The Notion of Creativity in Art and the Influence of Cultural Exposure

This study investigates how art teachers judge the creativity of student art work. Both conceptual and operational definitions given by teachers were studied. Furthermore, cultural exposure as measured by a teacher's exposure to non-Asian cultures, was studied to see how it might influence art teachers' judgements. Two instruments were developed for the purpose of this study. One instrument was a questionnaire designed to collect qualitative data from the respondents. The second instrument was used to measure art teachers' ratings of creativity. The data revealed that the conceptual definitions given by art teachers varied considerably. However, when asked to rate subjectively the creativity of art products, moderate agreement was reached among art teachers. Exposure to non-Asian cultures did not seem to have an effect on an art teachers' operational definition of creativity. Results of the study imply that the usefulness of the term creativity needs to be reviewed in general usage and in documents such as curricula. It would seem that there is not a clear notion among art teachers as to what constitutes creativity and a creative product.     

高中生认知方式与创造力关系研究

本研究采用《镶嵌图形测验》对廊坊市高中生进行了认知方式的调查,抽取每个班得分高的前30%和得分低的后30%分别作为场独立组和场依存组,并以此为被试施测《创造性思维测验》,分别考察两组高中生在创造力三个特性及创造力总分上的差异,结果表明:(1)两组高中生在创造力三个特性、创造力总分上存在显著差异,(2)分别考察场独立组、场依存组,发现每组学生均在创造力三个特性、创造力总分上存在显著的性别差异,(3)分别考察场独立组、场依存组,发现每组学生均在创造力三个特性上存在文理班差异,但在创造力总分上不存在文理班差异。     

Art and Design Blogs: a Socially‐Wise Approach to Creativity

Many images of the ‘artist’ or ‘designer’ pervade the media and popular consciousness. Contemporary images of the artist and creativity that focus solely on the individual offer a very narrow depiction of the varying ways creativity occurs for artists and designers. These images do not capture the variety of creative processes and myriad ways artists and designers work. Young creatives in particular are choosing to work with a social approach to creativity. An example of this approach is the world of blogging, a form of social media where young creatives have a very active voice. This article explores how creative bloggers, that is, artists, designers and makers who blog about their practice, use a social approach to foster creativity with a sense of community, environmental and ethical awareness, a value framework that is in opposition to the market‐driven notion of liberal individualism. Is there a way to include participation in the broader art and design blogging world as part of art and design education? What can we learn from such a social approach to learning in higher education art and design programmes? This article explores these questions and shares findings of an ethnographic approach to an analysis of art and design blogs. In doing so it argues for a socially‐wise approach to creativity in art and design education as a means of promoting values other than those usually connected to the market.     

浅谈美术教学中听障学生创造力的培养

美术课是义务教育阶段对学生进行美育的重要课程.美术课不仅要培养学生的审美情趣,更要培养学生的观察力、想象力和创造力.对于听障学生来说,美术就是他们接受知识的另一扇门,培养他们的兴趣爱好,作为一位美术教师应把创造力的培养作为美术教学的重点.     

论艺术与创造性的关联

创造性概念并不如某些学者所认为的那样天然地与艺术家、作家连在一起的,而是有一个发展过程。实际上,创造性概念是历史的建构物。艺术经历了一个由模仿到创造性模仿再到独创的过程,可见,艺术与创造性的关联枉度是渐次加强的。     

Envisioning the Future: Working toward Sustainability in Fine Art Education

Fine art education provides students with opportunities to acquire knowledge and skills to respond creatively to their experience of society and culture. Fostering creative ways of knowing, thinking and doing requires studio learning conditions that promote the exploration of embodied perceptions, material sensibilities and conceptual ideas that are provisional, socially constructed and ever changing. Traditionally, art schools provided these conditions unchallenged because they were autonomous. Since the 1980s, however, art schools have been integrated into the academy, and face increasing pressure to meet the institutional demands of being in a university. Some argue this changed status means the academy, with its research and pedagogic traditions, is actually straitjacketing creativity. Furthermore, contemporary art practice has changed as artists are increasingly experimenting with interdisciplinary modes of working. This article discusses a two‐year major change initiative, undertaken within an urban Australian art school, designed to respond to this complex set of changed circumstances. It considers ways to address institutional compliance and viability demands while maintaining deeply held values about how to foster creativity in undergraduate students. The outcome is a new organising structure and renewed curriculum for the largest programme offering in the school: the fine art undergraduate degree. Educational renewal is conceptualised as a creative process and the approach to change is thus adapted from creative research methodologies. By treating pedagogy and curriculum design as a creative process, this change initiative, rather than straitjacketing creativity, has re‐envisioned an epistemological framework for undergraduate fine art that will sustain creativity education into the future.     

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.     

通过美术教学培养儿童创造力的研究

当今社会对于创造力的要求越来越高,但在美术教学中,大多仍以临摹和教画为主,并不能真正激发儿童的创造力。本文在对一线美术教师访谈以及一个儿童绘画测试的基础上,发现问题,提出培养儿童创造力的具体建议。并结合一个教学实验,以研究“引导型”教学(指教师以儿童为中心,通过合适的启发行为和游戏活动间接激发儿童发挥创造力的一种美术教学活动)对于培养儿童创造力的利弊。     

高职院校设计课程初探

高职院校设计课是以创新为最终目的的,以艺术为重要手段,对学生进行素质教育的课程。其最主要的特性是艺术与设计教育的统一。是艺术与科学技术的相结合。它有利于对学生创新能力的培养,有利于培养学生的信息交流能力,以及艺术素质和审美能力。     

谈梵高绘画作品中色彩的运用和表现

梵高的绘画在色彩上表现出非凡的创造力,他对色彩的运用和表现是他众多绘画特点中最有价值的方面。本文通过对梵高当时外部条件和内心世界的剖析,并从色彩学的角度研究归纳了梵高色彩艺术的一些特征,以更深入地探究他在色彩艺术方面的独创性。     

幼儿美术手工课堂的生活化材料运用探微

幼儿美术手工活动中存在手工形式单一、手工材料浪费等问题.文章阐述在美术手工课堂中应用生活化材料的重要意义,强调培养幼儿的创造力和环保意识,并结合具体的手工活动案例,探讨幼儿运用生活化材料通过剪、折、卷、拼、贴等实践活动展示自身创意的途径.     

文化创意产业快速发展背景下的高职艺术设计类专业人才培养模式探析

文化创意产业的快速发展为高校艺术设计教育的改革与发展提供了广阔的空间,同时也提出了新的要求。对于高职艺术设计类专业来说,只有改革人才培养模式,因地制宜培养富有创新精神和创造实践能力的复合应用型人才,才能适应文化创意产业的发展和市场的需要,从而推动我国文化创意产业的进一步发展。     

异彩独放的美学奇葩--试论冀东民间故事的美学意蕴

冀东民间故事是生活在冀东大地上的劳动人民集体智慧和创造力的艺术结晶，表达了他们的心理与感情，展现着它深厚的美学意蕴。审美要求与劳动美结合在一起，重视精神美的追求是冀东民间故事创作者们的审美观念。冀东民间故事具有美的形态、审美价值与美育功能。     

Dangerous learning in edgy contexts: creativity and innovation in the South African arts domain

In this paper, we outline a pilot project aimed at exploring the role of contextual factors in the facilitation of creativity and innovation within a range of South African art forms. Interviews with 11 people who have rich experience of the South African art domain delivered an insightful perspective on the contextual factors driving lifelong creativity and its continuous realization in innovative outcomes within these art forms.     

论直觉在儿童美术教育中的作用

直觉是人们在长久思索某一问题的基础上，以高度省略，简化，浓缩的形式，豁然洞察问题实质的一种思维。它具有表现的突发性，结构的跳跃性和结论的或然性的特征，直觉在儿童美术教育中具有十分重要的地位和作用：儿童依靠直觉把握物象基本特征，儿童依靠直觉能创造性地表现视觉意象，儿童领先直觉能体现美的自然法则。     

Developing Design through a Creative Problem‐Solving Process: A Group Community Art Project

For the past few years, creativity has gradually become an important element in the national cultivation of talent in Taiwan. Although traditionally art education is closely linked with creativity, the academic research on general art education is very insufficient. Therefore, the goal of this research is to investigate how creativity could be cultivated in curriculum planning for general art education at technology universities as well as what students’ learning process was when they participated in a course's creative activity. The research applied the theory and steps of creative problem‐solving (CPS) on a general art course to design a group practical activity combining with the local community. This involved converting the steps of creative problem‐solving into different stages of group design activities with the goal of constructing a design process equivalent to the process of problem‐solving. The main research results revealed that students could experience the problem‐solving process through group design activities and develop their divergent and convergent thinking at the same time. Moreover, the cooperative learning model is the most appropriate teaching strategy for students from non‐art‐related departments when cultivating their creativity.     

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。     

后现代语境下艺术教育的审美品格

艺术教育以其鲜明的形象、充沛的情感,美化人的心灵,使受教者进入更高的精神境界,成为一个具有高尚情操的人。这种独具特点的审美品格,使艺术教育在全民族精神素质的提高中发挥着不可忽视的作用。在异彩纷呈的后现代语境下,艺术教育的审美品格呈现出多元化发展的态势:技术理性与情感的矛盾,使艺术教育中审美情感得以凸现;文化工业所带来的标准化与独创性的矛盾,使艺术教育中审美独创性得以高扬;信息全球化与民族性的矛盾,使得人们开始关注艺术教育中审美民族性的问题。     

娱乐与创意:传统武术功能价值的诉求

娱乐是中国传统武术的本体价值之一,创意作为一种崭新的艺术形式改变了传统武术娱乐价值的存在形态。从创意的角度挖掘中国传统武术娱乐价值的内涵和底蕴,以个性化和符合当代人审美要求进行创意发展,可始终兼顾这个传统武术在现代社会发展中非物质化的精神特质与物质化的产业特质之间的动态平衡,较为清晰地展示传统武术娱乐价值与现代创意的融合与创新,推动传统武术以优秀的民族文化形式走向世界。     

职业艺术学校开展校企合作的实践与思考

艺术技能是融情感性、创造性、倾向性为一体的复合型技能,它的习得过程需要较长的时间周期,而且没有终端.职业艺术学校与企业合作培养人才,在合作的内容、形式和管理等方面都要遵循艺术教育的基本规律、切合艺术行业的用人需求、符合艺术行业的运行规则,才能使办学真正立足于市场需求之上.