The Affective Base of Judgement in Creativity and Innovation and its Implications for Education

The purpose of this article is to carry out a philosophical enquiry into the affective nature of creative and innovative processes. Recent studies on future employment suggest that we are at an inflection point whereby any job is in principle at risk of being taken over by computers and robots in the near future. The jobs least at risk, it is suggested, are those that require creativity and innovation. It is still unclear why this is the case, and conceptualising creativity and innovation still presents a persistent problem within research. I present the argument that both the resistance to the automation of creative and innovative tasks and the resistance to conceptualising creative and innovative processes are due to creativity and innovation being processes that are affective in nature. Building on original theories of creativity and innovation, I develop the argument by enquiring into a structural similarity between affective judgement in creativity and innovation and Immanuel Kant's concept of aesthetic judgement. My enquiry suggests that the affective judgement processes of creativity and innovation are based on feelings of interest and desire (respectively), which corresponds to the feeling of pleasure in aesthetic judgement. The implication for education is that it becomes central to cultivate affective judgements on all levels of the educational system in order to prepare the younger generations for living and working in future society.     

The discourse and nature of creativity and innovation: Ways of relating to the novel

In the discourse of the knowledge-based economy, the link between creativity and innovation is usually taken for granted. However, not only is this link of recent date, it joins together two diametrically opposed concepts: the economic concept of innovation and the humanistic concept of creativity. In research too, there is a lack of enquiry into the nature of the processes of creativity and innovation and into how these processes are similar yet different. Building on the original insights of Henri Poincaré and Joseph Schumpeter, I present the hypothesis that creativity and innovation are similar in nature, not in regard to knowledge or skills, but in that both are ways of relating to the novel. My findings suggest, meanwhile, that creativity and innovation differ in that creativity is about experiencing the novel in the creative process, whereas innovation is about willing the novel as a strategy for the innovative process. Furthermore, my findings suggest that there exists a structural similarity between creativity and innovation and Aristotle’s concepts of practical and philosophical wisdom, in that innovation is a form of practical wisdom in regard to the novel, whereas creativity is a form of philosophical wisdom in regard to the novel.     

为创新正名——兼论创新方法

创新的立足点应在“创”而非“新”上,创造性是人的本性。新与旧是辩证统一的关系,今天我们应格外重视对传统文化的继承和发扬。通过“温故”、志存高远、彻底沟通的方法必定能产生出有创造力的新意来。     

Demystifying Creativity: What Creativity Isn’t and Is?

To understand creativity is to recognize and develop the creative potential within oneself and others. This article examines what creativity is not and then what creativity is. First, the six leading misconceptions about creativity are discussed: Creativity belongs solely to the arts; creativity is quickly recognizable; innovators always work alone; mental illness enhances creativity; creativity is a divine flash of inspiration; and newness is a prerequisite to creativity. Then, using the research-based CATs model, what creativity is and how creativity develops into innovation are discussed: (a) cultivate creative climates; (b) nurture creative attitudes; and (c) develop creative thinking skills. Creativity does not come from nature but from nurture, and developing gifted children’s creativity should be the goal of parenting and education.     

Creativity: The role of unconscious processes in idea generation and idea selection

Today's world of continuous change thrives on creative individuals. Anecdotal reports suggest that creative performance benefits from unconscious processes. Empirical research on the role of the unconscious in creativity, though, is inconsistent and thus far has focused mainly on one aspect of the creative process - idea generation. This is the first study to assess the role of the unconscious mind for both idea generation and idea selection. Participants generated creative ideas immediately, after conscious thought, or after a period of distraction during which unconscious thought was hypothesized to take place. After having listed their ideas, participants selected their most creative idea. Performance in idea generation was similar between conscious and unconscious thought; however, individuals who had unconsciously thought about ideas were better in selecting their most creative idea. These findings shed more light on the role of unconscious processes in creativity, and provide a means to enhance creative performance.     

科学发展观与编辑创新意识

针对期刊、报纸在竞争中必须追求创新才能立足的现状，提出编辑人员应具备一定的创新意识。文章从观念创新、理论创新、版面创新、内容创新及标题创新等方面对编辑的创新意识进行了阐述，对编辑人员具有一定的借鉴作用。     

论“以学生为中心”培养旅游创意人才

旅游业的发展对旅游人才的培养提出了新的要求。培养具有一定创新意识和较高创意能力的旅游创意人才是新形势下旅游人才培养的一个重要方向。基于西方教学理念的＂以学生为中心＂的教学法相对于传统的教学方法更注重于对学生自我学习能力以及创新意识的培养,与旅游创意人才的培养目标之间具有较高的契合度,对旅游业人才的培养能起到一定的指导作用。     

Primary Teachers' beliefs about Scientific Creativity in the Classroom Context

While a number of studies have investigated people's perceptions or conceptions of creativity, there is a lack of studies looking into science teachers' views. The study aimed to explore the meanings of scientific creativity in the classroom context as perceived by a selective group of upper primary (Grades 3–6; student ages 8–12) science teachers (n?=?16) in Taiwan. Using a self-report, open-ended questionnaire and follow-up interviews, the participants responded to questions as to (1) what quality, behaviours and abilities characterise a creative learner in their science classrooms, (2) what a science classroom should be like if it is to facilitate scientific creativity, and (3) whether and what particular elements of the inquiry approach are incorporated in such a classroom. The analyses revealed that the teachers captured the central features of creativity and proposed diverse ideas about how to foster creativity in school science, but seemed to overlook some aspects, such as convergent thinking, problem-finding, and linking the arts and science. These missing features are regarded as important for scientific creativity in contemporary research. The findings were discussed along with their implications for teacher education and future research.     

论教师专业创造力

教师专业创造力是教师在教育生活中酝酿专业创意、生成专业创举、进行专业创造、实现专业自我更新的潜力与实力,它是教师作为专业人员的标识和代码。教师专业创造力由创意生成力、创举形成力、课堂表现力与自我形塑力等要素构成,其基本特性是涌现性、嵌入性和个体性。在教师专业发展中,每一种专业创造力类型各具特点并承担着不同的角色与功能。     

教育中,什么在妨碍创造

创造教育是重要的 ,但是 ,十分必要的是 ,应弄清楚现有的教育中有些什么在妨碍创造。事实上 ,妨碍创造与创造教育的因素并不少 ,如独立个性的缺乏 ,社会本位的强旺 ,教育民主的贫弱等等。这些障碍不消除 ,创造教育将实际上离我们很远     

Art and Creativity in the Global Economies of Education

Creativity: what might this mean for art and art educators in the creative economies of globalisation? The task of this discussion is to look at the state of creativity and its role in education, in particular art education, and to seek some understanding of the register of creativity, how it is shaped, and how legitimated in the globalised world dominated by input‐output, means‐end, economically driven thinking, expectations and demands. With the help of Heidegger some crucial questions are raised, such as: How can art maintain its creative ontological and epistemological potential in the creative economies of globalisation? Is it possible for art and the creative arts to act as a process of ‘revealing’ and ‘becoming’ and ‘throwing light’ on the world while working within the market economies of innovation and entrepreneurship where creativity has become a generalised discourse? What matters in this discussion is to find a way to argue for the sustainability of art education as a creative mode of enquiry through which self and the world may be better understood, identity might be realised as difference and being‐in‐time might be possible.     

Cognition and creativity

Cognitive research on creativity is both traditional and innovative. It is traditional in the sense that many of the well-recognized processes, structures, and stores from mainstream cognitive psychology have been used to understand creative thinking. It is innovative because there is a need to understand processes which are not recognized unless one is specifically interested in creativity. Some of these are inherently subjective, a fact which is often disregarded by those hoping for a traditionally scientific analysis. Still, much of the interest in the cognitive sciences concerns how new constructs come into being; and anyone interested in that is in fact thinking about creativity. That is creativity. This article reviews several traditional cognitive topics, including knowledge, memory, classification, judgment, and categorization, and describes how each can influence creative thinking. It also presents an original model of creative thinking with problem finding, ideation, and judgmental processes as primary components, and knowledge and motivation as secondary (contributing but not controlling) components. Several issues are covered, including the relegation of motivation, the distinction between declarative and procedural knowledge, and the potential for knowledge to both facilitate and inhibit creative ideation.     

Pre-service teachers’ conceptions of creativity in elementary school English

Widely thought to be something worth encouraging in young learners, creativity has popularly been associated more with music and art than with other areas of the curriculum. There have been many studies of creativity but few that focus explicitly on what counts as creative thinking in specific subject areas. The aim of the research reported here was to determine pre-service teachers’ conceptions of creativity within the curriculum for English. The study involved analyses of primary school trainee teachers’ responses to questionnaires and follow-up focus group discussion to identify their conceptions. A group of 48 trainees in the final year of an undergraduate degree in primary education leading to qualified teacher status in England completed the questionnaire. Of these, eight volunteered to participate in a follow-up focus group discussion to further explore ideas. Responses were analysed quantitatively and qualitatively. Conceptions of creativity in English were found to be limited, focused mainly on naïve views of story writing and dramatic activity. Responses indicated that they were often unable to distinguish clearly between the concept of creativity, an example of its occurrence in the classroom, and what feature of that example made it creative. Consequently, their limited constructions of creativity were confused. It is important that teachers in schools as well as those responsible for training teachers in universities are advised that trainees’ conceptions of creativity in English may be inadequate in several respects and that they may not recognise opportunities for creativity. Pre-service training programmes could well benefit from structured courses on the forms and applications of creativity.     

A synthesis of research concerning creative teachers in a Canadian context

Effective teachers are often creative ones, yet an examination of creative teaching is largely invisible in the North American creativity literature. Even within education there is little about teachers’ own creative practice. Nonetheless, there are benefits to studying creative teachers: in education it can explicate ways of enhancing teachers’ creativity and enriching praxis; and in psychology it can extend our understanding of social and interpersonal creativity, as well as everyday creativity. This paper reviews 12 Canadian case studies of creative teaching conducted by a creative teaching research group. An in-depth elaboration of two themes, creative person and community, is presented.     

Creative leadership: a new category or more of the same?

New categories of leadership are continually being invented. Because the ways we think are productive of the ways in which we act, it is important to hold these rhetorical innovations to account. This paper focuses on the latest of these categories – creative leadership. Mobilising a Foucauldian notion of ‘discourse’ I deconstruct the notion of creative leadership as it has recently been represented in five published texts. I suggest that the interpretation on offer has a determinist view of the future, ignores the history of debates about creativity, offers creativity as a generic skill and underestimates what it is that teachers and leaders might need to do in order to work creatively. I show that the notion of creative leadership on offer is strongly connected with that of creative learning, and put the ‘recipe’ offered by one set of texts into conversation with a body of empirical evidence about what is happening in schools that aim to promote creative learning. I argue that what is evident from the dialogue between the texts and the empirical studies is that it is pedagogical leadership that is absent but is actually most required, embedded in leadership/management principles and practices that promote social justice.     

The relations between acculturation and creativity and innovation in higher education: A systematic literature review

This systematic literature review focuses on research findings from 20 peer-reviewed studies on the relations between the constructs of acculturation and creativity as well as acculturation and innovation in higher education. The overall research findings suggested a primarily causal relation between acculturation and creativity through statistical modeling. However, acculturation was also found to be correlated with and predict creativity. Moreover, attributes of acculturation discovered to engender creativity included multicultural learning experiences, individualistic culture type, homogeneous cultural dyads and the acculturation strategy of biculturalism. In contrast to its well-founded relation with creativity, acculturation was tentatively found to be a positive and significant predictor of innovation. This review highlights the strength of acculturation aspects, particularly biculturalism and the integration of contrasting cultural ideas, in influencing the ability to be creative or innovative in postsecondary environments.     

Assessing highly‐creative ability1

This paper presents a psychological perspective of the educational dilemma of assessing highly (high‐level) creative ability (with some connections to contemporary philosophical debate). Assessment of highly‐creative ability is a topic of longstanding debate involving questions of what constitutes creativity; whether the creative mental process is essentially intuitive or essentially rational; whether creative ability could or should be reduced to quantifiable parameters; and whether the most important aspects of creative achievement reside in the initial thinking (invention of ideas) or in the subsequent process of development of the idea (making a work of art, design, etc) or in the end product (the work of art or design itself). The debate is fueled by various philosophical, psychological and educational perspectives, all of which are continuously evolving. As a consequence, learning objectives and assessment criteria are ambiguous and confound the enhancement of creative ability that is the primary purpose of higher education. This paper traces the research and development path that led to an innovative ‘authenticative assessment’ approach to assessing highly‐creative ability that offers a promising solution.     

Improvisation,planning and the creative process

Abstract

We anticipate and create the future in many ways. Through active planning, improvisation, and even procrastination, we move beyond the moment. The purpose of this paper is to argue that future oriented processes are creative processes. By engaging in formal and informal educational activities children learn to create the future from the present and the known from the unknown. In this paper I explore the uses of improvisation and planning as vehicles for creativity by describing some of my work as well as research and ideas of others in the fields of psychology, anthropology, and education     

Failing to learn and learning to fail – exemplars of practice from the creative industries

ABSTRACT

Universities are facing challenges not seen before. Academic development is expected to address many of these challenges, creating conditions supportive of teaching and learning. However, increasing managerialism, measurement, and risk-aversion make this difficult as the emphasis shifts from supporting individuals towards delivering institutional strategy. This can lead to a lack of creativity, a stifling of innovation, and a fear of failure. This paper uses the creative industries as a ‘parallel’ sector of practice. It outlines the challenges, similarities, and differences between the sectors, before explaining what lessons higher education can learn from the creative industries.     

What Teachers See as Creative Incidents in Elementary Science Lessons

Teachers are often urged to nurture creativity but their conceptions of creativity in specific school subjects may have limitations which weaken their attempts to do so. Primary school teachers in England were asked to rate lesson activities according to the opportunity they offered children for creative thought in science. The teachers could, overall, distinguish between creative and reproductive activities but, as predicted, there was evidence of narrow conceptions of school science creativity, biased towards fact finding, practical activity, and technological design. Some teachers saw creativity in essentially reproductive activities and in what simply stimulated interest and on‐task talk. Some implications and recommendations for teacher training and professional development are discussed.