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Developing Design through a Creative Problem‐Solving Process: A Group Community Art Project 
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下载免费PDF全文 Chia‐Ying Hsieh 《The International Journal of Art & Design Education》2018,37(3):541-553
For the past few years, creativity has gradually become an important element in the national cultivation of talent in Taiwan. Although traditionally art education is closely linked with creativity, the academic research on general art education is very insufficient. Therefore, the goal of this research is to investigate how creativity could be cultivated in curriculum planning for general art education at technology universities as well as what students’ learning process was when they participated in a course's creative activity. The research applied the theory and steps of creative problem‐solving (CPS) on a general art course to design a group practical activity combining with the local community. This involved converting the steps of creative problem‐solving into different stages of group design activities with the goal of constructing a design process equivalent to the process of problem‐solving. The main research results revealed that students could experience the problem‐solving process through group design activities and develop their divergent and convergent thinking at the same time. Moreover, the cooperative learning model is the most appropriate teaching strategy for students from non‐art‐related departments when cultivating their creativity. 相似文献
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This paper examines the structure of implicit theories of creativity in a sample of gifted adolescents and describes the development and use of the Creative Self Checklist and the Creative Individual Checklist, adjective checklists designed to assess endorsement of creativity‐related personality and behavioral attributes. Findings indicate that the gifted rate aspects of risk‐taking and inquisitiveness as primary facets of their own creativity while defining artistic abilities and energy and motivation as important parts of creativity in others. This study also assessed the role that these implicit theories play in the display of creative behaviors with regard to both performance on creativity tests and participation in creative hobbies. Findings indicate that while performance on creativity measures is predictive of creative hobby participation, greater self‐endorsement of beliefs that are positively related to creativity also significantly predict creative behaviors. 相似文献
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Sharon J. Korth 《Performance Improvement Quarterly》2000,13(1):30-45
This research examined the role of creativity in the process of designing human resource development (HRD) interventions. Both qualitative and quantitative methods were used to study the preferences and practices of ten experienced HRD practitioners. Results include a comparison of the subjects' creativity styles/preferences using the Myers‐Briggs Type Indicator and the Kirton Adaption Innovation Inventory as well as a model derived from the data, which describes the creative process used by the subjects. The phases include: 1) diagnosis, 2) immersion, 3) percolation, 4) “aha,” and 5) checking. This model focuses on how creativity is used to make design decisions. The design process used by the subjects in this research is similar to a generic creativity model. However, it includes an extensive preliminary diagnostic phase in which the HRD practitioner explores the business need, searches for the root cause of the problem, and establishes a collaborative relationship with stakeholders in the organization. 相似文献
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Patricia Kay Alpaugh Iris A. Parham Kenneth D. Cole J. E. Birren 《Educational gerontology》2013,39(2):101-116
The purpose of this study was to explore the creative process and creative products across the adult life span. The subjects were 61 women, ages 20 to 83 years, who were comparable in intelligence, education, and interest in writing. They completed a creative writing project and took three standardized creativity tests and two intelligence subtests. Both quantitative and qualitative differences were found favoring young adults. Predictive but not construct validity was demonstrated for the creativity tests with this population of young and old adults. Both methodological constraints and the ecological validity of these measures of creativity are discussed. 相似文献
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Jonathan Monk 《English in Education》2016,50(2):95-115
Historical attitudes to literary creativity often focus on it as a genetic or innate characteristic. Ericsson's notion of ‘deliberate practice’ and Simon & Chase's ‘ten‐year rule’, however, have shown the importance of sustained practice to achieve high‐level performance. The iceberg illusion of elite performance leaves observers marvelling at the end product without an appreciation of the hours of work beneath the surface. This case study considers how attitudes to student creative writing may be altered by emphasising creative process. Students engaged in creative writing which literalised the iceberg metaphor, placing greater focused on the ‘submerged’ planning, drafting and revision alongside the ‘visible’ end product. Utilising the extended mind hypothesis, student responses demonstrate the importance of planning to order and develop their ideas. The benefits of encouraging an approach to creativity that negates innatist explanations in favour of a growth mindset or deliberate practice approach are evidenced. 相似文献
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The design studio is the heart of architectural education. It is where future architects are moulded and the main forum for creative exploration, interaction and assimilation. This article argues for a ‘studio‐based learning’ approach in terms of the impact of design tools, especially sketching and concrete modelling, on the creativity or problem‐solving capabilities of a student. The implementation of a ‘vertical design studio’ model at Gazi University Department of Architecture is reported with examples of students’ works. 相似文献
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创造力是智力发展的最高体现。创造力的发展决定了个体潜能的发挥,大学教育应全力促进大学生创造力的发展。着重探讨了在大学英语教学中应如何促进大学生创造力的发展,如:创造语言氛围;利用提问加强双边活动;激发学生创造性思维。 相似文献
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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
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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
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Enikő Orsolya Bereczki 《Curriculum Journal》2016,27(3):330-367
In the past 20 years, creativity has increasingly been recognised as an important aspect of young people's education around the world. The global interest in creativity is fuelled by various economic and social considerations. One concern of the approach to creativity in education is the curriculum. The research reported in this paper aimed at identifying the curriculum-level enablers and barriers to nurturing creativity in Hungarian public education by investigating the place of creativity, as well as that of creative pedagogy, in the Hungarian National Core Curriculum (HNCC) using content analysis. Findings revealed that creativity and the components of creative pedagogy were recurring elements of the HNCC. In Arts and Mathematics, the high importance of creativity was also supported by the strong presence of the elements of creative pedagogy. The barriers identified include the lack of clear and consistent definitions of creativity, the varied incidences of creativity and components of creative pedagogy, with extremely low attention to nurturing creativity in Foreign languages, Man and nature (science), and The Earth – our environment (geography). It has been concluded, therefore, that a more coherent and consistent approach to creativity across the HNCC is required. 相似文献
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《Educational Philosophy and Theory》2013,45(4):336-350
Creativity: what might this mean for art and art educators in the creative economies of globalisation? The task of this discussion is to look at the state of creativity and its role in education, in particular art education, and to seek some understanding of the register of creativity, how it is shaped, and how legitimated in the globalised world dominated by input‐output, means‐end, economically driven thinking, expectations and demands. With the help of Heidegger some crucial questions are raised, such as: How can art maintain its creative ontological and epistemological potential in the creative economies of globalisation? Is it possible for art and the creative arts to act as a process of ‘revealing’ and ‘becoming’ and ‘throwing light’ on the world while working within the market economies of innovation and entrepreneurship where creativity has become a generalised discourse? What matters in this discussion is to find a way to argue for the sustainability of art education as a creative mode of enquiry through which self and the world may be better understood, identity might be realised as difference and being‐in‐time might be possible. 相似文献
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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
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In order to prepare engineering students for a changing future and to help them develop their own capacity for independent innovative thought and creative problem‐solving, we are faced with the need to explore ways of fostering creativity in students within engineering programmes. We see the need to focus on how to access creativity, how to develop an environment which is less constrained and which will allow creative flow. Three case studies are presented which demonstrate the importance of establishing the freedom of the learning process as well as providing motivation, whether extrinsic, in terms of the assessment scheme, or intrinsic. This latter might take the form of helping students to realize that the process of learning is a process of invention in itself and that students need to recognize their existing creativity and capacity for engagement. The very important and yet elusive issue of evaluation is also considered for each course. We discuss how to monitor the level of success in achieving the given objective of fostering creativity in students. 相似文献
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探究课堂环境中的同伴因素在超常儿童内部动机与创造力关系中的影响对培养超常儿童创造力的教育实践有重要意义。本研究选取277名3-6年级普通班中的超常儿童,采用《学习自我调节量表》、《创造性课堂环境问卷》以及改编的创造力测评工具对其内部动机、课堂同伴互动水平及创造力水平进行评估,分析三者的相关关系,并建立结构方程模型,验证课堂同伴互动在超常儿童内部动机与创造力间的中介作用。研究结果表明:1.超常儿童的内部动机、课堂同伴互动和发散性思维间有显著正相关关系;2.课堂同伴互动在内部动机与发散性思维间存在完全中介作用,中介效应量为0.22。该结果有助于教育工作者为超常儿童构建更符合其身心发展规律的课堂环境,以促进其创造力发展。 相似文献
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Davide Piffer 《Thinking Skills and Creativity》2012,7(3):258-264
The goal of this investigation is to demonstrate that much of the confusion regarding the measurement of creativity is caused by the insufficient clarity of its definition and to provide suggestions for an improved assessment and new possible tools of investigation (e.g. interviews).It is shown that three dimensions of creativity (novelty, appropriateness and impact) constitute a framework within which creativity can be defined and measured.Further clarity to the definition of creativity is added by distinguishing between person's and product's creativity and providing definitions for each.Based on this new definition, it is argued that Divergent Thinking, Remote Associates or some personality scales can be considered neither the only components of the creative process/cognition/potential nor “creativity tests”. The use of the terms “creativity test” and “measure of creative process” in the literature are criticized and it is indicated when they should be used.It is also shown that claims to have found a general factor of creativity are based on methodological and conceptual errors.Finally it is concluded that a person's creativity can only be assessed indirectly (for example with self report questionnaires or official external recognition) but it cannot be measured directly. 相似文献
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David Spendlove 《The International Journal of Art & Design Education》2007,26(2):155-166
There is a resurgence of interest in the powerful concept of emotion in current educational policy and practice. This article calls for the recognition and conceptualisation of a triadic schema for theorising the location of emotion within a creative educational experience. The schema represents emotion within three domains within current practice: Person, Process and Product. The principal focus of the article is pupils aged 5‐16 and consideration is given to the application of the conceptualised schema within art and design education as represented by the national curriculum statement of importance. The central hypothesis of the work is that greater recognition of an emotional dimension within a triadic schema ‐ developing emotional capacity in students to engage in a creative process (person); stimulating emotional engagement through appropriate learning contexts (process) and facilitating the emotional interfacing with outcomes (product) ‐ will help conceptualise the powerful interrelationship between emotion, creativity and learning. Based upon an extensive synthesised literature review a schema, developed through abductive reasoning and grounded theory, ultimately conceptualises the overarching theme of emotion within a creative, learning and product‐orientated experience within the primary and secondary stages of England's education system. 相似文献
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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
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Joan Freedman 《Educational Media International》2013,50(2):78-83
Abstract A theory of creative thinking is presented as it related to the implementation of computer‐based instructional design. Methods used in a graduate‐level course at Johns Hopkins University for teaching creativity are described. An emphasis on process over product allows instructors to focus on problem‐solving strategies at all levels of development. Finally, the effects of the computer on the creative process are discussed and suggestions are made for avoiding the trap of technological obsolescence. 相似文献