共查询到20条相似文献，搜索用时 218 毫秒
1.
The study deals with the roles and interrelations of the meaning-based assessments of dwellings, pathways and metaphors in design performance. It is grounded in the Meaning Theory [Kreitler, S., and H. Kreitler. 1990. The Cognitive Foundations of Personality Traits. New York: Plenum], which enables identifying the cognitive contents and processes underlying cognitive performance in different domains, thus rendering them more accessible to educational training. The objectives were to identify the components of the meaning profiles of dwellings, pathways, and metaphors as perceived by design students; to analyse their interrelations; and to examine which of the identified components of these constructs serve as best predictors of design performance aided by the use of metaphors. Participants were administered a design task and questionnaires about the Dimensional Profiles of Dwellings, Pathways, and Metaphors, based on the meaning system. Factors based on the factor analyses of the responses to the three questionnaires were used in regression analyses as predictors of the performance score in a design task. The following three factors of the dimensional meaning profiles of metaphors were significant predictors of design performance: sensory, functional, and structural evaluations. Implications for design education are discussed, primarily concerning the important role of metaphor in design problem-solving. 相似文献
2.
赵娜 《雁北师范学院学报》2006,22(4):70-72
隐喻的构建和理解过程是创造力实施的典范。隐喻的创造本质就是在两个或两个以上已知的概念中发现新的关系,或者在一个已知的概念中挖掘出人们意想不到的内涵,从而开拓新的认知空间。本文从认知角度分析了隐喻的创造性,并建立了评价隐喻中创造性因素含量的三个原则:语义范畴跨度、独创性和可接受性。 相似文献
3.
Cognition and creativity 总被引：4，自引：0，他引：4
Cognitive research on creativity is both traditional and innovative. It is traditional in the sense that many of the well-recognized processes, structures, and stores from mainstream cognitive psychology have been used to understand creative thinking. It is innovative because there is a need to understand processes which are not recognized unless one is specifically interested in creativity. Some of these are inherently subjective, a fact which is often disregarded by those hoping for a traditionally scientific analysis. Still, much of the interest in the cognitive sciences concerns how new constructs come into being; and anyone interested in that is in fact thinking about creativity. That is creativity. This article reviews several traditional cognitive topics, including knowledge, memory, classification, judgment, and categorization, and describes how each can influence creative thinking. It also presents an original model of creative thinking with problem finding, ideation, and judgmental processes as primary components, and knowledge and motivation as secondary (contributing but not controlling) components. Several issues are covered, including the relegation of motivation, the distinction between declarative and procedural knowledge, and the potential for knowledge to both facilitate and inhibit creative ideation. 相似文献
4.
This empirical study explores the perspectives of eight preservice teachers on the meaning and assessment of creativity and
the role of web design in developing creative potential. Data sources included eight semi-structured interviews analyzed by
three independent raters, web design checklists, and interviewer’s notes. Five themes emerged from participant responses during
data analysis: a) definition of creativity, b) assessment of creativity, c) creativity and instructional strategies, d) creativity
and problem solving, and e) creativity and web design. Web design is viewed as a process of ill-structured problem solving
that educators can integrate in the curriculum to link content knowledge with the construction of a tangible product. Each
of the web design steps, according to these preservice teachers, is important in developing and realizing the creative potential
because they require comprehension, analysis, synthesis, application, and evaluation skills to create a unique product. 相似文献
5.
Gro Ellen Mathisen Kolbjorn S. Bronnick 《International Journal of Educational Research》2009,48(1):21-29
This study examined the effects of creativity training on creative self-efficacy. We developed a creativity course based on social cognitive theory. The course was conducted in two formats: a five-day course and a condensed one-day course. Samples consisted of students and municipality employees (five-day course), and special education teachers (one-day course). Students from a mathematics and statistics course constituted a control group. We measured creative self-efficacy before and after the intervention, and self-efficacy improved significantly for both the five-day and the one-day courses, while the control group showed no changes in creative self-efficacy. Self-efficacy levels increased significantly for both students and municipality employees. A follow-up assessment two months after completing the five-day course showed no decline in creative self-efficacy. 相似文献
6.
The relevance of the present study is due to the importance of developing creativity which is considered to be the target and the result of education. Modern society demands from individuals non-standard actions and approaches, flexibility, an ability to formulate new ideas and original ways of thinking when solving urgent problems in the course of life. Facilitating the formation of a personality with a strong intellectual potential capable of creative thinking is set as one of the priorities in the federal and regional documents that determine the direction of educational institutions’ development. The generalized cognitive ability to create and solve tasks is the specific feature of intelligence. The tasks are used in the educational process as a means of presentation, consolidation and acquisition of new knowledge. Thus, the aim of our research is to explore whether using the system of open type tasks can be an effective way of improving the level of creativity development in secondary school students. The main methods in this experiment are modeling the system of open type tasks and the system analysis of large samples of experimental data based on assessment according to a two-point scale of four parameters: the optimality of ideas suggested by students, the efficiency of students’ reasoning, the originality of their answers and the degree of the investigation of solutions. Our experimental research made it possible to design new methods of developing creativity in secondary school students. 相似文献
7.
The concept of the ‘creative’ in creative writing has a vexed history. This article explores the myths surrounding creativity and how they have influenced the way teachers have approached playwriting pedagogy. It reports on research into the teaching and learning experiences of students and teachers in secondary schools, focusing on the participants’ understanding of creativity and the impact this had on the pedagogical process. The research found that a counterproductive idealist view of creativity persists in classrooms: the teachers and students were operating on a conception of creativity and creative practice that reflected a belief in a mystical and unknowable creative process. This article explores the experiences of creativity through systems theory and argues that this approach can inform teaching and learning for creative processes and products. The article concludes that the teaching and learning practices were unnecessarily tentative and that knowledge of creativity theory would improve the students’ development of both playwriting proficiency as well as creativity-relevant skills. It suggests that demystifying the creative process should result in greater student proficiency and improved teaching and learning experiences for teachers and students. 相似文献
8.
Arthur Cropley 《Roeper Review》2013,35(3):125-130
Early thinking in the modern era often regarded creativity as a somewhat asocial means of individual expression, self‐realization, and self‐fulfillment. However, it also is a socially influenced phenomenon that serves society. A social approach offers the opportunity of distinguishing between large and small amounts of novelty, as well as between “orthodox” and “radical” novelty. Disciplines, teachers, and students differ from one another on these dimensions. This explains some differences among teachers in the way they see creativity and creative students. The social approach also emphasizes the importance of groups, role models and mentors, and classroom climate, all of which teachers can influence. A social analysis suggests guidelines for instruction and assessment that differ from those derived from cognitive or personal approaches. 相似文献
9.
Stephanie J. Hathcock Daniel L. Dickerson Angela Eckhoff Petros Katsioloudis 《Research in Science Education》2015,45(5):727-748
Creativity can and should play a role in students’ science experiences. Beghetto (Roeper Review 29(4):265–270, 2007) suggested a framework for teachers to assist students in transforming their creative ideas into creative products. This framework involves taking time to listen to students’ ideas, helping them recognize the constraints of a task, and giving them multiple opportunities to think through and try their ideas. Ill-structured problems, such as those found in inquiry and engineering design activities, provide excellent opportunities for students to experience creative processing and express their creativity through product creation. These types of problems are typically challenging, but the use of appropriate questioning has been shown to assist students in solving problems. This multiple case study investigated the use of inquiry-based questioning as a means of supporting creativity within a design-based science, technology, engineering, and mathematics (STEM) activity. Findings suggest that groups facilitated by inquiry-based questioning strategies were better able to solve an ill-structured problem and achieved a more linear progression toward creative products than groups who were not facilitated by inquiry-based questions. 相似文献
10.
This article presents a way of approaching introductory design education that expands student creativity through building on research related to the impact of cognitive development and metacognitive thinking. The strategy presented emphasises the importance of encouraging divergent thinking and understanding how students perceive knowledge. The goal is to create a learning environment that acknowledges where students are in their thinking and provides a structure that promotes both cognitive and creative growth. 相似文献
11.
物理学中的创新方法及其教学价值 总被引：2，自引：0，他引：2
物理学的发展过程是创新发展的过程,在建立新理论、发现新规律以及开启思维的心灵之路中,产生了假说法、类比和模拟法以及直觉、灵感、想象等创新方法,将这些创新方法应用于教学实践能够培养学生的创新思维能力和创新精神。 相似文献
12.
胡敏中 《北京师范大学学报(社会科学版)》2005,(2):102-107
创造性认识是人类认识的一个本质的和内在的方面。从认识对象看,创造性认识 是以新的认识问题或认识矛盾为对象的;从认识主体看,只有具有创造力的人即创新主体才能从 事创造性认识活动;从认识过程看,创造性认识是探索人类未知领域的特殊认识活动;从认识特 征看,创造性认识的本质特征就是其创造性;从思维方法看,创造性认识的思维方法也具有探索 性和开创性,它不同于一般的、常规的认识方法和思维方法;从认识结果看,创造性认识是能获取 创造性认识成果的认识活动。 相似文献
13.
14.
Students’ assessment preferences, perceptions of assessment and their relationships to study results
Gerard van de Watering David Gijbels Filip Dochy Janine van der Rijt 《Higher Education》2008,56(6):645-658
The purposes of this study are to gain more insight into students’ actual preferences and perceptions of assessment, into
the effects of these on their performances when different assessment formats are used, and into the different cognitive process
levels assessed. Data were obtained from two sources. The first was the scores on the assessment of learning outcomes, consisting
of open ended and multiple choice questions measuring the students’ abilities to recall information, to understand concepts
and principles, and to apply knowledge in new situations. The second was the adapted Assessment Preferences Inventory (API)
which measured students’ preferences as a pre-test and perceptions as a post-test. Results show that, when participating in
a New Learning Environment (NLE), students prefer traditional written assessment and questions which are as closed as possible,
assessing a mix of cognitive processes. Some relationships, but not all the expected ones, were found between students’ preferences
and their assessment scores. No relationships were found between students’ perceptions of assessment and their assessment
scores. Additionally, only forty percent of the students had perceptions of the levels of the cognitive processes assessed
that matched those measured by the assessments. Several explanations are discussed. 相似文献
15.
Jane Parker 《The International Journal of Art & Design Education》2005,24(2):186-198
Creative intelligence is relevant to all aspects of the school curriculum, yet it is through art and design that pupils may come to experience the significance of creativity as a means of exploring innovative and original ideas which offer credence to the individual and affect approaches to learning. This article analyses creativity and the creative process and addresses the links between creativity and intelligence by examining the implications such factors may hold for the teacher when developing approaches to learning in art and design. It focuses in particular on the use of sketchbooks within the context of a number of Art and Design GCSE courses and explores how students have been provided with opportunities to develop creative responses to set tasks. In addition, it sets out to challenge the notion that the requirements of GCSE assessment criteria inevitably restrict creativity and lead to non‐creative formulaic practice. 相似文献
16.
Arthur J. Cropley 《High Ability Studies》1996,7(2):203-219
Creativity can be understood as production of effective novelty. From the point of view of test psychology, it can be looked at either in terms of personal properties associated with novelty production or of psychological processes leading to novel results. Creativity tests can be divided along these lines into two groups: those concentrating on biographical and personal properties (creative person) and those which aim to measure creative thinking (creative process). In the case of school children, creativity tests are most useful as indicators of potential, since few children produce widely acclaimed creative products. Although a variety of creativity tests exists, their ability to measure real life creativity in a reliable way is open to doubt. This may well be because creativity involves a combination of psychological elements, some of them apparently contradictory or paradoxical, in both cognitive and noncognitive domains. Measurement of creativity probably requires new procedures that cross conventional test boundaries. Despite unresolved questions about their psychometric properties, creativity tests measure something that is not adequately covered by existing tests, especially intelligence and achievement tests, and are worth persisting with.
17.
Roberta Eason Duane M. Giannangelo Louis A. Franceschini III 《Thinking Skills and Creativity》2009,4(2):130-137
This research study investigated the perspectives of teachers on student creativity. A group of 15 teachers from public schools and 24 teachers from private schools completed an Early Childhood Creativity Rating Scale (ECCRS) on four of their students. A total of 156 students were rated on this ECCRS. The major question asked in this study was: How do teacher perspectives of student creativity differ in public and private schools, between kindergarten and grade 3, and are these perspectives influenced by teacher characteristics. Results found that private school teachers rated their students higher on creativity, third grade students were rated lowest on creativity, and teachers who perceived themselves as most creative also rated their students as most creative. 相似文献
18.
ABSTRACTThe dominant results-driven/performance-oriented culture and the pressures of performativity in education have meant that the promotion of creativity has been narrow in scope and the translation into practice less apparent than the rhetoric would suggest. Creativity can survive even in times of standardisation, but it is more likely to be confined to interstitial zones. Interstitial zones are in-between social spaces outside the formal teaching zones in which creativity may give voice to those students whose voice is not always heard in the formal teaching context.Often, creativity is equated exclusively to substantial creative outputs and, as a result, teachers who are not sensitised to creativity in a broader sense may underestimate their own creative ability and the positive impact this might have on the relationship with their students. A shift in teacher education that results in a more meaningful appreciation of both the nature of creativity and its benefits is therefore required. A developmental approach which starts with teacher cultivation of creative sensibility is essential to achieve greater infusion of creativity. The paper posits that teachers who resist rigid social structures and engage in critical pedagogy are also more likely to be receptive to creativity and its the pastoral potential in education. 相似文献
19.
Creativity in the Bronze Age: Bringing Archaeological Research into Contemporary Craft Teaching and Learning through a Live Project 
下载免费PDF全文
下载免费PDF全文 The CinBA Live Project sought to engage students of contemporary craft courses in the UK with Bronze Age creativity. We aimed to explore the ways in which the creativity inherent in prehistoric craft may be used as inspiration in contemporary making. It simultaneously offered institutions a unique opportunity to offer a practice‐led, research‐based live project which was distinct to those generally known to be available to art and design institutions. It offered a different experience within this established pedagogical model in art and design education by using the Bronze Age as a source of inspiration for creative practice through practice‐based research in contemporary craft within the framework of an international academic research project, and suggesting new roles for the interpretation of the prehistoric past through creative work. This article reports on the CinBA Live Project. It outlines the context of the opportunity, details our methods of facilitation, describes the activities undertaken by the students and considers the outputs and post‐project impact of the activity. 相似文献
20.
Engin Kapk&#x;n Sharon Joines 《The International Journal of Art & Design Education》2021,40(1):126-145
The design brief informs particularly the first phases of the design process; however, there are very limited studies on its role and functions. The current study proposes a framework that relates problem statement types in a design brief to creative outcomes by promoting the priming effect, which is a cognitive phenomenon describing the ways individuals behave accordingly to the way they receive a stimulus. The claim is that the brief has the potential to stimulate creativity and influence the type of outcomes by priming the design students using the problem statement. An experiment was conducted in which two groups of design students generated sketches in response to two types of problem statements (in noun and verb formations) in similar design briefs. The problem statements in verb formation were found to lead to a higher number of sketches containing more novel and flexible, yet less realisable ideas. The results support the contention that the design brief and the type of problem statements have the potential to act as a catalyst for creativity early in the design process. 相似文献