Hidden Dimensions of Creativity Elements in Design Process

Demirkan, Halime; Hasırcı, Deniz

doi:10.1080/10400410902861711

Cited by 35 publications

(31 citation statements)

References 28 publications

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“…Second, with the profusion of interrater reliability indices, different indices may have very different meanings. Of the techniques mentioned, consistency estimates have been used most often by creativity researchers (Amabile, 1982(Amabile, , 1983(Amabile, , 1996Baer, Kaufman, & Gentile, 2004;Besemer, 1998;Besemer & O'Quin, 1999;Demirkan & Hasirci, 2009;Horng & Lin, 2009;Kaufman, Baer, Cole & Sexton, 2008;Kozbelt & Serafin, 2009;O'Quin & Besemer, 1989. However, there are a number of unresolved issues associated with consistency estimates (e.g., some judges tend to use a specific subset of categories and other judges tend to use most or all of the categories; the uncertain influence of different numbers of categories-such as a 4-point vs. a 7-point scale).…”

Section: Evaluating Rater Effectsmentioning

confidence: 95%

“…Each of these scales is associated with evidence of reliability and validity (Besemer, 1998;Besemer & O'Quin, 1999;Horng & Lin, 2009;O'Quin & Besemer, 1989). In addition, some researchers provide raters with rating categories that are usually derived from previous research and suitable for the particular task being assessed (e.g., the evaluation of design tasks, Demirkan & Hasirci, 2009; the evaluation of works of art, Kozbelt & Serafin, 2009). …”

Section: Evaluating Rater Effectsmentioning

confidence: 99%

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Improving Creativity Performance Assessment: A Rater Effect Examination with Many Facet Rasch Model

Hung

Chen

2012

Creativity Research Journal

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Section: Evaluating Rater Effectsmentioning

confidence: 95%

Section: Evaluating Rater Effectsmentioning

confidence: 99%

Improving Creativity Performance Assessment: A Rater Effect Examination with Many Facet Rasch Model

Hung

Chen

2012

Creativity Research Journal

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“…This has been because, first, creative people are typically judged to be creative by what they produce (Kaufman, Christopher & Kaufman, 2008). Second, product characteristics explain the most variance in evaluations of creativity, far more than person or process dimensions (Demirkan & Hasirci, 2009); and most importantly, third, because a product approach has been seen for some time to provide access to what are considered to be the main contributors of creativity:…”

Section: Creativity Criteria and Evaluation Accuracymentioning

confidence: 99%

More than the eye of the beholder: The interplay of person, task, and situation factors in evaluative judgements of creativity

Birney

Beckmann

Seah

2016

Learning and Individual Differences

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. (2016) 'More than the eye of the beholder : the interplay of person, task, and situation factors in evaluative judgements of creativity.', Learning and individual dierences., 51 . pp. 400-408. Further information on publisher's website:https://doi.org/10.1016/j.lindif.2015.07.007Publisher's copyright statement: NOTICE: this is the author's version of a work that was accepted for publication in Learning and Individual Dierences. Changes resulting from the publishing process, such as peer review, editing, corrections, structural formatting, and other quality control mechanisms may not be reected in this document. Changes may have been made to this work since it was submitted for publication. A denitive version was subsequently published in Learning and Individual Dierences, 51, October 2016, 10.1016/j.lindif.2015 Additional information: Use policyThe full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that:• a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders.Please consult the full DRO policy for further details. Accepted for publication in Learning and Individual DifferencesEvaluating creative products 2 AbstractJudging creativity accurately is difficult. Individuals who are involved in product creation tend to overestimate the creativity of their work; Individuals not involved lack understanding of the creative process that led to the product under scrutiny. We studied creativity judgments in a tripartite person-task-situation framework. Under high, medium, or no structure conditions and different orders of evaluation, participants (N = 90) rated the creativity and purchase appeal of products created by themselves and others. Accuracy was defined as differences from consensus evaluations of participants not involved in production (N = 30).Moderator analyses suggest that externally set structure of the evaluation process (e.g., using a set of criteria) facilitates the quality of creativity judgment. In unstructured conditions, evaluating one's own product before evaluating a peer's leads to low accuracy, but higher levels of conscientiousness seem to mitigate potentially deleterious effects of lack of structure. Higher levels of openness facilitated accurate creativity judgments of peerproduced products, but not self-produced products. A person-task-situation approach is needed to fully unpack the complexity of processes underlying accurate evaluation of creativity.

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“…In much literature to do with learning through creative, practice-based processes, these are distinguished into foci on the person, process or product (Reid and Solomonides 2007;Spendlove 2007;Demirkan and Hasirci 2009;Belluigi 2013). However, there is difficulty in codifying practical or procedural forms of knowledge and in articulating how these forms of knowledge may be transferred to different contexts, as they can be awkward to describe or measure explicitly.…”

Section: Page 3 Of 26 Preprintmentioning

confidence: 99%

Underlying knowledge-knower structures in graphic design: Contributing to establishing a cohesive language for use in graphic design education

Giloi

Belluigi

2017

Art, Design &Amp; Communication in Higher Education

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Providing a cohesive language for graphic design, which can be utilized in the production of knowledge and the generation of theory specific to that sub-discipline of Art and Design, is a challenge that is often obscured by the very practical nature of the field. As practice-based problem-solving is at the core of graphic design, application often supersedes meta-level theoretical engagement when it comes to educating undergraduate students. In this article, the underlying structures of graphic design pedagogy are explored through sociology of knowledge theories. We demonstrate how these theories enable the identification and analysis of those underlying structures, both epistemic and social, which influence how knowledge and the knower is constructed, taught and assessed in this sub-discipline. Applying these knowledge-knower structuring theories to analyses of empirical data collected from curriculum documentation and assessment events, we draw comparisons with data generated from formative and summative assessment practices. It is our intention that, through articulating a language of description and providing this example of the application of such methodological procedures for investigating such knowledge, a cohesive language may be shared that holds the potential to better inform curriculum development of the sub-discipline in higher education.

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Hidden Dimensions of Creativity Elements in Design Process

Cited by 35 publications

References 28 publications

Improving Creativity Performance Assessment: A Rater Effect Examination with Many Facet Rasch Model

Improving Creativity Performance Assessment: A Rater Effect Examination with Many Facet Rasch Model

More than the eye of the beholder: The interplay of person, task, and situation factors in evaluative judgements of creativity

Underlying knowledge-knower structures in graphic design: Contributing to establishing a cohesive language for use in graphic design education

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