, many young people choose other activities for a variety of reasons. Further, community groups often report a steep drop-off in teen OST engagement and participation. That finding points to the importance of captivating young people's interest prior to the teen years when, as tweens, they are more willing to try new OST experiences. This report attempts to answer the following questions: How can urban, low-income tweens and teens gain equal access to high quality arts experiences? Is there a model of practices that could provide a blueprint for community based organizations to emulate, so that proven approaches could be deployed in more places, more often? Is there a way to approach the analysis of these problems that respects and honors the young people as consumers who make informed choices? and how do the insights of what tweens and teens want align with what other experts say they need

Can the science of Prosocial be a part of evolution education?

We provide a brief overview of Prosocial: Using Evolutionary Science to Build Productive, Equitable, and Collaborative Groups by Paul Atkins, David Sloan Wilson, and Steven Hayes. The book offers a range of promising content for evolution education, and yet also highlights core conceptual challenges in modern evolution science discourse that educators and researchers aiming to improve evolution education may find beneficial to strategically engage with as a scientific community. We discuss these challenges and opportunities with a view towards implications for evolution education research and practice

Bright Spots Leadership in the Pacific Northwest

The operating environment for nonprofit cultural organizations today is daunting. Demographic shifts, changing participation patterns, evolving technology, increased competition for consumer attention, rising costs of doing business, shifts in the philanthropic sector and public funding, and the lingering recession form a stew of change and uncertainty. Every cultural organization is experiencing a combination of these shifts, each in its own way. Yet, while some organizations are struggling in this changing context, others are managing to stay healthy and dynamic while operating under the same conditions as their peers. These groups are observable exceptions, recognized by their peers as achieving success outside the norm in their artistic program, their engagement of community, and/or their financial stability. These are the "bright spots" of the cultural sector.Who are they? What are they doing differently? What can we learn by studying their behavior?To explore these questions, the Paul G. Allen Family Foundation asked Helicon Collaborative to conduct a study of cultural groups in the Pacific Northwest. The project had two goals: 1) to identify "bright spots," defined as cultural organizations that are successfully adapting to their changing circumstances without exceptional resources, and 2) to see if these organizations share characteristics or strategies that can be replicated by others