首页 | 本学科首页   官方微博 | 高级检索  
相似文献
 共查询到20条相似文献，搜索用时 93 毫秒
1.
Design thinking is a collaborative problem solving and human‐centric approach that fosters innovation by elevating participants’ creative thinking abilities. Design thinking techniques and practices have been implemented into different curricula in secondary and post‐secondary education to address the need for new skills to be learned for the twenty‐first century. However, little work has been conducted to clarify how to evaluate the students’ design thinking skills gained in these courses. This study reports on a successful evaluation of an interaction design thinking curriculum in secondary level education. Several types of data sources, including participant observation, open‐ended questions and document analysis were employed to gather extensive data on students’ skills gained during the course. The results of the study inform design thinking researchers about how to evaluate design thinking skills of students in a secondary level design thinking course.  相似文献   

2.
This article examines the career opportunities, challenges and trajectories of creative work. As part of the Creative Trident approach to creative workforce measurements, the embedded mode draws attention to creative work as it is undertaken outside of the creative industries. This article further considers and conceptualises the complex careers pathways of creative workers. Firstly, creative workers in non-creative occupations in other industries are discussed to highlight the challenges and barriers to securing creative employment and the balance creative workers establish with other forms of employment. Secondly, students from creative courses going into non-creative occupations in other industries is discussed to highlight challenges students face in making the transition from higher education to creative employment in terms of workforce expectations and the competition amongst graduates. This article critically evaluates assumptions about transitions from education into creative work employment and associated career trajectories.  相似文献   

3.
The designers of our future built environment must possess intellectual tools which will allow them to be disciplined, flexible and analytical thinkers, able to address and resolve new and complex problems. In response, an experimental and collaborative design studio was designed to inspire and build on students' knowledge and their creative thinking abilities through a series of explorative exercises and modelling. The learning experience of students undertaking this studio was enabled and guided by a collaboration of teachers experienced in both teaching and creative practice. A series of guest creative practitioners joined the studio's intensive 10‐week hands‐on workshop sessions within which students undertook set exercises. These creative research workshops then served to inform subsequent design development of the students' work through planning and documentation over a period of 4 weeks. Strategic teaching is central to the creative development process. The driving educational belief, as idea and practice, is that by bringing ideas to life in design, by working with full‐scale three‐dimensionality, students are able to cement their commitment to ‘working the process’, towards becoming excellent designers. This ambitious strategy enables students to work on the many different aspects of the design problem towards meeting their design outcome at the highest level of resolution and intent. Through a combination of pragmatic tasks – writing and developing design briefs – and visual tasks – evidence gathering and analysis of design through photographic, modelling and diagramming exercises – students were encouraged to think outside and beyond the ‘normal’ realm of design practice.  相似文献   

4.
While there is a growing body of scholarship on the creative industries and on the career trajectories of graduates from creative industries programmes, there has to date only been a limited amount of research that examines in detail, the careers of fine arts graduates. Fine art is arguably the least ‘vocational’ of creative disciplines, in that there are relatively few employers that seek to employ fine artists as fine artists. If fine arts graduates are not employed in their chosen field – that is, in the ‘Creative Trident’ terminology, in a core creative occupation – how do their careers parallel or differ from those of other creative graduates? Do they find employment as ‘embedded creatives’, using or applying their experience and practice in sectors beyond the core creative industries, or as ‘support workers’, enabling and facilitating the creative work of others? Do they experience portfolio careers? And how do their artistic training and attitudes to creativity affect their working relationships and experiences? This article draws on rich qualitative data about the experiences of a small group of graduates (including the author) who all graduated from the same course at the same institution in the UK in 1994, to provide some insights into the career paths and trajectories of a sample of fine arts graduates.  相似文献   

5.
选取254名小学五、六年级学生为被试,采用创造性思维、创造性人格测验,考察了留守儿童与非留守儿童在创造性思维、创造性人格上的差异,结果发现：留守儿童与非留守儿童的创造性思维、创造性人格得分差异不显著;在创造性思维总分及流畅性、独创性维度上,被试类别与年级的交互作用显著;对创造性思维总分而言,还存在着性别与年级的显著交互作用;在创造性人格的好奇性维度上,六年级儿童显著高于五年级儿童;留守儿童创造性人格对于其创造性思维有着显著的影响,其中的挑战性、想象性、冒险性与创造性思维的相关较高。  相似文献   

6.
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   

7.
In this article, we ask what role both digital and artistic human capital play in the creative economy by examining employment patterns of digital technology (DT) and creative arts and design (CAD) graduates. Using student micro-data collected by the Higher Education Statistical Agency (HESA) in the United Kingdom, we investigate the characteristics and location determinants of these graduates. The article deals specifically with understanding how digital and creative skills in the UK are embedded across industries, or are concentrated in creative sub-sectors. Furthermore, it explores the role that these graduates play in each of the different sectors and their financial rewards. Findings suggest that digital technology graduates tend to concentrate in the software and gaming sub-sector of the creative industries, but also are likely to be in embedded creative jobs outside of the creative industries. DT and CAD graduates are more likely to be in a creative job than other graduates. Although they are more likely to be in full-time employment than part-time or self-employment, DT graduates suffer from a higher level of unemployment than CAD graduates.  相似文献   

8.
Learning to be an artist or designer is a complex process of becoming. Much of the early phase of ‘learning to be’ occurs during the time emerging artists and designers are students in university art/design programmes, both undergraduate and postgraduate. Recent research reveals that a critical role in assisting students in their maturing identities as artists and designers is played by artist/designer‐academics teaching in university art and design programmes. By maintaining active art/design practices and drawing from these in their teaching, artist/designer‐academics model professional practice to students. Witnessing and interacting with such modelling is part of the process of students learning the shared discourses, views and practices of the art or design worlds to which they aspire to belong. The modelling of professional practice is critical to an artist or designer's ‘learning to be’ experience because it enables students to access the tacit and nuanced behaviours, languages and cultures that constitute contemporary art or design practice. This article outlines findings from a recent Australian study revealing the role of professional practice modelling in university art/design teaching. It highlights the centrality of professional practice modelling to artist/designer‐academics in their beliefs and approaches to teaching their academic disciplines. In critically exploring the research data and findings this article describes the role that modelling of practice plays and how it comprises a core part of the value that artist/designer‐academic participants contribute to the teaching of art/design education.  相似文献   

9.
Students who have followed routes to Western universities other than the ‘traditional’ one – that is, an uninterrupted path from school to university – face greater challenges to their democratic participation in higher education than their ‘traditional’ counterparts. Until recently, universities have predominantly expected students with diverse entry points to assimilate into existing curricula and academic modes of operating. Such expectation, when combined with reductionist managerial accountability, has largely marginalised non-traditional students. This paper reports on a project which aimed to reverse this marginalisation in an Australian Bachelor of Social Work degree. It is argued that students from diverse linguistic, cultural and educational backgrounds, having greater challenges in negotiating privileged academic and discipline literacies, are better served pedagogically by curriculum design that resonates with their lifeworlds and makes tacit assumptions in university literacies explicit. Using practitioner action research in a partnership between a social work and an academic language and learning academic, pedagogies that utilised students’ literacy practices as assets for learning were enacted over two research cycles. The possibilities and constraints that emerged to support student learning and more equitable participation were examined. The findings suggest that it is possible, even under current preoccupations with measurements and budget constraints, to signal key points of negotiation for pedagogic change to respond more inclusively and equitably to contemporary university students.  相似文献   

10.
在以往公共设施设计的艺术教育中,存在一些教学与实践脱节的问题,问题的根本在于课程安排偏重于理论知识的介绍。对学生的实践环节安排比较薄弱,因而致使学生实践动手能力较弱。要解决这一问题要从根本上落实对学生设计能力及动手能力的培养。提高学生的创作能力、动手动脑的能力、团队合作的意识及设计语言国际化的培养。  相似文献   

11.
Previous theoretical frameworks used to research and explain creative design processes tend to privilege individual expression and not address the context in which the process occurs. This is problematic due to the ways in which creative activities are embedded in and shaped by socio-cultural and historic contexts. In this article we focus on the ways in which cultural historic activity theory (CHAT) and its analytical activity systems can be used to reveal creative processes in context. We draw on the tools and concepts of CHAT and data from a study of visual communication design (VCD) students and lecturers situated within a transnational higher education (TNHE) context at a university in China. An analytical framework was constructed to research practices used in creative design process learning. The dynamic nature of CHAT offers design process research methods a set of analytical tools to capture the powerful parts played by artifacts and interactions within specific sociocultural and historic learning contexts.  相似文献   

12.
This article is concerned with the many connections between creative work and workers, and education work and industries. Employment in the education sector has long been recognised as a significant element in creative workers’ portfolio careers. Much has been written, for example, about the positive contribution of ‘artists in schools’ initiatives. Australian census analyses reveal that education is the most common industry sector into which creative workers are ‘embedded’, outside of the core creative industries. However, beyond case studies and some survey research into arts instruction and instructors, we know remarkably little about in which education roles and sectors creative workers are embedded, and the types of value that they add in those roles and sectors. This article reviews the extant literature on creative work and workers in education, and presents the findings of a survey of 916 graduates from creative undergraduate degrees in Australia. The findings suggest that education work is very common among creative graduates indeed, while there are a range of motivating factors for education work among creative graduates, on average they are satisfied with their careers, and that creative graduates add significant creative-cultural and creative-generic value add through their work.  相似文献   

13.
大学生创造力特征的调查与分析   总被引：8，自引：0，他引：8  
对武汉地区4所重点高校453名大学生的问卷调查结果表明:大学生创造力特征主要包括寻根究底、独具匠心、笃学不倦、特立独行、安于现状、孜孜以求,以及思维的敏锐性、思维的灵活性和直觉思维等9个因素。不同学科的大学生在一些创造力特征因素上存在显著差异,文科和工科大学生的创造力特征得分较高,医科和理科大学生的创造力特征得分较低。不同性别的大学生在特立独行和安于现状因素上存在显著差异。  相似文献   

14.
User interfaces that utilise human gestures as input are becoming increasingly prevalent in diverse computing applications. However, few designers possess the deep insight, awareness and experience regarding the nature and usage of gestures in user interfaces to the extent that they are able to exploit the technological affordances and innovate over them. We argue that design students, who will be expected to envision and create such interactions in the future, are constrained as such by their habits that pertain to conventional user interfaces. Design students should gain an understanding of the nature of human gestures and how to use them to add value to UI designs. To this end, we formulated an ‘awareness course’ for design students based on concepts derived from mime art and creative drama. We developed the course iteratively through the involvement of three groups of students. The final version of the course was evaluated by incorporating the perspectives of design educators, an industry expert and the students. We present the details of the course, describe the development process, and discuss the insights revealed by the evaluations.  相似文献   

15.
Interior design students should be able to use research and evidence‐based design outcomes to make decisions that promote health, safety and wellbeing. This approach will contribute to resolving social, environmental and community issues through design‐oriented thinking Accordingly, the aim of this research in a senior design studio course is to promote a better connection to the local environment needs without losing the creativity aspect. This study covered two semesters and used multiple data collection methods, including interviews, observational field notes, discussions and personal reflections. The findings showed that jury critiques and case study analysis were the most beneficial sources of information for students to develop their project ideas and solutions. The paper illustrates processes, products and aspects that are used in senior projects to find solutions to environmental needs. In addition, the study offers lessons learned and reflections to raise students’ awareness of the cultural needs in relation to the interior design field. This study shows findings similar to earlier research that found that students who identified and analysed a local case study understood the design problem better and were creative in linking their project design solution to the society's needs. The study also reveals that students who relied on analysis of well‐defined local case studies developed focused and detailed concepts and design solutions according to the instructor's and jurors’ assessments. The study also contributes to literature by using a multi‐method approach and offers implications for local and international policy‐makers on interior design curricula.  相似文献   

16.
The study aimed to assess the effectiveness of the multidimensional curriculum model (MdCM) in the development of higher-order thinking skills in a sample of 394 elementary and secondary school students in Israel. The study employed a quantitative quasi-experimental pre-post design, using a study module based on MdCM, comparing intervention group to control group. Thinking skills were measured using a thinking questionnaire comprising three dimensions: Scientific thinking – focusing on inquiry skills; creative thinking – relating to problem finding and problem-solving; and future thinking – concerning personal and time perspectives. Findings indicate improvement in measured thinking skills in the intervention group by 40% compared to 4% in control group. Most improved skills were future thinking and creative thinking. Differences were detected according to the type of school. It is suggested that when used regularly the MdCM incorporating innovative teaching–learning strategies and embedded thinking tools could improve thinking skills among students from different age groups. General implications for curriculum design are discussed.  相似文献   

17.
从造型设计的视角,结合案例,解析跨界设计的本质特征与表现形式,审视跨界设计的文化现象和创意理念。指出设计者应冷静反思跨界的作用,合理、谨慎、恰当地采用符号性元素跨界、尺度跨界、材质跨界、功用跨界、趣味跨界等形式,设计创意出形式与内涵完美结合的跨界产品,以最大限度地实现产品的价值。  相似文献   

18.
Inspiration is the primary element of good design. Designers, however, also risk not being able to find inspiration. Novice designers commonly find themselves to be depressed during the conceptual design phase when they fail to find inspiration and the information to be creative. Accordingly, under the graphic design parameter, we have developed the ‘Analytic Composition Method (ACM)’ to guide novice designers in gradually breaking through their usual modes of thinking to construct their own methods of composition. This method provides a variety of creative modes for the design field. Three stages are presented in this study. A design method is first constructed based on the results of a pretest and the existing composition methods of graphical design. We then apply the design method to three iterations of graphic design instruction. Lastly, we conduct an expert interview to evaluate the usefulness of this method. The following are the results obtained. 1. Most of the participants tested sought inspiration visually; they usually began their design process from image data and do not use the data beyond imagery. 2. The results of teaching activities show that using this method as a tool for graphic design enables various sources of inspiration to generate different modes of thinking and creative expression. 3. Our method could potentially be used for basic composition training and project design execution. However, the application of this method may vary with different design objectives.  相似文献   

19.
创造性思维是艺术设计中处于核心地位的思维能力,它以发散性思维为主要特征,讲究科学理性和艺术感性的融合,并强调灵感和直觉的运用。在艺术设计教育中培养学生的创造性思维能力,要让学生突破思维定势,学会发散思维;了解创造性思维的过程,学会捕捉灵感,形成创意;要改进评价机制,营造富有竞争力的艺术设计教学氛围来激励和启发学生的创造能力。  相似文献   

20.
应用化学专业培养创新人才的探索与实践   总被引：1，自引：0，他引：1  
大学生参与科研是培养创新人才有效途径之一.结合应用化学专业特点和我院实际情况,构建适应大学生活、打好基础、拓宽知识、提升水平的四步骤人才培养模式,搭建学生科研服务平台.对就业能力、考研能力、获奖情况三方面进行了具体统计分析,结果表明有效地促进了人才培养质量的提高.开拓一种适合我院特色的创新人才培养模式,对于高校培养创新型人才具有借鉴意义.  相似文献   

设为首页 | 免责声明 | 关于勤云 | 加入收藏

Copyright©北京勤云科技发展有限公司  京ICP备09084417号