The relationship between creativity and moral judgment

A sample of 50 male and female subjects ranging in age from 12 to 73 were divided into three groups according to the scale of maturity of moral judgment developed by Lawrence Kohlberg. Subjects were also tested on a measure of creativity developed by Torrance after the formulations of Guilford in order to test the hypothesis that the re^- lationship between creativity and maturity of moral judgment is curvilinear. Researchers have failed to develop any working hypothesis concerning the relationship between creativity and moral judgment or postulate any consistent theoretical framework concerning the possible relationship between these two constructs. The empirical investigation involved a scientific testing of a random selection of elementary subjects9 high school adolescents, and creative adults. Tests included Kohlberg8s Moral dilemmas and Guilford's Product Improvement Task. A trend analysis was conducted to reveal whether or not a curvilinear relationship existed between the independent variable (Moral Maturity Stages) and the de~ pe dent variable (creativity performance under each level). Curvilinear trends were observed in two out of four creativity subscales but were not statistically significant. It was concluded that these contradictory findings were due to the relatively small number of subjects tested, the narrow range or moral judgment scores, and the limited conception of creativity defined by the creativity measure used (The Product Improvement Task). It was suggested that an instrument assessing an identity status would be most useful as well as a creativity measure better suited for a theory of creativity essentially developmental in perspective.

Creativity and the schizophrenia spectrum unveiled : the similarities and the differences

This study examined the commonalities and the differences between creativity and the schizophrenia spectrum. The variables measured as potential commonalities and differences were creativity, schizotypy, cognitive inhibition, spatial ability, balancing skills, positive and negative presence, absorption, mystical experiences, childhood abuse, and neuroticism. Three community groups were recruited, consisting of 31 artists, 10 people with schizophrenia, and 31 comparisons matched for gender and age with the artists. A larger student group consisting of 102 students was also recruited in order to examine the correlations among the same variables within a larger, more normative, group. The largest commonality between the artist and the schizophrenic groups, who represented the extreme end of the schizophrenia spectrum, was the propensity to mystical experiences. The greatest differences between the artist and the schizophrenic groups were that the artists were higher in creativity, performed better on spatial abilities, had better balance, had more positive states of presence, and were lower in neuroticism than the schizophrenic group. In the student group, creativity was correlated with spatial ability, positive presence, absorption, and mystical experiences. In addition, creativity was significantly related to two facets of schizotypy, unusual experiences and impulsive nonconformity. In other words, students high in certain facets of schizotypy, who may share certain characteristics with those who have schizophrenia, are higher in creativity, but people who are on the extreme end of the schizophrenia spectrum, who have been diagnosed with schizophrenia, are not. The differences between the artist and schizophrenic groups on spatial ability, balance, sense of presence, and neuroticism may help to determine whether mystical experiences help to integrate creative work or destabilize and disorganize the sense of self. It may be that mystical experiences can be used more positively by the creative individuals than people with schizophrenia, in that artists and people high in creativity were higher in positive traits such as positive presence and lower on negative variables such as neuroticism, and introvertive anhedonia.

Donald Ziraldo Fonds, 1968-2012, n.d.

Donald J. P. Ziraldo, C.M., BSc., LLD was born in St. Catharines, Ontario on October 13, 1948 to Fredrick and Irma (Schiratti) Ziraldo. He graduated Denis Morris High School in St. Catharines in 1967, and received his B.Sc. in Agriculture at the University of Guelph in 1971. In 1974, Ziraldo was running Ziraldo Nurseries when he met Austrian born schoolteacher, chemist and winemaker Karl J. Kaiser. They realized that there was a gap in the premium varietal wine market and decided to plant a premium traditional European variety of grape vine species, the Vitis vinifera. This was an innovation in the Niagara region because the current wine producers were not using premium European grapes at the time. Ziraldo and Kaiser founded and then formally incorporated Inniskillin Wines Inc. in Niagara-on-the-Lake, Ontario on July 31, 1975. Ziraldo successfully lobbied General George Kitching, CEO of the LCBO, for a winery license. In 1975, Kitching granted him a winery license, the first in Ontario since Prohibition ended. From the beginning, there was a division of labour where Kaiser focused on the winemaking and Ziraldo focused on the marketing and promotion of the wines. Ziraldo also became president of the company. Ziraldo and Kaiser worked on improving their winemaking techniques and promoting their products and company. Ziraldo has been called ‘one of the founding fathers of the Canadian wine industry’, and it is widely acknowledged that both men played a large role in the success and growth of the Canadian wine industry. Together they pioneered the estate winery movement in Canada. A major turning point Inniskillin came in 1984 when Karl Kaiser successfully harvested the first Icewine crop from frozen grapes on the vine and bottled Eiswein Vidal (Icewine). In 1990, Inniskillin received worldwide recognition for this Icewine when their 1989 Vidal Icewine won the most prestigious award in the wine world, the Grand Prix d’Honneur, given at Vinexpo in France. This victory has been called ‘the award heard round the world’ and it launched Inniskillin into the international wine arena. At the same time, this helped lift the profile of Canadian wines in general. Inniskillin not only became Canada’s leading producer of Icewine, but it also became known for producing ‘one of the world’s great wines’. After the 1990 award, Ziraldo began a major public relations campaign to promote Inniskillin and build Icewine into a worldwide brand. He travelled broadly every year to promote the brand and products and networked extensively with politicians, celebrities, chefs, sommeliers, etc. To ensure worldwide and long-term success, Ziraldo introduced Icewine to Asia and the United States which were new markets. He developed a new Icewine glass with George Riedel. Tony Aspler has called Ziraldo ‘Canada’s Wine Ambassador’. Ziraldo was President of Inniskillin Wines Inc. (Niagara) from 1975 to 2006. In 1992, Inniskillin merged with Cartier Wines, and in 1993 Cartier Inniskillin Vintners Inc. merged with T.G. Bright & Co. Limited, forming the new company Vincor International Inc. Inniskillin wines was now a subsidiary of Vincor. Ziraldo became a Director at Vincor International Inc. from 1993 to 2004. From 1989 to the mid 1990s, Ziraldo also became President of Inniskillin Napa, in Napa Valley, California. Inniskillin purchased Napa Valley vineyards and produced wines under the Terra label. In 1994, Ziraldo set up a subsidiary estate winery of Inniskillin in Oliver, British Columbia which was called Inniskillin Okanagan Vineyards Inc. He became President of the winery. This started as a partnership between Inniskillin and the local Inkameep Indian Band in the Okanagan. In 2006, Ziraldo left Inniskillin and since that time he has been involved in other Icewine related ventures such as running Ziraldo Estate Winery and producing Ziraldo Riesling Icewine 2007. He also is in partnership with the Niagara based Equifera Estate Winery to produce Equifera Icewine. His most recent projects include planting Picolit grapes in his parent’s hometown, in a project called Picolit Di Fagagna and becoming Managing Director of the Senhora Do Convento Port Winery in Portugal. Donald Ziraldo was instrumental in the creation of the Vintners Quality Alliance (VQA) in Ontario and was its founding Chair from 1988-1995. The VQA was established as a regulatory and appellation system which secured the quality and origin of Canadian wines made under this system. The VQA designation and bottle label gave the consumer confidence that the wines they were purchasing were 100% local products. The VQA system was set up first in Ontario and then in British Columbia.

Raising Creativity: Exploring How Creativity Can be Nurtured in Educational Contexts

The question of how we can encourage creative capacities in young people has never been more relevant than it is today (Pink, 2006; Robinson as cited in TEDtalksDirector, 2007; Eisner as cited in VanderbiltUniversity, 2009). While the world is rapidly evolving, education has the great challenge of adapting to keep up. Scholars say that to meet the needs of 21st century learners, pedagogy must focus on fostering creative skills to enable students to manage in a future we cannot yet envision (Robinson as cited in TEDtalksDirector, 2007). Further, research demonstrates that creativity thrives with autonomy, support, and without judgment (Amabile, 1996; Codack [Zak], 2010; Harrington, Block, & Block, 1987; Holt, 1989; Kohn, 1993). So how well are schools doing in this regard? How do alternative models of education nurture or neglect creativity, and how can this inform teaching practice all around? In other words, ultimately, how can we nurture creativity in education? This documentary explores these questions from a scholarly art-based perspective. Artist/researcher/teacher Rebecca Zak builds on her experience in the art studio, academia, and the art classroom to investigate the various philosophies and strategies that diverse educational models implement to illuminate the possibilities for educational and paradigmatic transformation. The Raising Creativity documentary project consists of multiple parts across multiple platforms. There are five videos in the series that answer the why, who, how, what, and now what about creativity in education respectively (i.e., why is this topic important, who has spoken/written on this topic already, how will this issue be investigated this time, what was observed during the inquiry, and now what will this mean going forward?). There is also a self-reflexive blog that addresses certain aspects of the topic in greater depth (located here, on this website) and in the context of Rebecca's lived experience to complement the video format. Together, all video and blog artifacts housed on this website function as a polyptych, wherein the pieces can stand alone individually yet are intended to work together and fulfill the dissertation requirements for Rebecca's doctorate degree in education in reimagined ways.

La danse comme outil d'intervention sociale : exploration pratique et théorique de l'intervention sociale auprès de préadolescents et adolescents

Plusieurs hypothèses planant autour de la danse, des cultures juvéniles et de l’intervention permettent de repérer l’existence d’une multiplicité de regards, mais sans rapport apparent entre eux. Les tenants du courant humaniste s'intéressent à la forme et à la structure de la danse en tant qu'art dans les pays de culture occidentale. Les tenants de l’approche anthropologique y voient un instrument de socialisation qui permet de créer, refléter ou renforcer des liens entre les participants, tout en transmettant les valeurs de la culture héritée (Blacking: 1963, Spencer: 1985, Ward: 1993, Bourdieu: 2002). D’un point de vue somatique, la danse permet la prédominance du corps sur l’esprit, car l’apprentissage se fait généralement par imitation (Guilcher: 1963, Faure: 2004). Dans ce cas, les participants sont appelés à « s’ouvrir à autrui » en montrant et en apprenant des autres, créant une circularité dans leurs échanges sur un rythme qui « unit » les participants (Schott-Billman: 2001, Hampartzoumian : 2004). Ce projet se pose comme une réflexion sur le ou les sens de la danse comme outil d’intervention sociale auprès de jeunes amateurs amenés à vivre des inégalités sociales. En privilégiant un contexte d’atelier, où certains ajustements sont tolérés par l’enseignant, un espace de créativité s’organise de manière informelle face à un objectif donné : une représentation publique dansée. Cet angle d’approche s’inspire de « la métaphore du bricolage » au sujet des cultures populaires par M. De Certeau (1980), où la créativité populaire est repérable dans « les manières de faire avec » les produits imposés par la culture dominante, la politique, l’économie et les enjeux sociaux dominants. Ainsi, le participant qui « perturbe » les règles d’usage d’une intervention prescrite n’est pas un sujet en marge de la société. C’est par des actions pareilles qu’il prend sa place comme acteur social. Cet événement permet « d’in-corps-porer » le double discours existant entre les danses de représentation et les danses populaires chez les participants.

David Gauntlett's inaugural lecture, 'Participation culture, creativity, and social change', from 12 November 2008: the key themes in ten minutes

David Gauntlett's inaugural lecture from November 2008, in which he points to a shift from a 'sit down and be told' culture to a more creative 'making and doing' culture, which may offer one of the necessary keys to tackling climate change and environmental problems.

How The Web Devalues Creativity

By lowering the barriers to communication, the Web has not made it possible for writers to make more money; instead large corporate aggregators are taking advantage of creators to make themselves rich. MaryAnn Johanson is the creator of one of the oldest independent film review sites on the web (flickfilosopher.com). In this lecture she addresses the problems of the long tail for the long tailees. How can a creative professional make a living through the Web, when all the power is held by the aggregators? So much for radical disintermediation... This share contains the lecture slides (see slide #29-30 for the summary of her argument), the lecture audio, further reading, a link to her web site and a critique of The Longer Tail from students at another Web Science Trust Network lab.

Paradojas de la certificación ISO 9001:2000 creatividad empresarial de fresenius médicasl care Colombia

Hoy en día las empresas buscan cada vez más tener un valor agregado que las diferencie y por el cual el cliente los reconozca, es por ello que adoptan modelos de gestión como el basado en un Sistema de Gestión de Calidad obtenido mediante la certificación ISO 9001:2000. Esta investigación tiene como objetivo el estudio del proceso de implementación del sistema de gestión de calidad en Fresenius Medical Care Colombia, multinacional alemana líder en la prestación de servicios de diálisis y también productora de los insumos necesarios para tratamientos a pacientes con insuficiencia renal. Para este trabajo se investigó además sobre creatividad empresarial, tomando como referencia el libro de Alan G. Robinson y Sam Stern, Creatividad Empresarial – Un Concepto de Mejoramiento e Innovación Corporativos, que nos ofrece seis elementos que debe tener toda empresa creativa y los cuales serán contrastados con la realidad de Fresenius Medical Care Colombia luego de su certificación. Se identificarán y evaluarán los elementos de la creatividad que se ven afectados por los requisitos de la norma, demostrando al final que así los principios de un sistema de gestión de calidad contribuyan al fortalecimiento de algunos de los elementos de toda empresa creativa, la norma impone rigidez a los modos de hacer el trabajo de los colaboradores de la compañía lo cual cierra los espacios para las iniciativas creativas.

Methodology for measuring the impact of mobile technology change from 2nd to 3th generation percerved by users of smes in Barranquilla

This article presents the results of a research project undertaken to obtain a Masters inBusiness Administration from the Business School at the Universidad del Norte, whosepurpose was to identify and test a methodology to measure the impact exerted by thechange from 2nd to 3rd generation mobile tech, based on the perception of users belongingto Barranquilla SME, motivated by the influence of technological changes in behavior andthe knowledge creation among society members, and the importance it has taken to thesurvival of organizations the adoption of applications for process automation, web-basedapplications, voice, data and video that allow the development of competitive advantages,based on information and creativity for new and better products or services.

El trabajo en equipo en el Proceso Administrativo y de Compras en OPL Carga de Bucaramanga

El proceso administrativo y de compras de OPL Carga tiene algunas falencias entre ellas: fallas en la Comunicación entre el personal operativo, no se realizan llamadas internas usando con frecuencia el email, produciendo la saturación de solicitudes las cuales terminan sin ser resueltas en cuanto a roles se refiere, no hay enfoque de procesos en vista que no se tiene claras las tareas de cada cargo, adicionalmente no hay claridad en los subprocesos, perjudicando el proceso con el aumento de costos, pérdida de tiempo, las responsabilidades de los funcionario no todas las veces se ejecutan en el tiempo asignado, el liderazgo compartido presenta ambigüedades. Objetivos: Definir el trabajo en equipo en el proceso administrativo y de compras en OPL carga de Bucaramanga. La investigación que a realizar es de tipo descriptivo, busca descubrir las falencias o características que permiten diseñar y desarrollar un modelo de solución para los problemas del equipo de OPL Carga S.A.S. Materiales y métodos: La investigación efectuada es de tipo descriptivo, el objetivo es definir el modelo del trabajo en equipo y describir las falencias en el proceso administrativo y de compras en OPL carga de Bucaramanga, que permitan obtener un diagnóstico integral que conlleve a la implementación de estrategias de solución. Resultados: Se identificaron las falencias en los siguientes aspectos: Variable comunicación, rendimiento, destrezas complementarias, propósito significativo y meta específicas de los funcionarios en OPL carga sección administrativa. Conclusiones: El modelo de trabajo en equipo que OPL aplica es jerárquico, en el que se ofrece estabilidad, seguridad, se toman decisiones en forma piramidal, mediante la planeación de tareas, la colaboración, igualdad y respeto por los miembros, trabajando en pro de la solución de problemas. Se construyó un plano conceptual que permitió exponer la interpretación que la estudiante tiene de las teorías, investigaciones y antecedentes válidos para la comprensión del problema investigado. Área comunicacional: Coordinar acciones tendientes para que los funcionarios respondan a tiempo los emails atenientes a su trabajo. Área condiciones de trabajo: Clarificar y diseñar las reglas de comportamiento al interior de los equipos de trabajo que redunden en el mejoramiento del mismo y la búsqueda de soluciones oportunas. Área metas específicas: Procurar mediante auditorías el cumplimiento de las metas y objetivos propuestos por cada equipo de trabajo.

Influencia de la comunidad de clústers en las relaciones estratégicas comunitarias y el marketing compartido

Un clúster es entendido por la gran mayoría como un gran conglomerado de empresas que giran en torno a un objetivo, en su gran mayoría económico. Su intención es competir con otros conglomerados en cuanto a precios y cantidades, ya que de manera individual no podrían. En consecuencia, esta unión se utiliza en un principio para crear ventajas tanto competitivas como comparativas en contra de la competencia, lo cual genera un valor a esta unión, con el fin de producir fidelidad en el cliente y recordación de todos los productos que tal unión brinde. Según estudios realizados por diversos autores, en muchas ocasiones, los clúster no se crean con una finalidad económica, sino como desarrollo de un perfil comunitario que ayude a la sociedad y las organizaciones que la componen. La base de las relaciones se centra en la comunicación y en las diversas técnicas que existen en ese ámbito para asegurar la sostenibilidad de la organización. Dentro de estas relaciones, se le da un reconocimiento a la educación y la cultura en donde se encuentra ubicado el clúster, ya que las estrategias que se implementen se relacionan directamente con las necesidades de los clientes, generando en el pensamiento de la comunidad la perdurabilidad y sostenibilidad como efecto del desarrollo social.

Desarrollo de un estado de la cuestión acerca de las interacciones entre el control de gestión y el aprendizaje organizacional.

Las organizaciones en la actualidad deben encontrar diferentes maneras de sobrevivir en un tiempo de rápida transformación. Uno de los mecanismos usados por las empresas para adaptarse a los cambios organizacionales son los sistemas de control de gestión, que a su vez permiten a las organizaciones hacer un seguimiento a sus procesos, para que la adaptabilidad sea efectiva. Otra variable importante para la adaptación es el aprendizaje organizacional siendo el proceso mediante el cual las organizaciones se adaptan a los cambios del entorno, tanto interno como externo de la compañía. Dado lo anterior, este proyecto se basa en la extracción de documentación soporte valido, que permita explorar las interacciones entre estos dos campos, los sistemas de control de gestión y el aprendizaje organizacional, además, analizar el impacto de estas interacciones en la perdurabilidad organizacional. ​

Relación entre el desarrollo de sistemas de control de gestión y los recursos y capacidades caso : Teleperformance Colombia

Siguiendo un marco teórico integrado por varios autores entorno a los sistemas de control de gestión a lo largo de varias décadas, este trabajo pretende estudiar y contrastar la relación entre el desarrollo de dichos sistemas y los recursos y capacidades. Para tal fin, se desarrolló un estudio de caso en Teleperformance Colombia (TC), una empresa dedicada a prestación de servicio de tercerización de procesos o business process outsourcing. En el estudio se establecieron dos variables para evaluar el desarrollo de sistema de control de gestión: el diseño y el uso. A su vez, para cada uno de ellos, se definieron los indicadores y preguntas que permitieran realizar la observación y posterior análisis. De igual manera, se seleccionaron los recursos y capacidades más importantes para el desarrollo del negocio: innovación, aprendizaje organizacional y capital humano. Sobre estos se validó la existencia de relación con el SCG implementado en TC. La información obtenida fue analizada y contrastada a través de pruebas estadísticas ampliamente utilizadas en este tipo de estudios en las ciencias sociales. Finalmente, se analizaron seis posibles relaciones de las cuales, solamente se ratificó el relacionamiento positivo entre uso de sistema de control gestión y el recurso y capacidad capital humano. El resto de relacionamientos, refutaron los planteamientos teóricos que establecían cierta influencia de los sistemas de control de gestión sobre recursos y capacidades de innovación y aprendizaje organizacional.

Play and creativity at the center of curriculum and assessment : a New York City School??s Journey to re-think curricular Pedagogy

Resumen tomado de la publicaci??n

Spanish adaptation of the Creative Potential and Practised Creativity scale (CPPC-17) in the workplace and inside the organization

Resumen tomado de la publicación