The Challenge of Beginning

This article presents a way of approaching introductory design education that expands student creativity through building on research related to the impact of cognitive development and metacognitive thinking. The strategy presented emphasises the importance of encouraging divergent thinking and understanding how students perceive knowledge. The goal is to create a learning environment that acknowledges where students are in their thinking and provides a structure that promotes both cognitive and creative growth.     

以“高级思维”为核心的创新课堂教学

在激发创造潜能、进一步深化创造教育的创新课堂教学实践中,提出并训练高级思维能力,正是试图在以往的创造力训练计划中寻找一个平衡。既不笼统地涵盖整个思维领域而将创造性思维的研究泛化,也不仅仅针对某一种思维技巧进行训练,而是从创造性思维能力的核心角度,聚焦信息获得和加工过程中的高级策略、技巧,并将认知监控作为重点。高级思维八法及其相对应的四种高级思维能力正是开展有效创新课堂教学实践可以依托的载体。     

Self-efficacy and performance feedback: Impacts on cognitive load during creative thinking

Creative thinking is the ability to produce responses that are both original and useful. Like other complex thinking processes, creative thinking draws on higher-order cognitive resources. The impacts of feedback, cognitive load, and self-efficacy on traditional complex thinking activities are well documented; however, little is known about how these factors influence creative thinking, which is unique in its requirement of originality. We investigated the impacts of social comparison performance feedback and creative self-efficacy on cognitive load during two creative thinking (divergent thinking) tasks. Higher creative self-efficacy was associated with lower cognitive load during creative thinking. Positive feedback was associated with lower cognitive load compared to negative feedback. Higher cognitive load negatively impacted creative thinking performance, and the impacts of creative self-efficacy and performance feedback on creative thinking were partially mediated by cognitive load. Implications for providing feedback to students during creative thinking tasks are discussed.     

论创造教育的动态知识观

传统知识观历来把知识仅仅理解为人类现有的静态认识成果。由于这种成果性知识并不具备充分的创造价值,结果便造成了知识学习与创造力发展之间难以调和的矛盾。要从根本上解决这一矛盾,就必须破除传统的静态成果知识观,树立一种全新的动态过程知识观,即把知识理解为人类认识的发展过程,从而使知识本身具备充分的创造价值。     

论思维创造品质对应用写作的影响

本文讨论了思维创造品质对应用写作水平的影响，认为正确的思维理念呈现了思维科学性及对提高写作技能的指导意义。指出不能将思维创造局限于某个单项能力的认识和使用上，只有通过思维创造才能实现应用思维能力、炼意思维能力、信息鉴选思维能力、篇章合体思维等诸多思维能力的提升和整合，使各项写作技能得到有效展现。也只有对思维创造品质有准确的认知，才能具备较高的写作能力。     

聚焦志趣、激发潜能——上海中学高中生创新素养培育实验研究

以"聚焦志趣、激发潜能"为导向的高中生创新素养培育实验,能激活学生发展与创新追求的内动力,促进学生基于发展指向性领域的个性化知识构成,培育学生以批判性与深刻性、跳跃性与缜密性为重要特征的创新思维,养成学生以钻研与痴迷、坚忍性为主要特征的创新人格,推进学生基于数字平台的学习、探究与创新,提升校内教师的专业素养并强化与高校、科研院所等机构的实质性合作。     

The Creative Path: An Interview With Dean Keith Simonton

Creativity tests measure specific cognitive processes such as thinking divergently, making associations, constructing and combining broad categories, or working on many ideas simultaneously. They also measure noncognitive aspects of creativity such as motivation (e.g., impulse expression, desire for novelty, risk‐taking), and facilitatory personal properties like flexibility, tolerance for independence, or positive attitudes to differentness. Raters can score the various kinds of test with substantial levels of agreement, while scores are internally stable to an acceptable degree. The tests also correlate to a reasonable degree with various criteria of creativity such as teacher ratings, and are useful predictors of adult behavior. Thus, they are useful in both research and education. However, they are best thought of as measures of creative potential because creative achievement depends on additional factors not measured by creativity tests, such as technical skill, knowledge of a field, mental health, or even opportunity. However, the multidimensional creativity concept they define indicates that assessments should be based on several tests, rather than relying on a single score.     

论高校美术教育中创造思维能力的培养

高校美术教育是素质教育的重要组成部分,是艺术专业的一门必修课。当前我国高校美术教育存在的问题如何解决,怎样运用想象教学去培养学生的创造性思维能力,并营造培养创造性思维能力的环境,为我国培养一批又一批高素质、有创新意识和创造能力、社会急需的美术实用人才显得尤为突出和重要。     

思维与动机:创造力具有可教育性的心理学阐释

在创造教育中,人们所关注的只是人类必教性的问题,即创造力如何教育、怎样培养的问题,却忽略了必教性的前提——创造力的可教性。创造力是不是教育培养出来的？从心理学思维与动机两个层面对创造力具有可教育性进行了详细的论证,从而充分肯定了创造力是可以通过教育的手段获得提高的,为个体创造力的提升乃至创造教育的开展提供了心理学依据。     

手工教学策略新探

当今,虽然对于"创造教育"的研究早已成为不"时尚"的课题,人们对此也做过许多有关方面的探索研究,但倘若我们冷静反思当前高职高专学院美术学科手工课程教学的现状,便会发现其教学策略仍然停滞在长期以来一直沿用的在"继承"的基础上谈"设计"的模式上,仍存在着对"创造"内涵认识的浅表化及创造技术的单一化。我们只有以宏观的角度、全新的现代"创造学"科学理论重新审视与指导"创造教育,"把教育目标锁定在引导学生自主研究如何对传统项目进行全方位的"技术革新"上,把培养学生的开拓创新能力摆在第一位,才能真正从实质上实现拓宽学生的思路,全方位激发其创造灵感,使其思维更富有创见性。     

Play and Creativity: Developmental issues

Play and creativity have been linked in numerous ways. Theoretically, pretend play fosters the development of cognitive and affective processes that are important in the creative act. Russ's (1993) model of affect and creativity identified the major cognitive and affective processes involved in creativity and the relations among them, based on the research literature. Central to both play and creativity is divergent thinking. Both cognitive and affective processes in play have been related to divergent thinking in children. In a longitudinal study, quality of fantasy and imagination in play predicted divergent thinking over time. Divergent thinking itself was relatively stable over time. An important question is whether play can facilitate creativity. Play has been found to facilitate insight ability and divergent thinking. Studies have also shown that children can be taught to improve their play skills. Future research studies should: (i) investigate specific mechanisms that account for the relationship between play and creativity; (ii) develop play intervention techniques that improve play skills; and (iii) carry out longitudinal studies with large enough samples to enable the application of statistical procedures such as path analysis.     

高校拔尖创新人才创新素养的现状及其对创造力的影响研究——以全国"挑战杯"获奖者为例

通过对上海市11所高校的全国“挑战杯”获奖者创新素养和创造力现状进行实证调查,研究发现：全国“挑战杯”获奖者创新素养评价指标体系包含创新人格、创新意识、创新思维、创新行为、创新支持感知和创新自我效能感6个维度共19个因子。通过构建“挑战杯”获奖者创新素养与创造力的结构方程模型发现:创新意识、创新思维、创新行为和创新自我效能感对创造力产生直接的正向影响,创新人格以创新意识和创新思维为中介对创造力产生正向影响,创新支持感知以创新行为和创新自我效能感为中介对创造力产生正向影响,而创新人格和创新支持感知作为创新素养的内部和外部动机,通过交互作用共同影响创造力。     

在教学中培养创新能力

在知识经济时代,社会发展和变革呼唤培养具有创新精神和创新能力的人,这就要求教育要把培养创新精神作为教学的主要任务。要改变传统教学中落后的教学观念和方法,促进学生创造性思维的培养,提高学生的创新能力。     

论身体思维与知识创新

提升人力资源竞争力的关键是知识创新,知识创新的核心和灵魂则是思维创新。但长期以来,传统思维理论往往把人类的思维能力归功于大脑,而把活的身体视为人们]进行抽象思维活动的一个障碍。事实上,思维并非是人类那精密的大脑所独有的能力,而是活的身体在与世界永无止境的互动过程中发展起来的一种能力,正是身体焕发着思的冲动,进行着思的活动,增进着思的能力。因此,今天我们要想跟上知识经济的步伐,尽快提升人力资源的竞争力,就需要在认识论和方法论上特别关注眼下普遍流行的身体思维。     

The cognitive profile of creativity in design

The objective of the study was to explore the cognitive profile of creativity in design by applying a new approach to the assessment of creativity based on the theory of meaning (Kreitler & Kreitler). The assessment of meaning enables to identify cognitive processes that characterize an individual as well as those necessary for good performance of some cognitive act, such as creativity. It was hypothesized that creativity in design will include partly cognitive components identified in previous studies of creativity and partly new ones. The participants were 52 students in a school of design, who were administered a designing task and the Meaning Test, assessing a broad range of cognitive processes. The design products were assessed for creativity by three experienced architects. The cognitive processes, differentiating significantly between the students who produced highly creative designs and those who produced less creative ones, were interpreted as constituting the cognitive profile of creativity in design. The obtained profile supported the hypothesis and provided information about the cognitive processes of creativity in design, which may also be used for promoting creativity in design students.     

从斯滕伯格的创造力投资理论谈幼儿创造力培养

本在介绍美国心理学家斯滕伯格１９９１年提出的创造力投资理论的基础上,结合我国幼儿教育的实际,提出了应从以下６个方面来培养幼儿的创造力;（１）不要局限于发散思维的培养;（２）培养幼儿的智力;（３）培养幼儿灵活运用知识的能力;（４）尊重幼儿的智力方式;（５）培养幼儿创造的人格和内有动机;（６）提供有利于幼儿创造力发展的环境。     

浅谈在地理教学中培养学生创新思维

知识经济需要创新思维,如何培养学生的创新思维?这就要求学生在学习地理知识的过程中,教师要鼓励他们发现问题,有创见地认识问题,并解决问题——这就要求教育者对传统教育进行改革。     

Resolving the paradoxes of creativity: an extended phase model

Many teachers are interested in fostering creativity, and there are good reasons for doing so. However, the question of how to do it is made difficult by the paradoxes of creativity: mutually contradictory findings that are, nonetheless, simultaneously true (e.g. convergent thinking hampers creativity but is also necessary for it). These paradoxes can be resolved by dividing the process of creativity into seven phases that depend upon different cognitive processes (e.g. divergent versus convergent thinking) and personal properties (e.g. openness versus compulsiveness), are facilitated by different environmental conditions (e.g. tolerance of errors versus demands for accuracy) and lead to different kinds of product (e.g. something radically new versus novelty that nonetheless fits into the conventional framework). Mapping the four Ps of creativity (person, process, product and press) onto the phases provides a system for analysing both teaching methods and learning activities of individual students.     

创造性思维的认知机制：回顾与展望

由于创造性思维本身发生的复杂性和过程的综合性,人们对于创造性思维本质的探讨仍然处于整合阶段。从创造性思维的认知心理机制、认知生理机制和认知环境机制等方面对已有研究进行综述,发现创造性思维的认知机制研究有不同层次的见解,既关注于具体的认知表征和顿悟过程,又关注于综合多元的认知环境的交互作用;创造性思维的认知生理机制的探讨需要在研究工具和设计进行改进,采用跨学科多领域多方位的交叉综合研究方式;创造性思维的产生是一种认知、人格和社会层面的综合作用的发生过程。     

设计素描中的构想与表现

思维是人脑的反映控制机能,是人脑的产物,我们在学习、工作中不同的思维方式产生着不同的思维结果。在传统素描的教学方式下,学生们很难适应描绘想象的物象及其它的设计课题。如何有效的激发学生的创造性思维并使之达到体现构想、表达创意,并最终实现通过素描、认识自然、发现设计的目的,已经成为现代设计素描教学中的重要课题。