The Creative Process of Enarotali Dreams, a Screenplay

This paper is about a project on a screenplay. In my screenplay, I talk about a girl from Java who has to work in remote area in Papua Island. The girl is a volunteer teacher who has to survive to teach the students who are very different from students in Java. To develop the screenplay, I used two theories, namely culture shock and maturation. I use these two theories because in the main character experiences culture shock and maturation whe she does her voluntary teaching in Papua. To collect data, I use survey to Eranotali, Papua and libary research on Papua and its cultures. I find the theories and survey as well as libary research help me during the creative process. The theories help me develop realistic characters; while the survey and library research help me picture Eranotali as realistic as possible. I believe that when the screenplay is made into film, the audience will get the feel of Enarotali and ‘experience\u27 the main character\u27s jurne

Creative communities:shaping process through performance and play

This paper studies the use of play as a method to unlock creativity and innovation within a community of practice (a group of individuals who share a common interest and who see value in interaction to enhance their understanding). An analysis of communities of practice and the value of play informs evaluation of two case studies exploring the development of communities of practice, one within the discipline of videogames and one which bridges performing arts and videogames. The case studies provide qualitative data from which the potential of play, as a method to inspire creativity and support the development of a potential community of practice, is recognised. Establishing trust, disruption of process through play and reflection are key steps proposed in a ‘context provider’s framework’ for individuals or organisations to utilise in the design of activities to support creative process and innovation within a potential community of practice

Assessing creative process and product in higher education

This article examines how Education undergraduates explored their creative processes through the planning and presentation of an artwork. In particular, it addresses how they negotiated the demands of an assessment method which focused on both the reflective process and the finished product. This investigation is part of a more extensive study of creativity and engagement in Higher Education; it is underpinned by the idea that all students have the potential to be creative if they are provided with innovative learning experiences and open-ended assessment tasks. The empirical data was obtained from semi-structured interviews (n=30), students’ reflective sketchbooks and observations. The findings support the view that students are more motivated and engaged when they have access to alternative, creative assessment opportunities which involve experimentation and risk-taking in a supportive learning environment. The data shows that they value assessment methods which enable them to demonstrate their knowledge, understanding and skills in different ways. However, concern about the perceived subjectivity of such an assessment process, and the emphasis placed on meeting the learning outcomes, initially presented a barrier to creative development. One implication is that the conflict between creativity and assessment might be partially resolved if students played a more active part in both the formulation of summative assessment criteria and the on-going formative assessment process

Labour, work and action in the creative process

This paper uses Hannah Arendt's theoretical distinction between labour, work and action to provide ways of characterising different moments within artistic production. Using this model, "creativity", sometimes thought to be radically inexplicable, can be straightforwardly be aligned with the "actional"

Cross-Domain Influences on Creative Processes and Products

According to the honing theory of creativity, the iterative process culminating in a creative work is made possible by the self-organizing nature of a conceptual network, or worldview, and its innate holistic tendency to minimize inconsistency. As such, the creative process is not limited to the problem domain, and influences on creativity from domains other than that of the final product are predicted to be widespread. We conducted a study in which participants with varying levels of creative experience listed their creative outputs, as well as influences (sources of inspiration) on these outputs. Of the 758 creative influences, 13% were within-domain narrow, 13% within-domain broad, 67% cross-domain, and 6% unclear. These findings support the hypothesis that to trace the inspirational sources or 'conceptual parents' of a creative output, and thus track its cultural lineage, one must look beyond the problem domain to the creators' self-organizing, inconsistency-minimizing worldview at large.Comment: 6 pages, 2 table

Investigating Emotions in Creative Design

A wealth of research has suggested that emotions play a significant role in the creative problem solving process, but less work has focused on investigating the role of emotions in the design process. This is surprising given that creative problem solving lies at the heart of the design processes. In an exploratory study we interviewed 9 expert designers about their emotions during the design process. The content analysis allowed us to identify the various types of emotions relevant in the design process and to extend Wallas’ model of creative problem solving with emotional components for each of its stages. In addition, we identified two important roles of emotions in design and several ways in which expert designers regulate their emotions. We discussed the theoretical and practical applications of our work

Using protocol analysis to explore the creative requirements engineering process

Protocol analysis is an empirical method applied by researchers in cognitive psychology and behavioural analysis. Protocol analysis can be used to collect, document and analyse thought processes by an individual problem solver. In general, research subjects are asked to think aloud when performing a given task. Their verbal reports are transcribed and represent a sequence of their thoughts and cognitive activities. These verbal reports are analysed to identify relevant segments of cognitive behaviours by the research subjects. The analysis results may be cross-examined (or validated through retrospective interviews with the research subjects). This paper offers a critical analysis of this research method, its approaches to data collection and analysis, strengths and limitations, and discusses its use in information systems research. The aim is to explore the use of protocol analysis in studying the creative requirements engineering process.<br /

Rethinking business models as value creating systems

The generic notion of a business model is well understood by investors and business managers and implies a number of anticipations; chiefly that it is a replicable process that produces revenues and profits. At its heart is some replicable process, artefact or proposition around which the everyday practices are formed. There are a number of reasons why this conception is weak in the Creative Industries. We have identified that the rationale for ‘business models’ in the Creative Industries include providing an attractor for non goal oriented creative activity, for stabilising emergent properties from creative activities and for maintaining the stability of these by anticipating revenues