Creation Of Methodology Research Articles

EL SONIDO DE LA INTELIGENCIA

Abstract.THE SOUND OF INTELLIGENCEThe QvO’s music workshop makes sense from the perspective of multiple and dynamic intelligence, defended by the Gardner’s theory of multiple intelligences, in which is proposed a new style of education that seeks to experience new sensations that aims to provide students the opportunity to discover their potential in relation to some of the intelligences defined by Gardner. The music workshop aims to offer a response to the necesity of training multiple sociemocionals and cognitive capabilities through a different, flexible and creative mean like music. Our project provides data favorable to the idea that intelligence can be trained through a new, open and creative methodology, which can respond to the needs and characteristics presented by the students of high capacity.Key words: Enrichment, hight capacity, musical education, musical intelligence.Resumen.El taller de música del proyecto QvO tiene sentido desde la óptica de la inteligencia múltiple y dinámica, defendida entre otras por la teoría de las inteligencias múltiples de Gardner, en la que se propone un nuevo estilo de educación que busca experimentar nuevas sensaciones que brinden al alumnado la oportunidad de descubrir su potencial en relación a algunas de las inteligencias definidas por Gardner. El taller de música pretende dar salida a la necesidad de entrenamiento de múltiples capacidades cognitivas y sociemocionales a través de un medio diferente, flexible y creativo como es la música. Nuestro proyecto aporta datos favorables a la idea de que la inteligencia puede entrenarse a través de una metodología novedosa, abierta y creativa, que permita responder a las necesidades y características que presenta el alumnado de alta capacidad.Palabras claves: Enriquecimiento, alta capacidad, educación musical, inteligencia musical.

Diagramming: A creative methodology for tourist studies

Tourists experience a range of everyday practices that are subtle, momentary and mundane, which can be difficult to document. Finding documentation techniques that encourage hands-on and collaborative experiences can assist in gathering and producing a variety of perspectives from researchers and tourists. Using the Deleuzian concept of the ‘diagram’, this article examines how creative documentation methods can be used to explore everyday practices of tourists. From a creative arts and philosophical perspective, a diagram is a methodological tool that allows the tracing of relations through a range of techniques. Tracing the development of participatory artwork that uses a diagrammatic approach demonstrates how the experiences of both tourists and researchers can be fused. This encourages a wider perspective of how tourist practices are generated through interactive and affective registers. Diagramming is a creative methodological approach that can assist in tracing experiences and relationships that emerge in tourist studies.

Are we allowed to use fictional vignettes in cultural geographies?

Fictional vignettes are narrative texts that academic researchers may invent in order to illustrate arguments or to present their research outcomes; they are stories or situations that do not strictly report factual realities observed by the author, but that, in any case, implement the heuristics for the arguments that the author wants to raise. Although there are several works in social sciences taking advantage of fictional narratives, geographers have started mobilising invented stories in their writings mostly recently, provided that a variety of creative methodologies had been introduced. The aim of this article is to present fictional vignettes as an integrative research method and writing technique, while discussing potential opportunities and limits relating to their use in geographical research, particularly within the recent rise of various ‘creative methodologies’ in cultural geographies.

Impossible Choreographies: the database as a creative tool

This exposition discusses the emergence of the database as a creative methodology, and key organising principle in the generation of a series of 3D digital animated artworks. Through detailed explication and demonstration of a complex creative process utilising a range of media formats including video, 3D model views, and interactive 3D, I aim to elucidate an intricate relationship between technology, process and artistic intent, framing this within relevant emergent critical frameworks around digital creative practice. This design strategy will enable the effective communication of some of the inherent qualities of 3D digital production, and the mapping of the operations of the ‘database’ as a pliable creative tool. Working directly into high-end 3D modelling and animation software, and taking the actions of a generic male figure as a point of departure, my animations are created in a modular fashion, building up units of performed movements, loops and cycles (both animated and motion-captured), creating a sometimes complex movement vocabulary. This recalls Lev Manovich’s notions of the database and the loop as engines of (non-linear) narrative in digital media work, in particular his principles of modularity, automation and variability as intrinsic to new media objects. In working with complex software tools I also acknowledge in the fabrication process what Rachael Kearney has termed the ‘synthetic imagination’, and Malcolm Le Grice’s conception of submerged authorship in the interaction with the ‘intelligent machine’ – the creative act as a collaboration with the embodied intellect of the software itself. Drawing on and remediating a range of sources including the photographic studies of Eadweard J. Muybridge, the choreography of Busby Berkeley, nineteenth century optical toys, and the contemporary digital video game, these works present figures which occupy a space between the animate and the inanimate, between automata (devices that move by themselves) and simulacra (devices that simulate other things).

The ethnographic novel as activist mode of existence: translating the field with homeless people and beyond

The paper argues in favour of creative methodologies as tool for relevant academic praxis. It provides the analysis of a concrete case in which a non-academic text – a composite book made of a participant’s introduction, an ethnographic novel, 21 graphic illustrations and a political essay – allowed for a meaningful re-appropriation of a fieldwork with homeless people in Italy. Such re-appropriation is understood and theorized as a research-activist ‘mode of existence’, namely as a way to use creative methodologies to pursue active and emancipatory engagement with vulnerable groups. The paper analyses this ‘mode of existence’ as a process made of several ‘translations’, or orientations towards the same interests, and it clearly shows the role of non-human agencies in their unfolding. Through its more-than-human narrative, the paper provides an innovative contribution to debates on research-activism and a new reflection on how to engage meaningfully with vulnerable groups. The conclusion highlights areas of improvement to further strengthen the activist-research mode of existence presented in the paper.

Writer as perv: bricolage, bowerbirding, observation

ABSTRACTRecently it was suggested that my creative method (bowerbirding, bricolage, engaged observation) might properly be described as ‘perving’. Affronted, I rejected this accusation. But the idea wouldn’t go away, a question remained. How does observation that informs a story differ from perving or voyeurism? Creative writers lurk everywhere, observing and eavesdropping for quirks and foibles to bring life to their stories. I review my creative methodology against the current discourse about the eclectic methods of enquiry through which writers interrogate the world, including thievery, plagiarism, borrowing, voyeurism, perving, to assess the validity of this charge of perversion.

Recursive Game Structures as Emergent Post-capitalist Creative Strategies

This article will look at zero-player recursive game structures, focusing on a case study of computer-generated music composition by an algorithm called Iamus, to explore the philosophical and political import of recursive game structures when they are used as creative methodologies in the process of artistic practice. In the first instance, I will define the concept of ‘recursion’, acknowledging its variety of meanings depending on the discipline within which it operates/manifests itself. In doing so, I will provide a brief cultural context of recursive techniques and then locate ‘zero-player’ game recursive structures within it. Second, I will look at the case study of Iamus, an algorithm (and computer) capable of generating ('evolving') its music—a project created by Francisco Vico of the University of Málaga (UMA). The algorithm uses a mixture of rule-based selection processes and recursive strategies based on initial input to 'evolve' musical material and effectively compose 'original' musical pieces, by employing a zero-player recursive game structure. Finally, I will locate this practice within an economic/political context, namely the potential current economic shift towards what some commentators such as Jeremy Rifkin, Raphael Sassover and Paul Mason have termed as a 'post-capitalist economy'.

Fostering creativity understanding

Purpose– The purpose of this paper is to encourage initiatives to train large cohorts of undergraduate students for creativity understanding. The authors describe a case study of a creativity exercise developed within a corporate setting that accommodates a large cohort and discuss the results of empirical research on this teaching experience at a French Business School. The authors reflect on the transferability of this exercise by other educators to similar educational contexts and the usefulness of training future managers to a structured creativity methodology to be exploited in the workplace.Design/methodology/approach– A case study explains the features of the exercise. Hard data on students’ perceptions and motivation/satisfaction prior to and after the creativity exercise was collected through an internet self-completed survey instrument. In total, 245 pairs of survey responses from first-year students were analysed using prototypical analysis, paired samplest-test and content analysis.Findings– The exercise proved an effective tool to help large cohorts of undergraduates to better understand that creativity is a managerial competence that can be trained. The authors particularly underlined the need for fluidity in the organisation of the exercise; use of a clear creativity process and methodology; the necessity to involve an external creativity consultant; and the importance of the chosen topic being non art related. In the workplace, this understanding of creativity methodologies will enable future managers to support, promote and manage creativity endeavours.Originality/value– This paper encourages initiatives and provides insights into the difficulties of training large cohorts of undergraduate students for understanding the concept of creativity.

Critical and Creative Research Methodologies in Social Work, Lia Bryant (ed.)

Critical and Creative Research Methodologies in Social Work, Lia Bryant (ed.)

دور الجامعات في تنمية القدرات الإبداعية لدى الطلبة

ملخص الدراسة هدف البحث إلى تسليط الضوء على مفهوم الإبداع الطلابي، وأهمية، والدور الحيوي الذي يمکن أن تقوم به الجامعة في تنمية القدرات الإبداعية لدى الطلبة. وقدمت هذه الدراسة بعض المقترحات العملية لإدارات الجامعات العربية من أجل تبني منهجية الإبداع في التعامل مع الطلبة والعاملين، وذلک بتقديم العديد من المحاور التي يمکن أن تتبناها الجامعة بما ينعکس إيجابيا على تنمية القدرات الإبداعية للأفراد، وبالتالي ينعکس أثره على المجتمع. وقد استخدم هذا البحث المنهجية المکتبية التحليلية عن طريق مسح النتاج العلمي المنشور (إلکترونيا أو ورقيا)، وجرى البحث عن ذلک في الإنترنت، وقواعد البيانات الإليکترونية. کما تم مسح کشافات الدوريات للبحث عما نشر عن هذا الموضوع في دوريات إدارة التعليم العالي، واعتمد البحث أسلوب عرض وجهات النظر سعيا لعرض أکبر عدد ممکن من الأفکار والتصورات الخاصة بهذا الموضوع وبما يمکن من بناء وجهة نظر حوله. وخلص البحث بتقديم عددا من التوصيات والمقترحات Abstract The study aimed to shed light on the concept of student creativity, and the importance of, and the vital role to be played by the university in the development of creativity among students. This study provided some practical proposals for the departments of Arab universities in order to adopt a creative methodology in dealing with students and staff, and by providing many of the themes that can be embraced by the university to positively affect the creative abilities of the members of the development, and thus reflected its impact on society. This methodology analytical study office has been used by scanning scientific output prism (electronic or hardcopy), and there were discussions about it in the Internet, and electronic data bases. As it has been cleared headlamp patrols to search what is published about this topic in higher education management patrols and adopted a research presentation of views in order to offer the greatest possible number of ideas and perceptions on the subject and making it possible to build a point of view about it. The study ended by providing a set of recommendations and proposals

The Hermeneutics of Compassion: The Case of Fanny Robin

Thomas Hardy’s Far from the Madding Crowd failed to satisfy his commissioning editor Leslie Stephen’s expectations of a pastoral novel along the lines of Under the Greenwood Tree but was, instead, subjected to rigorous censorship prior to publication in the Cornhill. This essay examines just part of Hardy’s creative methodology, his attempts to subvert his own text in keeping with his anti-establishment views, some 20 years before achieving sufficient freedom from the codes and practices of censorship to be able to express them openly in Tess. The focus of this essay is confined to Hardy’s treatment of Fanny Robin and the subtextual devices he employs in his efforts to arouse the reader’s compassion for the Fallen Woman.

Discursive negotiations of Kenyan LGBTI identities: Cautions in cultural humility

ABSTRACTThis study identifies and analyzes sites of discursive negotiation regarding sexual and gender minority identities in Kenya. A demonizing master narrative of homosexuality is constructed through cultural myths prevalent in Kenyan media yet challenged by claims of innate identity through strategic essentialism and glocalized naming practices. Using participant observation and creative focus group methodologies with lesbian, gay, bisexual, trans*, and intersex community members and journalists in Nairobi, Kenya this research project demonstrates the necessity of cultural humility while addressing contemporary absences in the study of queer identities in intercultural scholarship and communication research within African contexts.

Implications for smart learning in English education in South Korea by comparison of mobile device usage in 2008 and 2014

This research aims to provide useful implications for smart learning in English education through the design of a creative comparison methodology to analyse the usage of various university student devices used in South Korea in 2008 and 2014. We found that mobile phone and smart phone multi-purpose devices were ranked highest in terms of possession and portability, but were not used significantly in English learning. In contrast, single-purpose devices such as portable multimedia players (PMP) and e-dictionaries were highly used in English learning, although they scored low on metrics of possession and portability. In summary, it is necessary to encourage students to select suitable learning content and to consider how to embrace single purpose devices, in smart learning.

Ontological, epistemological and methodological taxonomy of creativity phenomenon research– call for path forward

IntroductionWhile some aspects of creativity like facets (i.e. 4P - person (traits), process, product, and press (context)) are recalled in the studies as well as there is intensive research in that field conducted from various perspectives and approaches, there is still a lack of consensual conceptualization of creativity what leads to various and not unified measurement approaches and hinders the findings synthesis in that field [Batey 2012].Hence, the aim of the paper is to contribute to call for, on one hand, systematizing the research on creativity in terms of linking ontological, epistemological, and methodological issues - specifically, for a heuristic framework combining individual, team, and organizational level, creativity facets at every level, and the antecedents of those facets at every level of analysis, as well as, on the other hand, for more focus on unifying methodology and on qualitative research methods in that field since it seems that dominant quantitative research methodology does not help investigate on one hand contextual factors influencing creativity processes and, on the other hand, the aggregation that occur amongst creativity levels. The aim has been realized through extensive literature studies and in the part concerning creativity methodology review - systematic literature review in the field of selected journals specialized in examining creativity phenomenon.The paper is organized three-fold. The first section presents a brief description of the creativity phenomenon as a multi-dimensional and multi-faceted construct in terms of ontological and epistemological layers - traits, processes, and outcomes occurring at multiple levels of analysis. The second section involves a general review of creativity research methodology that has revealed the methodology gap - too little scholars' attention paid to qualitative methodology. Finally, as a result, some propositions and recommendations in terms of ontological, epistemological, and especially methodological issues have been alluded.1.Disentangling creativity -a multi-dimensional and multi-faceted constructIntensive research has been conducted in psychology [e.g. Amabile 1996; Hennessey & Amabile 2010] and management [e.g. Shalley, Zhou & Oldham 2004; George 2007] to better explain and understand creativity phenomenon as well as it has been explored from various realms, e.g. cognitive, neurological, personal, or organizational as well as in terms of different theoretical approaches such as:* confluence approach in which creativity requires interaction of individual, domain, and field [Csikszentmihalyi 1988; 1996, pp. 107-126 plus Notes] including an investment theory as for which creative people buy low and sell high in the world of ideas - it encompasses confluence of six resources: knowledge, intellect, thinking styles, personality, motivation, and environment [Sternberg & Lubart 1999],* systems theory [Csikszentmihalyi 1988] that involves the following interrelated elements: a field (community of practice, gatekeepers) including a social system, a person (an individual practitioner) with genetic makeup, talents, experience, and a domain (knowledge, tools, values, practices) embedded in a cultural system,* contextual methodology [Mayer 1999] detecting social, cultural and evolutionary influences on creativity,* social psychology and componential model emphasizing the impact on the creative process of external social - environmental factors and illustrating creativity as a process consisting of five stages: problem or task identification, preparation, response generation, response validation and communication, and outcome [Amabile 1996],* Social Cognitive Theory & socio-constructivist approaches in which creativity is invoked in a complex socio-cultural process enhancing convergent and divergent brain capacities [Edwards-Schachter et al. 2015],* psychological trait theory [Hennessey and Amabile 2010] positing that the individual psychological traits determine individual level creativity degree,* a psychodynamic approach due to intrusion of unmodulated thoughts into consciousness [Kris 1952],* behavioral theories & functionalist approaches in which a creative individual is perceived due to cognitive characteristics, personality and motivational features with contextual factors [e. …

Curiosity over conformity: The Maker’s Palette – a case for hands-on learning

Abstract The Maker’s Palette is a creative model delivering hands-on learning and teaching. Devised in 2007 in response to increasingly risk-averse students within the Manchester School of Art, its craft centred approach empowers the individual to take ownership of their personal creative development. Informed by the creative thinking theories of J. P. Guilford and the professional practice of the author, the implementation of the model into the undergraduate curriculum resulted in unexpected impact beyond the university. Consciously designed with flexible parameters that enabled a variety of delivery modes it offered opportunities to address teacher development and the challenges of embedding process focused creative methodologies into the classroom. This article argues that the Maker’s Palette provides a compelling model for hands-on learning and offers evidence that could be further developed and used to support, validate and underpin an approach currently at threat within academic establishments at every level of education.

Online brochures: relationship between message strategies and communicated attributes

This paper develops a theoretical model to define tourism destination brand’s online content. Message strategies and positioning attributes that brands want to communicate are the main inputs to develop communication content. However, the relationship between message strategies and attributes has not been studied in the literature. Our research examines this relationship, using 400 online brochures from around the world. Based on the positioning attributes and message strategies, a taxonomy is developed to analyse online brochures through content analysis. A comprehensive benchmark model was designed to assist tourism destination managers and advertisers while planning the concept and production of their online tourism brochures, and a new creative methodology based on several workable strategic alternatives are proposed.

Approaching methodology creatively: problematizing elite schools’ ‘best practice’ through a film about perfection and imperfection

Elite schools around the world aspire to produce perfect students and yet there are always obstacles to this perfection being achieved. In this paper, we suggest that this process of perfectionism and obstruction can best be understood using a methodology that looks to the creative arts, rather than the usual social science orthodoxies. Our focus in this paper is therefore not on methodology as a technique, but rather methodology as a resource for thought. Using Lars Von Trier’s film The Five Obstructions as a point of departure, we suggest that the quest for perfect students, or indeed perfect humans, is one that ignores the inherent obstacles that block pathways to perceived perfection. Our research draws on ethnographic fieldwork from six elite secondary schools in Argentina, Australia, Barbados, England, Hong Kong, and South Africa. We posit a creative methodology permits a coming to terms with the abstractions required when analyzing and interpreting large amounts of data from a multi-sited ethnographic study. This approach makes it feasible to draw some conclusions about a common characteristic – perfectionism – among elite schools around the globe.

Creating Musical Theatre: Conversations with Broadway Directors and Choreographers by Lyn Cramer (review)

Reviewed by: Creating Musical Theatre: Conversations with Broadway Directors and Choreographers by Lyn Cramer Rockford Sansom Creating Musical Theatre: Conversations with Broadway Directors and Choreographers. By Lyn Cramer. London: Bloomsbury Methuen Drama, 2013; pp. 304. Creating Music Theatre: Conversations with Broadway Directors and Choreographers offers critically minded interviews with some of Broadway’s most prolific and honored directors and choreographers. Lyn Cramer’s selection of interviews features both veterans and rising stars, many of whom are well-known to the dance community, though they may not have received mainstream attention. The focus of this book ultimately calls attention to how each interviewee perceives his or her role and personal artistic process as a director/choreographer. Through entertaining personal accounts and process-oriented dialogue, each interviewed artist offers practical advice and insights into the theory and practice of musical theatre dance. The catalog of interviews presents choreographers and directors whose work crosses virtually every form of the performing arts, yet all have had great influence and success in musical theatre on Broadway. The twelve interviews include: Rob Ashford (Thoroughly Modern Mille), Andy Blankenbuehler (In the Heights), Jeff Calhoun (Bonnie and Clyde), Warren Carlyle (Chaplin), Christopher Gattelli (Newsies), Kathleen Marshall (Anything Goes), Jerry Mitchell (Legally Blonde), Casey Nicholaw (The Book of Mormon), Randy Skinner (White Christmas), Susan Stroman (The Scottsboro Boys), Sergio Trujillo (Jersey Boys), and Anthony Van Laast (Sister Act). Cramer states that through the interviews she aims both to transcribe a contemporary director/choreographer’s creative methodology and to explore each of their personal journeys through the musical theatre world. Every interview contains a fairly systematic arc. Cramer begins with the individual’s background and early entertainment career, predominantly highlighting how each dancer transitioned into a choreographer and then, if applicable, director. Each artist describes seminal works in his or her career, and the influence that these works have had on more recent projects. Cramer then shifts to the creative process and delves into topics like using research to create dance, the nature of collaboration, preproduction concepts, casting, and rehearsal techniques. Each interview ceremoniously closes with a request for advice to young dancers moving to New York City for the first time. In the foreword Cramer argues that she intends the interviews for three different audiences: the musical theatre performer searching for audition and rehearsal advice; the aspiring director/choreographer looking for inspiration; and the researcher investigating how each artist perceives their own creative process. The greatest strengths of this text lie in the material for the first two audiences. The interviews are intensely pragmatic; Cramer and each choreographer speak artist-to-artist and dancer-to-dancer in frank, simple, and consistently practical terms that dancers at any level of the theatre industry will find insightful and useful. Through questions like “[o]nce they’re hired, is there something dancers need to know before they walk into the rehearsal room?” [End Page 308] (45) and “[d]o you communicate with your creative team any differently, regardless of whether you’re choreographing, directing, or both?” (75). Cramer keeps the conversations refreshingly balanced and practical, avoiding inquiries that could have easily turned unproductively erudite. Her casual yet respectful tone as interviewer encourages the choreographers to offer humorous and intriguing antidotes that concurrently entertain and reinforce the lessons they are trying to teach. A few of the interviews even contain harmless jabs at some of the icons of the dance world and a playful lampoon of elements within the theatre, such as the audition process, out-of-town tryouts, and so on. Cramer also avoids dance jargon and interpolates explanations about each artist within the interviews, making the book user-friendly to those who do not have extensive musical theatre knowledge. For the researcher, Cramer does ask questions that critically explore every director/choreographer’s aesthetic theories and praxis. The discussions of each artist’s early mentors and how these influences have affected his or her process stand out as noteworthy examples. Additional significant dialogues include the artists’ explanations of how a choreographer transitions from early choreographic concepts to the rehearsal room, and how to best utilize the rehearsal process. Cramer’s personal knowledge of musical theatre dance seeps through the interviews in...

Hermeneutics of Journalistic Creative Work

The article deals with understanding the person in the journalistic creative work methodology. The textual nature of social action is proved. Notional restrictions of understanding in journalism and functional peculiarities of journalism in the hermeneutics context are revealed. The forms of hermeneutics research in the journalistic search, the author’s philosophical hermeneutics and creative hermeneutics from the point of view of the compositional structure of a work are suggested as fundamentals of journalism hermeneutics. The implementation of mass communication effect model is suggested for the transition from understanding the person to understanding the social processes. The communication consequences and social actions in social life are regarded as the effect. The correlations with other people’s actions suggest both understanding the sense of these actions and communication (including the indirect one) among the carriers of such senses. At the individual level the social action as the communicative effect manifests itself as a social role – a standard response corresponding to the acting person’s status. The identity as experience of belonging to a certain group is formed on the status basis. At the group level the identities demonstrate integral effects which are the results of different varieties of communities’ communicative compatibility. Methodical solution of the problem of understanding consists in the time and attention structure analysis. Understanding as the purpose and the result of journalistic activity presupposes including explanation and interpretation into the complex of journalistic functions. A separate line of research of understanding problem in journalism and mass communication is acquisition of motivation complex of the author’s success which should be understood as the essential feature of mass media efficiency. The structure, form and efficiency of journalistic work depend upon both objective factors of socio-political medium of mass media functioning, information production technology and the author’s subjective choice of fundamentals of activity conditions, attitude to his role behavior at the stage of information collection and work publishing targets. Fundamentals include reflective, standard, pragmatic and emotional conditions. DOI: 10.5901/mjss.2015.v6n4s4p49

The disaster flood experience: Older people's poetic voices of resilience

This paper explores the experiences of older community-dwelling Australians evacuated from their homes during the 2011 and 2013 Queensland floods, applying the novel creative methodology of poetic inquiry as an analysis and interpretative tool. As well as exploring how older adults managed during a natural disaster, the paper documents the process and potential of poetic inquiry in gerontological research. The first and second poems highlight the different social resources older people have to draw on in their lives, especially during a crisis. Poem 1 (“Nobody came to help me”) illustrates how one older resident felt all alone during the flood, whereas Poem 2 (“They came from everywhere”), Poem 3 (“The Girls”) and Poem 5 (“Man in Blue Shirt”) shows how supported – from both family and the wider community – other older residents felt. Poem 4 (“I can't swim”) highlights one participant's fear as the water rises. To date, few studies have explicitly explored older adult's disaster experience, with this paper the first to utilise a poetic lens. We argue that poetic presentation enhances understanding of older residents' unique experiences during a disaster, and may better engage a wider audience of policy-makers, practitioners, the general community and older people themselves in discussion about, and reflection on, the impact and experience of disasters.