Creating a Sound Garden: Transforming Recycled Materials into Objects for Learning

Didier, John; Botella, Marion; Attanasio, Rachel; Lambert, Marie-Dominique

doi:10.1002/9781119902461.ch7

Cited by 3 publications

(4 citation statements)

References 13 publications

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“…Lastly, based on a correspondence analysis, the dynamic of the stages and the multivariate factors will be integrated into a modelization of the creative process. This statistic was recommended to analyze the CRD ( Botella et al 2017 ) and used in previous research with students ( Botella and Lubart 2015 ) as well as with pupils ( Didier et al 2022 ).…”

Section: Resultsmentioning

confidence: 99%

The Creative Process and Emotions of Pupils in a Training Context with a Design Project

et al. 2022

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For many years, researchers have been investigating how the creative process occurs and what factors influence it. The scope of these studies is essential in the school context to enable pupils to develop their creativity and thus address the needs of the 21st century society. Although very rich, these studies are generally not situated in a real teaching and learning context. The output of the present research will make it possible to model, to better understand, and to identify the creative process in pupils as they design and produce utility objects in an educational and training context with ecological validity (real context of training). In the context of teaching Creative and Manual Activities in education, in the French part of Switzerland, we are focusing on observations of the creative process in line with psychology, didactics, and pedagogy. During their class, 22 pupils were invited to create a water fountain and, in parallel, to complete a Creative process Report Diary about the stages they do and the multivariate factors (cognitive, conative, emotional, and environmental factors) they mobilize at each lesson. Results presented the main frequent stages and factors at each lesson and we proposed a model describing the transitions between the stages and how the multivariate factors are involved in each stage. They illustrate what pupils actually do in a creative learning context.

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Section: Resultsmentioning

confidence: 99%

The Creative Process and Emotions of Pupils in a Training Context with a Design Project

et al. 2022

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“…En effet, les travaux de Küttel (sous presse), pointent la relation entre l'apprentissage de la conception et du développement de la confiance en soi, de l'autonomie et du développement du sentiment d'autoefficacité chez des élèves de l'école obligatoire dans le cadre d'une démarche de conception d'un objet technique. L'étude réalisée par Didier et al (2022) précise les différents apprentissages mobilisés au sein du processus créatif chez des élèves de l'école primaire lors de la conception et de la réalisation d'objets techniques à fonction de signe en ACM. Cette étude fait apparaître un enseignement du design à orientation artistique qui mobilise chez des apprenants des apprentissages disciplinaires, mais également des capacités transversales au sein d'un enseignement par projet (Didier et al, 2022).…”

Section: Prescriptions Et Enseignements Du Design En Suisse Romandeunclassified

“…L'étude réalisée par Didier et al (2022) précise les différents apprentissages mobilisés au sein du processus créatif chez des élèves de l'école primaire lors de la conception et de la réalisation d'objets techniques à fonction de signe en ACM. Cette étude fait apparaître un enseignement du design à orientation artistique qui mobilise chez des apprenants des apprentissages disciplinaires, mais également des capacités transversales au sein d'un enseignement par projet (Didier et al, 2022).…”

Section: Prescriptions Et Enseignements Du Design En Suisse Romandeunclassified

Enjeux d'une approche didactique de l'enseignement du design: les exemples suisses et français

Tortochot

Didier

2023

JREA

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Étudier l’enseignement du design, c’est mettre au jour des indicateurs propres aux phénomènes de la transmission des savoirs et savoir faire de la conception, des situations, des milieux, des contextes, mais aussi des gestes des enseignants, ceux des apprenants, gestes créatifs et gestes d’apprentissage. Cet article propose un point de vue didactique, en comparant les curriculums de l’enseignement du design dans deux pays, la Suisse et la France : prescriptions à cheval entre arts et technologie, culture du projet, situations d’évaluation, enseignement généraliste ou spécifique, mais aussi la formation des enseignants. Il émerge de cette approche des singularités dues aux héritages culturels, à l’histoire disciplinaire, aux influences pédagogiques. Il ressort également des similarités comme les hésitations curriculaires sur la place et l’identité de la discipline dans les institutions de formation. Par-dessus tout, ce qui rassemble les deux systèmes analysés, au delà de possibles divergences formelles, c’est l’approche des processus de conception créative et de la pédagogie de projet. Apprendre à concevoir, c’est, d’une certaine façon, apprendre à mieux appréhender les enjeux du monde complexe en puisant dans les ressources de l’expérience créative dans les domaines technologiques et artistiques. In fine, ce qui est en jeu dans ce papier, c’est la contribution à une épistémologie disciplinaire qui, au delà des origines du design, poserait les soubassements d’une didactique de la conception, voire du design lui même, en identifiant les savoirs qui circulent des lieux de création et de conception vers les lieux d’apprentissage du design.

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“…The results showed that students who underwent brainstorming-inspired training generated more ideas than their peers, while the latter proposed more constraints. Additionally, Didier et al (2022) conducted a study that focused on verbalizing and modeling the creative process when creating technical objects. These scholars aimed to gain a better understanding of the various phases involved in developing a technical object by using observation diary of the creative process (Botella and Didier 2016).…”

Section: Stages Of the Creative Processmentioning

confidence: 99%

Creative Process and Multivariate Factors through a Creative Course “Keep Calm and Be Creative”

2023

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Creativity has been studied for a long time and it has become a more significant topic of research in educational fields in recent decades. The present paper outlines a multivariate approach to creativity and substantiates this approach by investigating the creative process and multivariate factors through a creative course for master’s students at the University of Teacher Education in Switzerland. Our goal is to examine more specifically the stages of the creative process and the emerging multivariate factors in different creative activities. The article reports findings from the analysis of students’ creative report process diaries as well as semi-structured interviews. Drawing on experiential learning, this pilot study was conducted in collaboration with master’s student teachers (n = 10). The results show that the different microlevels of the creative process are the subject of variations from one creative experience to another. Most factors of the multivariate approach emerge from this kind of creative training. The discussion will allow for a review of the research results and also a better understanding of the creative process in the pedagogy of creativity.

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Creating a Sound Garden: Transforming Recycled Materials into Objects for Learning

Cited by 3 publications

References 13 publications

The Creative Process and Emotions of Pupils in a Training Context with a Design Project

The Creative Process and Emotions of Pupils in a Training Context with a Design Project

Enjeux d'une approche didactique de l'enseignement du design: les exemples suisses et français

Creative Process and Multivariate Factors through a Creative Course “Keep Calm and Be Creative”

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