In the nineties, policy makers highlighted the importance of Creativity in education in order to nurture entrepreneurs in our society, thus the purpose of this study is to investigate high school students´ experience of Creativity in psychology classes. The results are based on qualitative data from four semi-structured interviews with Swedish high school students who study psychology. The conclusions are that the respondents perceive psychology as a very creative school subject in which they can give personal experience as examples, they can give alternative explanations and solutions to problems, and that there are no right or wrong answers which means that they feel encouraged to self-reflect. The teacher is important as the respondents experience her as open, tolerant, and moreover, that she varies the classes, which contributes to a good classroom climate. The respondents also experience a certain degree of freedom when they feel involved and are allowed to influence their education.

Creativity and innovation have become two very important concepts in today?s society where the demand for these abilities are sought after. At the same time, the school system of today follows a more traditional outlook on what learning and knowledge means.The extend students ability to understand and elevate their motivation is possible through creative methods of working. In order to create a school system which can withstand the demands of the future by including creative methods in its model, a study was carried out to examine how teachers? thoughts on Creativity could mean for its development.This study took place in an elementary school in Sweden where Entreprenöriellt Lärande (EL) has been in use for the last two years.

Previous research has recognized that advertising Creativity can result in positive signaling effects for consumers, thus proving Creativity to be a useful tool and not a wasteful effort within marketing. However, research within this matter has only lightly touched upon the outcome of signaling effects within a business-to-business context. Since other implications prevail within a B2B market - for instance the professional position in which individuals act, the existence of buying centers, and the heavy weight placed on most decisions - the conception and influence of advertising Creativity may be altered. This paper aims to give an overview of whether increased advertising Creativity results in positive signaling effects among individuals employed within a B2B context. Furthermore, the paper aspires to examine the potential influence of aspects prevailing within B2B markets, such as the need for contemplating the desires of numerous individuals involved, on the outcome of advertising Creativity.

This degree project deals with the concept of Creativity and the creative output based on howSwedish upper-secondary design teachers within the Technical Engineering Programexperience this from a student's perspective. The project discusses how the concept Creativityis interpreted and how the creative output is regarded by educationalists and professionaldesigners and how this then can be related to literature on the subject and in the steeringdocuments. The purpose of this degree project is to visualize the interviewees' viewpoint onCreativity and the significance of experience, skills, and environment for the creative outputand within the field of design. This in order to, in the pedagogic and didactic situation, enablethe improvement of teaching so that Creativity and its output come to show. Moreover, theproject aims to create a ground for discussion of the view of the importance of these skills inthe pedagogic/didactic situation.In order to reach this aim, I have read literature on Creativity from several perspectives andcarried out eight qualitative structured interviews: both with three educationalists withoutexperience within the design profession, and with two educationalists who are or have beenactive within the design profession, as well as with three professional designers.

The media society of today is changing. Because of a media convergence, traditional media distributers like television, radio and newspapers have to rethink their place and their purpose in the world. This paper brings a new angle to this area of research, conveying how Creativity, workflow and media convergence is related to each other. A deeper understanding of these relationships gives us a clue about how media convergence can change the practice of TV- production. In this paper, a case study at Go?kväll in SVT is presented.

From a management point of view, enabling organizational Creativity is often referred to as reducing immediate control, increasing autonomy and enhancing the access to slack resources. At the same time, the business environment of today is fiercer than it was only a decade ago, and this renders a quest for more efficient approaches to competitively run a business. This paper aims to examine creative industries and more specifically try to identify a set of elements that are common for successful companies. As this industry has not been subject to any considerable array of studies, this thesis seeks to establish a structure for how to take both organizational models and leadership theories into account when developing an understanding for the process, organization and leadership of the creative business. By studying six separate creative companies, our findings suggest that conventional theories on organizational Creativity do not adequately account for all factors that contribute to these companies' creative success.

The current study aimed to test the public self-consciousness impact on creative performance. An experimental design was used in which 40 participants were randomly assigned to two groups, one of which was the experimental group and the other was the control group. A mirror was used in the experimental group to induce public self-consciousness among the participants while they performed Creativity tests. A consequence test was used where the participant had to give suggestions for the given scenario "What would happen if everyone became blind?" which was then measured in the number of proposals (fluency).

The current study aimed to test the public self-consciousness impact on creative performance. An experimental design was used in which 40 participants were randomly assigned to two groups, one of which was the experimental group and the other was the control group. A mirror was used in the experimental group to induce public self-consciousness among the participants while they performed Creativity tests. A consequence test was used where the participant had to give suggestions for the given scenario "What would happen if everyone became blind?" which was then measured in the number of proposals (fluency).

My analysis consists of an in-depth study of the experience of a group of development programme participants who were exposed to the use of art and artistic work in organisation and leadership development, resulting in positive effects. My starting point is Creativity as a concept according to paediatrician and psychoanalyst DW Winnicott who stresses how important playing and Creativity is for us, even as an adult, for us to utilise our full potential. He believes that we have a psychological space ? a crossover area ? where the outer, objective reality and the inner, subjective reality meet. Playing, creative development and experiences occur in this space.

My analysis consists of an in-depth study of the experience of a group of development programme participants who were exposed to the use of art and artistic work in organisation and leadership development, resulting in positive effects. My starting point is Creativity as a concept according to paediatrician and psychoanalyst DW Winnicott who stresses how important playing and Creativity is for us, even as an adult, for us to utilise our full potential. He believes that we have a psychological space ? a crossover area ? where the outer, objective reality and the inner, subjective reality meet. Playing, creative development and experiences occur in this space.

AbstractThe purpose of this investigation is to find out how the pupils can discover and to feel joy in their creative art activity and also to believe in their own ability. The aim is to figure out if creative art activity is able to raise the pupil?s self-image. By literature, pedagogue interviews, and interviews with pupils at the age of ten years old and by action research is the way that I have searched for an answer for my question. The main result is that fantasy, Creativity, courage and lust are important parts to develop in the job of raising the self-image.

The aim of the study was to show whether or not there exists, and if so, to understand, a common Creativity, vision and imagination of the members of Småland?s Entrepreneurial Academy?s organisation.The method used for this research is the fictive narrative collage , which consists of the collection of fictive stories. The author has also made her own additions to the method. A composer composes songs to the narratives, two artists illustrate the narratives. The research is carried out on the total population within Småland?s Entrepreneurial Academy which consists of 10 permanent members of the organisation.The theory focuses on different areas, such as Creativity, vision and imagination as well as on the entrepreneur and the organisation.

This paper describes a case study of the largest film production ever conducted in Scandinavia. The study aims at explaining the complex relationships in the network structure in which the project took place. Coordination of creative projects carried out in a network context, includes handling conflicting interest and contradictions. Creativity needs space and freedom while projects need structure and coordination, whereby controlling these projects becomes complex. Adding to the complexity, does the loose form of organization that the network structure represents, without any long term structure.

What is Creativity? Why is it important? How can you stimulate pupils to becomemore creative? These are some of the questions that are studied in this thesis.The discussion is focused on programming as the medium of Creativity and theresult is a setup for a course book that teaches programming at the same time asit makes the reader more creative. The results are based on literature study aswell as observations and interviews with teachers and pupils from three differentschools in Stockholm, Sweden. The study shows that gets more important everyday as more and more jobs are replaced by computers and we live in an age ofabundance. The teachers would like the pupils to be more creative but don?tknow how achieve that at the same time as they have to teach them everythingthat they are supposed to know when the course ends..

This study constitutes an attempt to bring the notion of stupidity into relation with ethics and Creativity, through a reading of Samuel Beckett's Endgame. Employing Emmanuel Lévinas' theories on ethics - the responsible responsiveness in regard to the Other and the concept of the Face - the objective is to demonstrate how stupidity, conceived as lack of control and knowledge, functions as a precondition for the ethical relation between humans, as well as that of the individual to her Creativity..