Doctor of Philosophy (Ph.D.), University of Dayton, 2015, Educational Leadership

This research utilized a constructivist, phenomenological methodology, a qualitative, semi-structured interview method, and a theoretical framework informed by organizational theory as well as creativity theory to explore (1) sources of supports and inspiration for creativity cultivation, (2) experiences that had a positive impact on creativity cultivation, and (3) experiences that had a negative impact on creativity cultivation. The research focused on the process of creativity cultivation, as opposed to the focus of most existing work on the established creative individual and/or the creative product. The overwhelming majority of interviewees reported that early childhood provided important sources of support and inspiration for creative behaviors and influenced their life-long creative processes. This finding was not widely reported in the previous literature. The concentration of this study on the process of creativity cultivation may have allowed this new insight. Further, the interviewees also identified two types of experiences that had positive impacts on their cultivation of creativity: (1) varied experiences and (2) organizational factors. Finally, the interviewees identified organizational factors as also being the most significant experiences that negatively impacted their creativity cultivation. A majority of interviewees noted that they left organizations that were exerting negative influences on their creativity cultivation. Many of the interviewees also indicated that they had established, or had plans to establish, their own organizations to foster future creative endeavors. This paper includes the nascent outline of an analytical and integrative template to link creativity and organizational research to allow deeper and fuller future analysis. Finally, this paper concludes with analysis and recommendations for future investigations into creativity cultivation supports and inhibiters.

Master of Fine Arts, The Ohio State University, 2014, Industrial, Interior Visual Communication Design

There is little research on the relationship between the physical work environment and group creativity. Components within a physical work environment could potentially affect the users' perceptions of their own creativity or the creativity that they experience with others. The increase of creative work output as a standard in various work settings today requires that further research be completed to better understand the nuanced relationship between the physical work environment and group creativity. Various entities such as Google have taken this relationship very seriously, experimenting with a wide variety of environments to support their creative workforces. The experiential work environment is comprised of many elements within a complex system. Researchers are still working on outlining the components of this system, how these components relate to one another and how this system relates to creativity. Important questions relative to this relationship may include: How might an individual's (or a group's) perception of creativity (feeling creative) be affected by the physical work environment? What is the relationship of mood to creativity within an environment? What is the role of tools and materials to creativity within an environment? How might participatory design methods, the codesign of a workspace, affect the ownership and/or stewardship of a work environment? This research attempts to address these questions through the study of a group of creative workers who, by accounts of existing research on the topic, worked in a physical environment that did not support creativity. This group was able to function as creative professionals and students within this ill suited (pre-test) environment and was documented doing so for a 113 day period. This group then participated in co-designing their work environment to better support their creativity, which was implemented soon after. Finally, this group was documented working in their co-designed (post-test) en (open full item for complete abstract)

PHD, Kent State University, 2017, College of Education, Health and Human Services / School of Lifespan Development and Educational Sciences

The purpose of this study was to explore how creativity and intuition were activated and encouraged by counseling supervisors within the clinical supervisory relationship with supervisees. Past research in this area was limited in scope, and suggestions for future research included uncovering what worked to encourage creativity and intuition for counselors within supervisory relationships to aid clinical supervisors, counselors, and potentially clients and counseling training programs (Carson & Becker, 2004; Faiver, McNally, & Nims, 2000; Jeffrey, 2012; Jeffrey & Stone Fish, 2011; Koltz, 2008; Kottler & Hecker, 2002; Lawrence, Foster, & Tieso, 2015). Constructivist grounded theory methodology was used for this study, and a purposeful sample of participants was selected via the use of Q-Methodology procedures, specifically, by using Q-sorts and Q-interviews to narrow down participants to those who used creativity and intuition in their clinical supervision practices. Twenty-nine participants (Ohio-licensed and endorsed clinical counseling supervisors) completed Stage 1 (the Q-procedures) of this study. Three factors (Factor Ci, Factor CI, and Factor ci) arose from Stage 1 (n = 20). Participants from Factor Ci (n = 12) and Factor CI (n = 2) were asked to continued with the study and 11 did so. The grounded theory that emerged was the supervisory interaction vortex, which stemmed from a strong supervisory alliance and relationship. This theory was developed into a new clinical supervision model, the Creativity and Intuition Supervision Model (CISM), and expanded upon existing literature about the use of creativity and intuition within supervisory relationships.

Master of Liberal Studies, University of Toledo, 2010, Liberal Studies

The topic of research in this thesis is evaluating and exploring the possible explanations for creativity and innovation in individuals. Since there is not a scientifically proven genetic reason for creativity, this paper is based upon evaluating several theories and ideas that psychologists, scientist, behaviorists and doctors have divulged regarding this topic. The main areas of focus in this thesis are to discover what areas of the mind, of personality and of environment influence the progress or repression of creative thought and innovative discovery. The findings of this research however are vague, as there is no conclusive result to date on this topic. To do this research, I sought to find a definition of creativity and innovation, evaluated scientific theories of creativity, examined environmental factors regarding some of the most influential creators in history and explained what aspects of the mind assisted in creative and innovative thought process. Through this research, I have found that the most prominent factor contributing to one's creativity are environmental factors. The one consistent agreeable contributing factor to creativity and innovation was environment. Regardless of scientific findings or psychological findings- environmental factors are always a large influence. The results of this research do not produce a conclusive answer to a question, but instead offer several variations of explanations for the topic of this research. In order to understand creativity and innovation, all the areas of possibility must be explored and is done so in this study.

Doctor of Philosophy (PhD), Ohio University, 2024, Electrical Engineering & Computer Science (Engineering and Technology)

Computational Creativity is an interdisciplinary field dedicated to developing systems that generate innovative ideas or artifacts, capturing the essence of human creativity in a form that machines can emulate and enhance. The goal of this dissertation is to contribute to the advancement of this field by introducing computational models and methodologies that can automatically produce creative artifacts from data. The core approach utilized involved learning transformations from data distributions and applying them to new, often out-of-distribution data, leading to the emergence of creative outputs. Models for generating creative artifacts are presented and explored across various domains. In the realm of symbolic representations, binary bit sequences and text are examined. Bit sequences are transformed to generate surprising patterns, while for text, a model is introduced for crafting creative short narratives. For raw representations, images of simple geometric shapes are transformed to produce novel outputs. In this dissertation, I also introduce methods for the detection of creative artifacts. First, distribution-based measurement approaches that evaluate and quantify the level of creativity in text by measuring their degree of surprise are presented. Next, an expectation-realization model is introduced to detect creative usage of words, specifically metaphors. The model achieves this by analyzing the deviation of the realized meaning of words in context from the expected literal words for the same context. Through detailed experiments, I demonstrate the practical implementations of the developed methodologies across various domains and datasets, presenting empirical evidence of their effectiveness in modeling creativity.

Ph.D., Antioch University, 2020, Leadership and Change

The purpose of this grounded theory study was to explore the lived experience of foreign-born professional highly skilled employees living in the United States working for U.S.-centric organizations and the impact the interplay between their ethnic culture and the organization's culture has had on their creativity in the workplace. Fourteen participants were interviewed and shared their experiences of creativity, providing rich stories. Using grounded theory analysis of their statements revealed five primary dimensions and five theoretical propositions. The study offers a heuristic model of the newly identified concept “cultural pivoting.” This term describes the importance and impact of having access to several cultural practices and finding behaviors/attitudes/discourses that best suits the situation and/or best solves the problem at hand. Navigating variations of cultural pivoting are indications of what I have called contextual creativity. Thus, the study also adds a different understanding of factors enabling creativity in organizations. This dissertation is available in open access at AURA: Antioch University Repository and Archive, http://aura.antioch.edu/ and OhioLINK ETD Center,https://etd.ohiolink.edu.

MDES, University of Cincinnati, 2016, Design, Architecture, Art and Planning: Design

This thesis investigates childlike thinking as a means toward creative practice through researching literature, constructing a set of original childlike thinking design methods, and testing these methods using burgeoning design practitioners. Scientific studies show that creativity wanes with age. This thesis indicates which phase within the design process benefits most from creative thinking, positing that childlike thinking can increase creative thinking through molding childhood games (e.g., Musical Chairs) into design ideation games. Five main creativity criteria are used to measure the outcomes of the game testing, and in the end the experimental group (who played design ideation games) is proven more creative than the control group (who did not play games). Both groups report how they would label their thinking throughout the design ideation process. The game-playing group's self-labeling proves more creative than the non-game-playing group. Ultimately, the results indicate that game-playing during the design ideation phase produces about 170% more ideas. This thesis concludes with thoughts on further studies regarding the facilitation of creative childlike thinking.

Master of Fine Arts, The Ohio State University, 2014, Industrial, Interior Visual Communication Design

The Skills Gap is a disconnect in the skills that students have acquired throughout their education, and the skills that businesses are seeking from potential employees. The Creativity Crisis is the documented phenomenon where young children test at genius levels of creativity, but by adulthood, lose most of their creative capacity. Until now, these two ideas have been considered separate circumstances, but what if they are part of a bigger problem…of a Creative Achievement Gap? While students continue to lose creativity, businesses demand innovative, creative thinkers. Design Thinking can help to bridge the gap. Using existing research and literature, I have uncovered five separate Growth Opportunities that will help to align the goals of K–12 education, business, and learners (of any age). These Growth Opportunities are Skills, Character, Mindset, Values, and Community. Items in each individual Growth Opportunity have been communicated by authors from many different backgrounds, and writings about a variety of topics (education, business, design, thinking, creativity, etc). In the end, I will propose a list of “Shared Principles for Stakeholder Alignment” which are the Growth Opportunity items that I've interpreted as actionable principles that can be used to align all stakeholder groups—students, parents, teachers, workers, businesses, and learners of any age. By doing so, we can effectively address the Creative Achievement Gap.

Doctor of Philosophy, The Ohio State University, 2014, Arts Administration, Education and Policy

The problem this dissertation addresses is the over-determined understanding of creativity in contemporary Western culture. I argue that popularized scientific understandings of creativity limit both the historical understanding of the term, as well as its potential. This dissertation utilizes a methodology that draws from the work of the philosopher Gilles Deleuze and the psychoanalyst Felix Guattari. The duo, working in conjunction with one another, develops an understanding of a philosophical “concept.” According to the authors, a “concept” is encyclopedic and multidimensional; when a concept becomes “commercial professionalized training” it is robbed of its encyclopedic form. Therefore, by employing the concept as a methodology that addresses creativity, I work to resist easily definable ideas of creativity; in other words, the task of the concept is to keep creativity as encyclopedic as possible. This dissertation employs the concept in two ways. First, I present a series of three conceptual arguments utilizing historical understandings of creativity in Western culture. In the first conceptual argument, creativity requires a structure to make itself manifest; in turn, the results of the creative act often reify this structure. As part of this argument, an individual's refusal of some dominant socio-cultural parameters can create a space where other, previously less visible, socio-cultural parameters are brought to attention. The second conceptual argument begins with a Platonic reading of creativity before pressing forward chronologically through the Scientific Revolution. Through this history, the process of creativity is often individualized, but its reception is socialized. Within this framework, I argue that the dominant reading of creativity in Western culture is masculine, even if creativity's association with madness and isolation troubles attempts to simplify this reading. The third conceptual argument brings to the fore a feminist reading of creati (open full item for complete abstract)

Master of Fine Arts, The Ohio State University, 2013, Industrial, Interior Visual Communication Design

This thesis explores how dynamically moving one's body, while problem-finding and problem-solving in a group, can impact one's creative abilities and expression. The behavior and creative output of small groups of people engaged in creative sessions was investigated. They explored the question “What's next?” using one of four methods: traditional focus group, image collaging, Sandquery, Enactavision. (The image collaging method uses paper, scissors, glue and the provided images and printed words as tools. The Sandquery method uses sand, a wooden box called a sand tray, and the provided toys and objects as tools. The Enactavision method uses the Kinect, a wall, a projector, two computers, a touchscreen and the Enactavision application as tools.) People's use of the three participatory methods (image collaging, Sandquery and Enactavision) was compared to the control condition (traditional focus group). Each method followed a similar script and used the same activities and post-session questionnaire. Triangulation of data using several measurement techniques was performed because of the exploratory nature of the research. Analysis focused on where similarities and differences occurred when comparing dynamic body movement and collectively creative expression. This research shows that groups of people who make meaningful movements, play pretend, or enact while thinking and generating creative possibilities produce very different output than do people in a group who brainstorm with minimal body movement. Thus, enactment enhances collective creativity. Activities designed to generate creative possibilities and solutions are more effective when they are more embodied, kinesthetic and playful than the more traditional and static or reserved methods used for design research. This research explores collective creativity because collective creativity will play an important role in everyone's future. Because wicked problems require transdisciplinary te (open full item for complete abstract)

PHD, Kent State University, 2024, College of Education, Health and Human Services / School of Teaching, Learning and Curriculum Studies

Creativity is an important part of education. Teachers need to be able to understand and develop creativity to be able to successfully model it for their students. They can achieve this through pre-service training. Past research has provided implications in pre-service training that helped pre-service teachers develop creativity, albeit from a limited perspective. Digital gaming has been found to help develop creativity in K-12 students and undergraduate students but has not been explored from the perspective of pre-service teachers. The purpose of this study was to examine digital game-based learning and the development of creativity with pre-service teachers. With the aid of the 4Ps of Creativity Framework, this study employed a quasi-experimental pretest-posttest design to examine how digital gaming instruction, gamification instruction and traditional instruction developed person creativity, process creativity, product creativity, and press creativity with pre-service teachers in an asynchronous module unit. Person creativity, process creativity, and press creativity were examined in the pretest and posttest. Product creativity was evaluated after the module. Findings indicated that growth in convergent thinking (a subdimension of process creativity) accounted for differences between digital gaming instruction, gamification instruction, and traditional instruction. The pre-service teachers' pretest scores of convergent thinking and their major also impacted growth in convergent thinking. The findings conflicted with past research and demonstrated the importance of measuring subdimensions of process creativity in digital game-based learning with pre-service teachers. Implications included a need for teacher educators to utilize digital game-based learning techniques to develop convergent thinking with pre-service teachers.

Master of Science, Miami University, 2024, Computer Science and Software Engineering

Drawing inspiration from lateral thinking, synergetics, psychology, creativity, and business, this research project employs an interdisciplinary approach to investigate the research process which drives innovation in the field of artificial intelligence. This research project explores methods for harnessing the synergy present in the latest, neuro-symbolic paradigm of artificial intelligence, while noting similarities between the first two waves of AI and dual process theory. It attempts to integrate unconventional, yet potentially promising interdisciplinary ideas into a proof of concept, including creative tools and techniques like the Six Thinking Hats, methods of psychotherapy, including cognitive behavioral therapy and internal family systems, as well as principles related to conflict resolution and ``tensegrity". The proof of concept is a hybrid semantic search system for research papers in computer science, constructed using a process of rapid prototyping and iteration, with special consideration for evaluating how more modular, interpretable, and human-centric approaches to system design can help narrow the gap between cutting-edge AI research and ethical, practical application in business. This research is conducted with the hope of opening the research field to greater creative possibility, as well as deliberate action towards creating more sustainable and human-centric artificial intelligence systems.

EDD, Kent State University, 2024, College of Education, Health and Human Services / School of Health Sciences

Scripted/narrowed curricula are tangled in the webs of school reforms and standardization. Teachers are experiencing a monumental challenge: the deprofessionalization of their roles as educators. I sought teachers' understandings of how scripted/narrowed curricula impact their curriculum autonomy, specifically, their professional responsibility and pedagogical artistry. Quantitative and qualitative data were collected from K–12 public educators in Rhode Island using an adapted Curriculum Autonomy Survey and Curriculum Autonomy interviews. I analyzed the quantitative data using descriptive and inferential statistics, which provided a broader picture of the experiences of Rhode Island educators faced with teaching scripted/narrowed curricula, and a second group emerged: teachers who develop their own curricula. Interview questions asked teachers to reflect on their experiences with the curriculum. By coding and conducting thematic analysis, I analyzed the interview transcripts, and multiple themes emerged after the data proved consistent across the survey and interview. Teachers using scripted/narrowed curricula are experiencing a loss of their curriculum autonomy. Their professional responsibility is being challenged because they are no longer stakeholders in the curricular and pedagogical decisions or curriculum changes for their content areas. This lack of decision-making has led to questioning the equity of curricula and questioning the breadth and depth of subjects and topics in curricula. These educators are facing challenges to pedagogical artistry, meaning they cannot modify/accommodate student needs or create lessons to promote cultural and social learning opportunities, and they have felt a loss of creativity in building lessons to ensure students are learning skills to be citizens of the world.

Doctor of Philosophy (Ph.D.), University of Dayton, 2023, Educational Leadership

This quantitative dissertation study explored the perceptions of higher education professionals and healthcare employers regarding 21st century skill preparation for healthcare careers in Southwest Ohio. The study examined whether there were differences in perceptions between these two groups about the importance of specific 21st century skills for career success in the medical career area of nursing. The study was guided by the following research questions: • What were the perceived importance levels of 21st century skills for career success in nursing careers in Southwest Ohio? • Did higher education professionals and healthcare employers have different perceptions of the importance of 21st century skills for career success in nursing? • What were the perceived strengths and weaknesses of higher education programs in preparing healthcare candidates for 21st century skills? Data were collected from a survey of higher education professionals and healthcare employers in Southwest Ohio. The survey measured the perceived importance of 21st century skills for career success in the field of nursing. The survey also asked respondents to rate the strengths and weaknesses of higher education programs in preparing healthcare candidates for 21st century skills. The findings of the study revealed that there were some differences in perceptions between higher education professionals and healthcare employers about the importance of specific 21st century skills for career success in healthcare. For example, both groups agreed that critical thinking and problem-solving were important skills, but healthcare employers placed a higher emphasis on teamwork and communication skills. The findings of this study have implications for higher education professionals and healthcare employers. Higher education programs can use the findings to identify areas where they can improve their preparation of healthcare candidates for 21st century skills. Healthcare employers can use the (open full item for complete abstract)

Doctor of Philosophy, University of Akron, 0, Psychology-Adult Development and Aging

The understanding of the creative process in older adulthood is particularly important given that older adults must adapt to new challenges. However, it is unclear how personal factors (e.g., personality, motivation), cognition, and environmental stressors act in combination to influence creativity in older age. Additionally, microstructural brain associations with creativity in middle-aged and older adult adults have yet to be explored despite well-known evidence of brain changes with age. In this study, I used an integrated approach to understand predictors of creative potential and creative achievement in older adults. A sample of 80 older adults (age 50+) completed self-reports of trait personality, motivation, quality of life, and creative achievements, underwent neuropsychological testing and a measure of divergent thinking, and underwent multimodal brain magnetic resonance imaging acquisition. Multiple regression models were used to examine how personality, cognition, and environmental factors related to creative potential (e.g., divergent thinking) and different domains of creative achievements. Diffusion tensor imaging was also used to examine how indices of white matter integrity were associated with different measures of creativity. Results indicated cognitive processes were closely associated with divergent thinking, whereas personality and motivation factors were better predictors of creative achievement across artistic, scientific, and everyday creative domains. Additionally, no white matter associations were found for any measure of creativity. This study adds to the literature by contributing new data regarding how multiple personal, cognitive, and environmental factors relate to creative potential and production. Furthermore, this study is the among the first to examine DTI correlates with creativity in a sample of older adults. The results of this study highlight the importance of taking a multifaceted approach to the study of creativity and shed l (open full item for complete abstract)

Doctor of Philosophy, The Ohio State University, 2023, Arts Administration, Education and Policy

Arts administrators labor to bring arts, artists, and audiences together. They develop policies and implement them as practice as they navigate, follow, and disrupt professional norms. This research is grounded in concerns for arts administrator well-being, weary of paying a passion tax, committed to creative ideologies. While worker well-being has become more central to occupational discourse with COVID-19 and social justice movements, more research is needed to understand how well-being is understood and addressed in arts administration. Additionally, as a creative field we know little about how practitioners use creativity in their work, and how it is supported. I argue that attention to bodies, minds, and generally accepted, broad benefits of creativity can improve the practices, policies, pedagogies, and profession of arts administration. The two main research questions of this inquiry seek new knowledge about the embodied experiences of arts administrators and the role of creativity in their lives. It also asks what queer theory might teach us about arts administration and the political stakes of connecting corporeal and systemic bodies in nonprofit arts administration. To begin answering these questions I employ an arts-based inquiry, utilizing creative approaches to study design (arts-based, queer, emergent), data collection (walking, making art, embodied), analysis (narrative, artful, discourse), and presentation of findings (visual, auditory, literary). A queer theoretical framework performs a queer study of bodies in a heteronormative field and researcher reflexivity as well as applying queer theory to rethink power, norms, failure, and joy in the field. This inquiry involves 23 participant collaborators who identify as full-time, nonprofit arts administrators working in the United States. They responded to snowball sampling recruitment strategies for an online call for art/ifacts or iterative interviews soliciting interest in being reflexive and c (open full item for complete abstract)

Master of Arts, The Ohio State University, 2022, Medical Humanities and Social Sciences

In this thesis, I use a close reading of two memoirs by existential psychiatrist Irvin Yalom to develop a narrative approach to psychiatry. This approach treats each patient's story as a unique work of literature. It involves the psychiatrist's listening for literary elements such as tone, incongruity, and figurative speech in patient stories. It also requires the psychiatrist's engagement in cooperative acts of storytelling and interpretation, which, I suggest, provide insight into the patient's inner and outer life. This insight helps the psychiatrist to understand the patient's needs, whether these needs are psychosocial, neurobiological, medical, or otherwise. Ultimately, I argue that this approach prepares psychiatrists to respond creatively to the complex challenges of mental illness.

Master of Education, The Ohio State University, 2022, Art Education

This is a domain-based, systematic literature review in the fields of art education and neuroscience. The goal of this research is to understand the effects of art education on the developing human brain. This I seek to accomplish by looking at qualitative and quantitative studies on the development of visual processing, executive function, hand-eye coordination, and creativity. Surveying literature on the subject, I will examine what effect art education has on the cognitive development of children. As education is about children solving cognitive problems, arts inquiries engaging neural centers, connections, processes, and systems contribute to a child's development differently from other classes. I consider art education to be essential to healthy cognitive development, and argue the subject be protected within our school systems. This literature review thesis surveys terms and biomedical studies potentially grounding pedagogy informed by empirical neuroscientific research that can not only drive innovation and efficacy in art classrooms of the future, but also advocate for art and other elective programs in every school.

Doctor of Business Administration (D.B.A.), Franklin University, 2022, Business Administration

The practical sense of business in female entrepreneurship as it relates to the concept of intrinsic and extrinsic creative behaviors of female entrepreneurs working in the United States is the main focus of this study. The field of female entrepreneurship is growing with the participation of women with or without full-time jobs in standard employment, with or without formal business education, and with or without equal access to financial resources compared to their male counterparts. This study aims to capture the definition of success and how female entrepreneurs perceive success. Utilizing convenience sampling, this qualitative study conducted semi-structured interviews with 15 successful female entrepreneurs in a major Midwest metropolitan area. With dual roles in work and family, the female entrepreneurs engage in a role of chaotic business management and self-branding with a quest for work/life balance. Their pursuit of a lifestyle business brings about a direction of working within an area of great interest, commonly called a passion. This passion allows for exploring what the female entrepreneur enjoys and a quest to produce a profit from that inspiration. Emergent themes resulting from this study are definitions of success, pandemic challenges, entrepreneurial credibility, social networking, business investment, brand management, creativity, innovation, profit design, and authentic leadership. One core result of this qualitative study is a theory called female entrepreneurial design. The female entrepreneur creates an organizational life unique to her personal style and business brand through personal self-care and professional investment.

Doctor of Philosophy, The Ohio State University, 2022, Arts Administration, Education and Policy

This study examines visual artists' processes and approaches to creating their work. From these findings, I theorize approaches to the artmaking processes. The implications from this study provide new insights not only of the artistic processes but also how these processes benefit thinking processes outside of the arts. Grounded theory, created by Barney Glaser and Anselm Strauss in 1967, ties the discovery of theory from data coding, often derived through interviews (Charmaz & Belgrave, 2012). This study utilizes the constructivist grounded theory approach, popularized by Kathy Charmaz (2006, 2011, 2014). A unique aspect of grounded theory is the theory emerges from the study. You do not enter a study with preconceived notions, you code and recode data repeatedly through a series of processes that drive codes to categories, categories to hypothesis, and ultimately hypothesis to possible theories (Glaser & Strauss, 1967). This study examines 35 interviews with artists across 20 years. The software, Atlas.ti, was used to assist with various interactive and inductive coding processes. Nine unique aspects of artists' processes were discovered: 1. Artists rely on craft for the successful completion of their works. 2. Artists embrace and utilize feelings in making their work. 3. Artists use the connection between thinking and knowing to make work. 4. Artists are open to and desire to be overcome in their practices. 5. Artists create challenges and struggle with their work. 6. Artists give of themselves as much as their works give to them. 7. Artists experience joy in their work. 8. Artists work from places of their own creations. 9. Daily matter and their surroundings are often the focus of artists' works. The findings in the pilot study broke from creativity as problem-solving-based research (Campbell, 1960; Csikszentmihalyi, 1988; Dudek and Cote, 1994; Mansfield & Busse, 1981; Perkins, 1981; Wallas, 1949). This project also identifies distinct (open full item for complete abstract)