The research tests the relation between the ambiguity and aesthetic impression of visual objects. As stimuli, standard forms of traditional carpet patterns were used. The subjects were students of visual arts from Faculty of Fine Arts in Belgrade. In the first stage, the research tested the associative meaning of a sample of patterns. It has been shown that each pattern evoked a high number of associations (average 32 per pattern). According to expectations, patterns are seen as non-discursive symbols with an open meaning. For classification of patterns, two criteria for measuring ambiguity were applied -flexibility (number of non-repeated words) and fluency (total number of associations). That way, patterns were classified in two groups, patterns with low and patterns with high ambiguity. In the second stage of the research, patterns were evaluated by the next group of students using the semantic differential as an instrument. It contained 12 seven-grade scales which measured fine components of aesthetic appreciation. The results show that ambiguity has been related to 5 different scales, depending on the criterion (flexibility or fluency). Patterns with high ambiguity were experienced as unusual regardless of the criterion applied. If flexibility is the used criterion, patterns are experienced also as interesting and salient. If fluency is used, patterns are experienced as asymmetric and dynamic. Results show that patterns are highly valued in general. Ambiguity as a component of aesthetic appreciation is related to the scale usual -unusual, as a stable predictor of ambiguity, and with asymmetry, dynamic, interest and salience as components dependent on the classification criterion.

In this paper, there is the review of some of the most important admissions in the field of creativity and innovation in the context of development of contemporary education. Although it is very complex field, there is the tendency to see it as a major driving force of economic and social progress. The creativity is seen, at the same time, as the process and the product, and also as individual and general capability. The different approaches are not exclusive. That is the reason why the contemporary education can be approached from different aspects. On the other hand, the legal and other acts that have planned the development of creativity and innovation in education and the status in the practice, are analyzed critically. There is, also, taken in examination, the relationship of educational plans toward creativity and innovation in the sense of balance between : a) different fields b) different levels of education c)respect for the certain rules and free will d)individual interests and potentials of students. All the previous aspects are illustrated by the earlier research. Even though, there are positive results, the contemporary curriculum allow little space for the activities that could stimulate creative potential. It is necessary to plan the more creative forms of teaching in defining the various forms of education. The education and stimulation of teachers to apply innovative ways of teaching and new technologies could improve the process of studding and the advancement of the quality of teaching.