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Creativity is considered one of the skills crucial for 21 Century to face the challenges proposed by the 2030 education agenda (Frey & Osborne 2013; OECD, 2018, Reimers & Chung 2019). In our reading, active methodologies such as project-based learning and design thinking are often seen as fundamental in favoring creativity together oriented towards individual, social, and planetary well-being (UN, 2022). A persistent problem for the training of 21st century skills, in which creativity, intellectual openness and computational thinking are essential in teacher training, is the adherence to cognitivist foundations and conventional methodologies. The traditional cognitivism has reduced the notion of creativity in processes and products. In our proposal, we want to redirect the question about what happens in the head (process) or in the world that makes people creative (world), rather, we invite creativity to be considered as a skillful experience embedded in a context and that arises from sensorimotor engagement and distributed perception (Varela, Thompson & Rosch, 1991; Hutchins 1995; Kalaydjian et al 2022).   In this sense, we propose the 4E cognition approach (embodied, enacted, embedded, and extended) as a necessary theoretical and empirical framework to guide the understanding of creativity in contexts of active methodologies. Project-Based Learning and Design Thinking teacher education often fosters creativity as a deep experience that emerges in engagement with artifacts and interaction with others, opening unprecedented possibilities for capturing emerging understanding and enhancing skillful performance in challenging tasks (Videla, Veloz and Pino, in press). However, active methodologies such as project-based learning and design thinking are hardly linked to contemporary paradigms of cognition that are anti-representationalist, embodied, and situated in sociocultural contexts. The 4E approach argues that cognition is intertwined with the world because of a history of structural couplings, that is, the contingent relationships that stage skillful performance in response to the situational sense of sensorimotor engagement with artifacts and people (Dreyfus, 2002). We assume that creativity is a skillful experience of kinesthetic 'knowledge' (Penny, 2022).   In teacher training, these ideas for cultivating creativity are overshadowed by conventional static methodologies and cognitive notions that reduce creativity to final products and internal mental processes (Guilford 1967; Torrance 1972; Sternberg & Grigorenko 2001; Gardner 1994; Kaufman & Beghetto 2009). Although these notions have contributed to understanding the phenomenon of creativity, in this article we relate to collective, distributed, and embodied notions of creativity that escape individual and cognitive bias (Glăveanu 2014; Ihde & Malafouris 2019; Malinin 2019). Our approach is in tune with Vygotsky's ideas about perceptual ontogenesis, in which perception is reconfigured from naive to cultural forms within dedicated cultural settings designed for exploratory activity (Vygotsky, 1926/2001). Considering the above, we present some didactic experiences through ethnographic participant observation, we observe students of pedagogies engaging in creative activities suggested by our theoretical approach. We use these observations to illustrate how Project-Based Learning and Design Thinking allow us to understand creativity from the point of view of experiential becoming, as argued by Tim Ingold (2014). That is, rethinking the creativity inherent in practice and paying attention to the development of contingent relationships, which emerge learning by doing from designing and prototyping with technologies. References   Dreyfus, H.L. (2002). Intelligence without representation - Merleau-Ponty's critique of mental representation. The relevance of phenomenology to scientific explanation. Phenomenology and the Cognitive Sciences, 1, 367-383. https://doi.org/10.1023/A:1021351606209 Frey, C., & Osborne, M. (2013). The future of employment: how susceptible are jobs to computerization? University of Oxford. Gardner H. (1994) The creators' patterns. In: Boden M. (ed.) Dimensions of creativity. MIT Press/Badford Books, London: 143-158. Glăveanu V. (2014) Distributed creativity: What is it? In: Distributed creativity: Thinking outside the box of the creative individual. Springer, Berlin: 1-13. https://doi.org/10.1007/978-3-319-05434-6_1 Guilford J. P. (1967) The nature of human intelligence. McGraw-Hill, New York. Hutchins E. (1995) Cognition in the wild. MIT Press, Cambridge MA. https://doi.org/10.7551/mitpress/1881.001.0001 Ihde D. & Malafouris L. (2019) Homo faber Revisited: Postphenomenology and material engagement theory. Philosophy & Technology 32(2): 195-214. https://doi.org/10.1007/s13347-018-0321-7 Ingold T. (2014) The creativity of undergoing. Pragmatics & Cognition 22: 124-139. https://doi.org/10.1075/pc.22.1.07ing Kalaydjian J., Laroche, J. Noy, L. and Bachrach, A. (2022) A distributed model of collective creativity in free play. Front. Educ. 7:902251. https://doi.org/10.3389/feduc.2022.902251 Kaufman J. C. & Beghetto R. A. (2009) Beyond big and little: The Four C Model of creativity. Review of General Psychology 13: 1-12. https://doi.org/10.1037/a0013688 Malinin L. (2019) How radical is embodied creativity? Implications of 4E approaches for creativity research and teaching. Frontiers in Psychology 10: 2372. https://doi.org/10.3389/fpsyg.2019.02372 OECD. (2018). The future of education and skills: Education 2030. Paris: OECD. Penny, S. (2022). Sensorimotor debilities in digital cultures. AI & Soc 37, 355-366. https://doi.org/10.1007/s00146-021-01186-0 Reimers F. M. & Chung C. K. (2019) Teaching and learning for the twenty-first century: Educational goals, policies, and curricula from six nations. Harvard Education Press. Sternberg R. J. & Grigorenko E. L. (2001) Guilford's structure of intellect model and model of creativity: Contributions and limitations. Creativity Research Journal 13(3-4): 309-316. https://doi.org/10.1207/S15326934CRJ1334_08 Torrance P. (1972) Predictive validity of the Torrance Tests of Creative Thinking. The Journal of Creative Behavior 6(4): 236-252. https://doi.org/10.1002/j.2162-6057.1972.tb00936.x Varela F. J., Thompson E. & Rosch E. (1991) The embodied mind. MIT Press, Cambridge MA. https://doi.org/10.7551/mitpress/6730.001.0001 Videla, R., Veloz, T. and Pino, C. (in press). Catching the Big Fish from STEAM Education: Approach to Creativity from 4E Cognition. Constructivist Foundations. https://constructivist.info/special/edu21/ Vygotsky L. S. (1926/2001). Educational psychology (R. H. Silverman, Trans.). Boca Raton, FL: CRC Press LLC.

Objetivo: Comparar el estado nutricional, cronotipo y conducta alimentaria que presenta un sujeto que posee simultanea los polimorfismos rs3749474T y rs4864548A, con respecto a grupos de sujetos que poseen solo uno de dichos polimorfismos. Métodos: La presencia de los polimorfismos fue mediante PCR. Se determinó IMC, riesgo cardiovascular y porcentaje de grasa según lo descrito por Durnin y Womersley y la ecuación de Siri. Se aplicó el cuestionario TFEQ-P19 adaptado a población chilena y el cuestionario Horne-Ostberg. Resultados: El sujeto con ambos polimorfismos presentó obesidad, riesgo cardiovascular y cronotipo trasnochador. Sus puntajes en las dimensiones de alimentación sin control y alimentación emocional fueron bajos. Su puntaje en cuanto a la restricción cognitiva fue el más alto. Conclusiones: La presencia del haplotipo TA (rs3749474; rs4864548) aumentaría la posibilidad de tener un cronotipo de tipo de tipo trasnochador, riesgo de obesidad y riesgo cardiovascular asociado a los centímetros de cintura.

Este artículo fue aprobado para publicación en el v68n4 de la Revista de la Facultad de Medicina teniendo en cuenta los conceptos de los pares evaluadores y los cambios realizados por los autores según estos conceptos. Por lo tanto, se publica la versión preliminar del artículo para su consulta y citación provisional, pero debe aclararse que esta puede diferir del documento final, ya que no ha completado las etapas finales del proceso editorial (corrección de estilo, traducción y diagramación) y solo los títulos, datos de autores, palabras clave y resúmenes corresponden a la versión final del artículo.Esta versión puede consultarse, descargarse y citarse según se indique a continuación, pero debe recordarse que el documento final (PDF, HTML y XML) puede ser diferente.

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