Creativity and Development

Sawyer, R. Keith; John‐Steiner, Vera; Moran, Seana; Sternberg, Robert J.; Feldman, David; Nakamura, Jeanne; Csíkszentmihályi, Mihály

doi:10.1093/acprof:oso/9780195149005.001.0001

Cited by 139 publications

(52 citation statements)

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“…By contrast, a new wave of 'little c' literature (second generation thinking) focuses typically on the thinking and doing of a much greater proportion of the population than a few towering historical figures possessing ''the most ferocious self-discipline'' (Slattery 2007, p. 20). Weisberg's (1999) Creativity and Knowledge, Jonathon Feinstein's (2006) Nature of Creative Development, and Creativity and Development (Sawyer et al 2003), a round table discussion of experts in the field-all reflect this democratising turn.…”

Section: Introductionmentioning

confidence: 99%

Teaching for creativity: towards sustainable and replicable pedagogical practice

2008

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This article explores the pedagogical significance of recent shifts in scholarly attention away from first generation and towards second generation understandings of creativity. First generation or big 'C' creativity locates the creative enterprise as a complex set of behaviours and ideas exhibited by an individual, while second generation or small 'c' creativity locates the creative enterprise in the processes and products of collaborative and purposeful activity. Second generation creativity is gaining importance for a number of reasons: its acknowledged significance as a driver in the new or digital economy; recent clarification of the notion of 'creative capital'; the stated commitment of a growing number of universities to 'more creativity' as part of their declared vision for their staff and students; and, the recognition that the creative arts does not have a monopoly on creative capability. We argue that this shift allows more space for engaging with creativity as an outcome of pedagogical work in higher education. The article builds on the project of connecting 'creative capital' and university pedagogy that is already underway, assembling a number of principles from a wide range of scholarship, from computer modelling to social and cultural theorising. In doing so, it provides a framework for systematically orchestrating a 'creativity-enhancing' learning environment in higher education.

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Section: Introductionmentioning

confidence: 99%

Teaching for creativity: towards sustainable and replicable pedagogical practice

2008

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“…The theory behind the Multiple Intelligences is considered good scientific work, but to implement a bodily-kinaesthetic intelligence similarly to the implementation of, for example, logical thinking in the Stanford-Binet test is a challenge that has not yet been overcome. The debate of whether or not all the multiple intelligences can be understood as intelligences in itself has contributed to the theory's reputation (D.H. Feldman in Sawyer et al (2003)). …”

Section: Discussion On Why the Theory Should Be Considered For Designmentioning

confidence: 99%

Development and application of a framework for comparing early design methods for young children

Sluis-Thiescheffer

Bekker

Eggen

et al. 2011

Interacting with Computers

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a b s t r a c tWhen designing with young children, designers usually select user centred design methods based on the children's required level of engagement and the inspiration expected to be created according to the designer. User centred design methods should be selected for their suitability for children and for the quality of the output of the design method. To understand the suitability of design methods, a framework was developed to describe design methods in terms of required design skills as identified by the Theory of Multiple Intelligences. The proposed framework could provide the basis for a tool to compare design methods and to generate hypotheses about what design method would work optimally with children in a specific school grade. The initial examination of the viability of the framework is a comparison of design methods by the number of skills involved; earlier work showed that the involvement of more skills (as with, e.g. low-fi prototyping) could result in more options for a design problem than the involvement of fewer skills (as with e.g. brainstorming). Options and Criteria were counted to understand the quality of the method in terms of the amount of design-information. The results of the current paper indicate that 8-to-10-year-old children generate significantly more options in prototyping sessions than when they are involved in sessions applying a Nominal Group Technique. The paper indicates that (a) with the framework we can generate hypotheses to compare design methods with children and (b) that the outcome of various design methods, which might lead to very different representations, can be compared in terms of Options and Criteria. Further usage of the framework is expected to result in empirical support for selecting a design method to be applied with young children.

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“…In accordance with Feldman and Sawyer (2003) creativity is "a phenomenon that is successfully researched and understood at its high level, less frequently as exhibited by average people and children". At best, children can be given a secondary role, at the periphery of creative expression, and be acknowledged for their "low-range creativity" or students may achieve goals but without durable effect on their knowledge and skills (Morelock, Feldman & Sawyer).…”

Section: The Meaning Of "Creativity"mentioning

confidence: 99%

The development of creative thinking of primary school students at the English lessons in Kazakhstan

Niyazova¹,

Muratova²

2017

PROSOC

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In this article we consider different viewpoints on the terms "creative thinking" and "creativity", the concept of creativity of primary school pupils. We highlight the main important components of child's creativity and creative thinking. This article looks at the creative methods which allow building conditions for student's communicative interaction and solving communicative problems with the help of creative thinking in English Language Teaching as а foreign language and the benefits and downsides. The main aim of this article is to examine the impact of creative thinking development on improving speaking skills, creative approach to problem solving and expression of ideas of primary school students. Due to the fact that in Kazakhstan there is an artificial language environment in foreign language learning, our experimental research showed that the work at creative thinking at the English lessons can contribute to the development of the ability to think in the target language. It focuses on a particular class (English as а foreign language), at Kazakhstani primary school.

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Creativity and Development

Cited by 139 publications

References 0 publications

Teaching for creativity: towards sustainable and replicable pedagogical practice

Teaching for creativity: towards sustainable and replicable pedagogical practice

Development and application of a framework for comparing early design methods for young children

The development of creative thinking of primary school students at the English lessons in Kazakhstan

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