title: The Creative Process: The Effects of Domain Specific Knowledge and Creative Thinking Techniques on Creativity

authors: Kilgour, A. Mark

subjects: creative

abstract: As we move further into the 21st century there are few processes that are more important for us to understand than the creative process. The aim of this thesis is to assist in deepening that understanding. To achieve this a review of the literature is first undertaken. Combining the many different streams of research from the literature results in the development of a four-stage model of the creative thinking process. The four stages are problem definition, idea generation, internal evaluation, and idea expression. While a large range of factors influence the various stages in this model, two factors are identified for further analysis as their effect on creativity is unclear. These two factors are domain-specific knowledge and creative thinking techniques. The first of these factors relates to the first stage of the creative thinking process (problem definition), specifically the extent to which informational cues prime domain specific knowledge that then sets the starting point for the creative combination process. 

The second factor relates to stage two of the model (idea generation), and the proposition by some researchers and practitioners that creative output can be significantly improved through the use of techniques. While the semantics of these techniques differ, fundamentally all techniques encourage the use of divergent thinking by providing remote associative cues as the basis for idea generation. These creative thinking techniques appear to result in the opening of unusual memory categories to be used in the creative combination process. 

These two potential influences on the creative outcomes of individuals: 1) domain specific knowledge, and 2) creative thinking techniques, form the basis for an experimental design. Qualitative and quantitative research is undertaken at two of the world's leading advertising agencies, and with two student samples, to identify how creative thinking techniques and domain-specific knowledge, when primed, influence creative outcomes. In order to measure these effects a creative thinking measurement instrument is developed. 

Results found that both domain-specific knowledge and creative thinking techniques are key influences on creative outcomes. More importantly, results also found interaction effects that significantly extend our current understanding of the effects of both primed domain-specific knowledge and creativity techniques on different sample populations. Importantly, it is found that there is no 'one size fits all' for the use of creative thinking techniques, and to be effectively applied, creative thinking techniques must be developed based upon the respondent's current domain and technique expertise. Moreover, the influence of existing domain-specific knowledge on individual creativity is also dependent upon how that information is primed and the respondent's knowledge of cognitive thinking strategies.

text: The Creative Process: The Effects of Domain Specific Knowledge and Creative Thinking Techniques on Creativity As we move further into the 21st century there are few processes that are more important for us to understand than the creative process. The aim of this thesis is to assist in deepening that understanding. To achieve this a review of the literature is first undertaken. Combining the many different streams of research from the literature results in the development of a four-stage model of the creative thinking process. The four stages are problem definition, idea generation, internal evaluation, and idea expression. While a large range of factors influence the various stages in this model, two factors are identified for further analysis as their effect on creativity is unclear. These two factors are domain-specific knowledge and creative thinking techniques. The first of these factors relates to the first stage of the creative thinking process (problem definition), specifically the extent to which informational cues prime domain specific knowledge that then sets the starting point for the creative combination process. 

The second factor relates to stage two of the model (idea generation), and the proposition by some researchers and practitioners that creative output can be significantly improved through the use of techniques. While the semantics of these techniques differ, fundamentally all techniques encourage the use of divergent thinking by providing remote associative cues as the basis for idea generation. These creative thinking techniques appear to result in the opening of unusual memory categories to be used in the creative combination process. 

These two potential influences on the creative outcomes of individuals: 1) domain specific knowledge, and 2) creative thinking techniques, form the basis for an experimental design. Qualitative and quantitative research is undertaken at two of the world's leading advertising agencies, and with two student samples, to identify how creative thinking techniques and domain-specific knowledge, when primed, influence creative outcomes. In order to measure these effects a creative thinking measurement instrument is developed. 

Results found that both domain-specific knowledge and creative thinking techniques are key influences on creative outcomes. More importantly, results also found interaction effects that significantly extend our current understanding of the effects of both primed domain-specific knowledge and creativity techniques on different sample populations. Importantly, it is found that there is no 'one size fits all' for the use of creative thinking techniques, and to be effectively applied, creative thinking techniques must be developed based upon the respondent's current domain and technique expertise. Moreover, the influence of existing domain-specific knowledge on individual creativity is also dependent upon how that information is primed and the respondent's knowledge of cognitive thinking strategies.

year: 2007

title: Disability as an entanglement: A new materialist reimagination of disability

authors: Jones, Ingrid Rose-anne

subjects: Diffractive analyss

abstract: Research and contemporary practice indicate that people labelled as learning disabled remain positioned on the margins of humanity, despite decades of hard work from the disability rights movement, support workers, and families and whānau, among many others (Goodley, 2017). In this thesis, I seek to find some answers as to why this situation persists. I seek further to investigate if this ongoing marginalisation can be challenged through using new materialist theory to reimagine disability.  
The thesis begins by outlining the big picture of disability oppression in Aotearoa New Zealand and across the globe. Thereafter, literature from disability studies and the humanities more widely is drawn upon to argue that the binary notions of “learning disability” and “normal, ideal humans” are not fixed, indisputable concepts. Instead, they can be viewed as artefacts of the historical, spiritual, political and social structures which have emerged over the past few centuries in the Western world. Learning disability becomes of necessity positioned as inferior within this binary and,  it can be argued further, this positioning plays a crucial role in the validation and perpetuation of disability oppression. 
The key conceptual frameworks shaping policy and practice in Aotearoa New Zealand are examined. This is done with a focus on the ontological underpinning of the ideal human inherent in many of these frameworks, and how this underpinning inhibits challenge to exclusionary structures and practices.
The conceptual framework is formed from agential realism (Barad), citational chains and lines of flight (Bergson / Butler, as used by Davies), performativity (Butler), affect (Wetherell), desiring silence (Jackson and Mazzei), and disability pride (Parsons). Datum was generated through a series of nine “hui”, or research meetings. These were held with a co-facilitator and seven participants, all of whom have been assigned the label of learning disabled through diagnostic processes. 
The analysis begins with participant responses to the collaborative exploration of ideas related to disability pride and ableism. Whilst there was evidence that participants enjoyed discussions related to ableism, many displayed a powerful adverse reaction to visual displays on pride. In particular, participants’ affective responses to the videos and discussions regarding pride signalled the limitations of the view that the problem is largely discursive. 
Exploring this challenge using the conceptual framework ultimately enabled me to propose a new means of conceptualising disability: disability as an ongoing series of entanglements. The entanglements which rose to the fore during data generation and analysis were the affective entanglements of disability, the desire for recognition as a viable subject, the silences regarding disability, and the drive to help. This thesis proposes that these entanglements serve to further the inferiorisation of disability and hold it in a static place of “otherness”, and thus foreclose potential for radical transformation to exclusionary structures and practices. However, by drawing upon agential realism I also highlight the ever-present possibility of rupture which lies within each of these entanglements. Based on the findings of this thesis, I conclude that radical potential for change can potentially be found by understanding and reworking these entanglements.

text: Disability as an entanglement: A new materialist reimagination of disability Research and contemporary practice indicate that people labelled as learning disabled remain positioned on the margins of humanity, despite decades of hard work from the disability rights movement, support workers, and families and whānau, among many others (Goodley, 2017). In this thesis, I seek to find some answers as to why this situation persists. I seek further to investigate if this ongoing marginalisation can be challenged through using new materialist theory to reimagine disability.  
The thesis begins by outlining the big picture of disability oppression in Aotearoa New Zealand and across the globe. Thereafter, literature from disability studies and the humanities more widely is drawn upon to argue that the binary notions of “learning disability” and “normal, ideal humans” are not fixed, indisputable concepts. Instead, they can be viewed as artefacts of the historical, spiritual, political and social structures which have emerged over the past few centuries in the Western world. Learning disability becomes of necessity positioned as inferior within this binary and,  it can be argued further, this positioning plays a crucial role in the validation and perpetuation of disability oppression. 
The key conceptual frameworks shaping policy and practice in Aotearoa New Zealand are examined. This is done with a focus on the ontological underpinning of the ideal human inherent in many of these frameworks, and how this underpinning inhibits challenge to exclusionary structures and practices.
The conceptual framework is formed from agential realism (Barad), citational chains and lines of flight (Bergson / Butler, as used by Davies), performativity (Butler), affect (Wetherell), desiring silence (Jackson and Mazzei), and disability pride (Parsons). Datum was generated through a series of nine “hui”, or research meetings. These were held with a co-facilitator and seven participants, all of whom have been assigned the label of learning disabled through diagnostic processes. 
The analysis begins with participant responses to the collaborative exploration of ideas related to disability pride and ableism. Whilst there was evidence that participants enjoyed discussions related to ableism, many displayed a powerful adverse reaction to visual displays on pride. In particular, participants’ affective responses to the videos and discussions regarding pride signalled the limitations of the view that the problem is largely discursive. 
Exploring this challenge using the conceptual framework ultimately enabled me to propose a new means of conceptualising disability: disability as an ongoing series of entanglements. The entanglements which rose to the fore during data generation and analysis were the affective entanglements of disability, the desire for recognition as a viable subject, the silences regarding disability, and the drive to help. This thesis proposes that these entanglements serve to further the inferiorisation of disability and hold it in a static place of “otherness”, and thus foreclose potential for radical transformation to exclusionary structures and practices. However, by drawing upon agential realism I also highlight the ever-present possibility of rupture which lies within each of these entanglements. Based on the findings of this thesis, I conclude that radical potential for change can potentially be found by understanding and reworking these entanglements.

year: 2019

title: What do New Zealand picturebooks tell us about New Zealand national identity?

authors: Daly, Nicola

abstract: Jeffries (2004, p. 4) defines national identity as ' ... a shared sense of belonging of a group of people that depends on a common area of named place, a common set of beliefs and values, and positive feelings for a specific named geographical area'. In her examination of how New Zealand culture is portrayed in picturebooks published between 2000 and 2005, McNeur (2006) suggests that the visual and textual messages in children's picturebooks are an important contributor to the development of children's national identity. This paper describes the process of choosing a collection of 22 New Zealand children's picturebooks (known as the New Zealand PictureBook Collection) to reflect and represent diversity in New Zealand national identity, and analyses what these books tell us about the New Zealand national identity.

text: What do New Zealand picturebooks tell us about New Zealand national identity? Jeffries (2004, p. 4) defines national identity as ' ... a shared sense of belonging of a group of people that depends on a common area of named place, a common set of beliefs and values, and positive feelings for a specific named geographical area'. In her examination of how New Zealand culture is portrayed in picturebooks published between 2000 and 2005, McNeur (2006) suggests that the visual and textual messages in children's picturebooks are an important contributor to the development of children's national identity. This paper describes the process of choosing a collection of 22 New Zealand children's picturebooks (known as the New Zealand PictureBook Collection) to reflect and represent diversity in New Zealand national identity, and analyses what these books tell us about the New Zealand national identity.

year: 2016