强化造型训练创新思维模式—美术院校绘画专业素描教学考论

在我国美术院校的艺术教学中,素描教学一直是造型艺术学科的一个重要课题。素描是最直接的造型艺术形式,以培养学生的造型能力为宗旨,学生自觉地、创造性地学习具象绘画的艺术精髓,在艺术实践中不断加深和提高艺术审美能力和艺术表现能力,提升他们的艺术思维能力、想象力、创造力以及敏锐的观察力和准确的判断力。现代抽象素描,它依托于西方现代主义,以形式的创造力、艺术的感知力为表现标准,要求学生以素描的理念为指导,把培养艺术思维观念纳入教学范畴。现代素描丰富了写实性素描的表现理念,有着更广泛的形的美学含义,但其基础还是写实素描,只有在写实素描的基础上,让学生多方位、多角度地去思考造型和表现意识,才能使艺术思维和创造潜能得到充分发挥。     

Multicultural Student-to-Student Dialogue and the Generation of Creative Ideas

Both participation in dialog and exposure to others from different cultures have been theorized to increase the ability of an individual to be creative. This study focused on the multicultural student-to-student dialog that took place in one graduate level course. The purpose of this study was to explore how participation in this dialog might influence student creativity, specifically how the students generated creative ideas for their final course papers. No connection was found between participation in the multicultural student-to-student dialog and the generation of creative ideas for their final papers. However, insight was gained into the creative process used by students in generating their final paper ideas.     

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。     

Why novelty is overrated

Based on two empirical studies on education in health and elderly care, this paper reflects on the possible role of ‘old ideas’ involved in creative innovation. Most researchers agree that creativity and innovation are the results of a combination of what is new and valuable. What tends to be paid less attention, however, is the fact that many creative activities and everyday innovations in modern-day organisations actually build upon what is already there. Creative products and processes are often the result of some kind of learning from or even re-creation of existing processes and materials. The paper argues that there is excessive enthusiasm towards the novelty aspects of creativity and innovation, which overshadow the potential of old ideas and past experience as drivers of change.     

无意识思维研究先驱:贝弗里奇的直觉思想评述

贝弗里奇虽然是一位生物学家,但是,从今天无意识思维理论发展来看,他在70多年前的直觉心理学思想所达到的水平,与他的生物学成就相比亦毫不逊色。他提出的较为系统的直觉理论,对无意识思维的理论发展与实践做出了重要的贡献。(1)理论方面:他在直觉概念、类型、产生过程、内部加工机制和影响因素等方面的观点,对今天无意识思维理论的发展具有重要意义。(2)实践方面:他对直觉在科学发现中的辩证作用的观点——既不神秘化,也不虚无化直觉,对正确看待直觉现象,老老实实地遵循直觉产生的规律,开发人类的创造力潜能的实践提供了重要的理论基础。贝弗里奇是一位无意识思维研究领域不可多得的先行者和理论家,对现代无意识思维理论的发展和实践影响深远。     

Teaching for creativity: towards sustainable and replicable pedagogical practice

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.

When antecedents diverge: Exploring novelty and value as dimensions of creativity

Though an ongoing debate exists concerning how creativity should be defined and measured, it is generally agreed upon that creativity is the generation of ideas that are novel and of value ( [Amabile, 1996] and [Hennessey and Amabile, 2010] ). Yet most studies treat creativity as a black box in regards to the nature of the relationships between some commonly known antecedents of creativity and its two prime components, namely novelty and value. This is the issue we address in this exploratory paper as we look at antecedents that are similarly related and differentially related to novelty and value. We propose that such relationships could have an impact on creative outcomes in organizations. We also discuss potential implications for broader application to practitioners interested in learning how to boost their employee creativity and organizational innovativeness.     

Towards the creative university: Five forms of creativity and beyond

The Creative University is susceptible to multiple interpretations which are moving in a fluid conceptual space. This conceptual openness can be adequately understood only as a set of discursive formations that reflect underlying societal changes. It is becoming a commonplace to suggest that creativity should no longer be seen as a matter of heroic individuals at work, for creativity is always a networked matter, but that reflection has to be widened to encompass a sense of underlying shifting societal forces, with the economy central stage and hence the emergence of the hybrid idea of the creative economy. Qua institution, the creative university sits uneasily between discourses of economicism and societal flourishing. The creative university, accordingly, has to be seen in this milieu, which is steering the university but which also is affording it new possibilities for creativity. Five levels of creativity are identified that serve as domains in which these forces and affordances coexist. One such level, university reflexive creativity, is singled out as the most significant of the five. The creative university, it follows, unfolds as sets of interactions between individuals, institutional structures and corporate agency. Even as the constraints multiply, so too ever‐wider possibilities for the creative university may be opening.     

高等数学教学中解题意识和创造性思维的培养

素质教育强调培养学生的实践能力和创新能力，课堂教学又是实施素质教育的主阵地，高等数学教学不仅要传播科技创新和应用必需的工具性知识，更重要的是培养学生的解题意识，创造性思维。高等数学教学应抓好解题意识和创造性思维的培养。     

The assessment of creativity for people with autism spectrum disorder

The term “creativity” can conjure various ideas and meanings. It's no surprise that methods for measuring such a concept vary widely and are not without controversy. This is particularly true among people with autism spectrum disorder (ASD), who are a unique yet incredibly diverse group of individuals. This article provides an overview of the assessment of creativity among individuals with ASD. Findings among studies that have sought to determine whether individuals with ASD are more or less creative than their neurotypical peers are mixed, yet the authors propose that intentional development of creativity in all youth, including those with ASD, can be beneficial.     

Measuring gifted adolescents' implicit theories of creativity

This paper examines the structure of implicit theories of creativity in a sample of gifted adolescents and describes the development and use of the Creative Self Checklist and the Creative Individual Checklist, adjective checklists designed to assess endorsement of creativity‐related personality and behavioral attributes. Findings indicate that the gifted rate aspects of risk‐taking and inquisitiveness as primary facets of their own creativity while defining artistic abilities and energy and motivation as important parts of creativity in others. This study also assessed the role that these implicit theories play in the display of creative behaviors with regard to both performance on creativity tests and participation in creative hobbies. Findings indicate that while performance on creativity measures is predictive of creative hobby participation, greater self‐endorsement of beliefs that are positively related to creativity also significantly predict creative behaviors.     

Becoming creative practitioners: elementary teachers tackle artful approaches to writing instruction

The “creativity gap” is a distressing discrepancy between the ostensible value educators place on creativity and its absence in schools. How do teachers take on the attributes and skills of a creative practitioner? What struggles do they face in doing so? This case study examines the practices of six early elementary teachers who embarked on a professional development experience through which they learned arts-based strategies for prewriting activities. They purposefully practiced cultivating an environment in which student imagination would feed the generation of ideas and details in prewriting exercises. Findings indicate some teachers embraced this departure from the norm, recognizing how loosening their reigns emboldened “voice and choice” in student writing. Others experienced difficulty taking risks and developing spontaneity for accepting and responding to student ideas. Finally, teachers grappled with converging creative practice with everyday practices in the classroom.     

Creativity Is About Being Free ...

I began this journey with the notion that creativity is somehow linked to having the freedom to explore and discover and dissemble and reassemble in whatever form we choose. This notion is compared with the ideas of researchers in the field of creativity. As an engineer who believes in a holistic approach, I am most comfortable with the idea of creativity as a multifarious beast, influenced by both personality and the cultural, social and professional environment in which engineers, in this case, find themselves. This being the case, engineering educators therefore have some opportunity to influence these factors, and hence the development of creative thinking in our students. I then examine a case study of a design project in second‐year chemical and environmental engineering in an attempt to ground these ideas about creativity in engineering education practice, and present the lessons learned from this experience.     

Early Childhood Creativity: Challenging Educators in Their Role to Intentionally Develop Creative Thinking in Children

Creativity is a topic of wide global interest, often discussed in fields such as education, psychology and business (Runco, Divergent thinking and creative potential, Hampton Press, New York, 2013; Yoruk and Runco, Journal for Neurocognitive Research 56:1–16, 2014). However, the relationship of pedagogical practices in early childhood education and care (ECEC) as it applies to the development of creative thought processes of young children is a relatively new area for investigation. This paper presents recent research that examines the role of the educator as an intentional teacher within Australian early learning environments and investigates the relationship of this role to children’s developing creativity. Theoretically informed by Vygotsky’s sociocultural constructivist approach (Vygotsky, Mind in society: The development of higher psychological processes, Harvard University Press, Cambridge, MA, 1930, 1978) and neo-Vygotskian theories on creativity (John-Steiner and Moran, Educational Psychologist 31:191–206, 2012), this paper explores some of the beliefs and understandings of educators on creativity. Furthermore, this paper exposes some of the misconceptions of educators about children’s creative thinking as they engage in play-based learning activities. The evidence from this Australian study suggests that the role of the educator is pivotal in assisting children in the early development of creative thinking thus challenging their role as educators.     

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.     

5×5×5 = Creativity in the Early Years

5×5×5 ? Creativity in the Early Years has involved five early years' settings, five artists and five cultural centres working in partnership to support young children (3–6 years) in their exploration, communication and expression of creative ideas. This year‐long research project has been inspired by the approach to education and the creative arts in early years' settings in Reggio Emilia, Northern Italy. The three aims have been evaluated; they were: to demonstrate ways in which creativity and innovation can be fostered in and with young children; to influence early years' educational practice by establishing creativity as an essential foundation of early learning; and to share findings as widely as possible, creating a legacy for the future. This article examines the collaborative processes between artists, educators and cultural centres as they worked with young children using a creative and reflective cycle. The underpinning principles and the role of professional development have been essential to the success of the project. Findings show that careful observations and documentation of children's words will provide insight into their ideas and understandings. As adults it is our role to facilitate and support children's depth of learning. By respecting children and taking time to make observations and connections with the children's thinking, we can refine our own efforts in supporting their learning more effectively.     

如何培养学生的图形设计创意能力

图形是设计作品中最敏感和倍受关注的视觉中心,创意是图形设计中的创造性思维。在艺术设计教学中,加强学生创意能力的培养,其方法主要有:培养学生的想象能力、发散性思维能力、师从生活和自然的能力、讨论交流的能力。     

论思想政治教育与人的创造力培养

思想政治教育与人的创造力之间的联系因为各种原因一直被人们忽视。事实上,思想政治教育对人的创造力培养具有积极作用,这种作用主要体现在激发创造动力、培育创造品格、帮助掌握科学的创造思维方法、调动创造知识学习的积极性、保证创造力发展方向和营造创造环境等上面。     

Is there creativity in design? From a perspective of school design and technology in Hong Kong

As creativity is likely to become a crucial aspect of living in the future, it is important for educators to teach students to think creatively when solving constantly evolving and increasingly complex problems. Supported by the idea that creativity can be taught and learnt, elements of creativity are now embedded in secondary school education. Among all school subjects, design and technology (D&T) is one of the best examples for fostering and cultivating students?? creativity, as the subject offers creative activities that enable students to realize their ideas in the context of the real world. This paper analyzes the creative elements in the D&T curriculum in Hong Kong as seen in the exemplar projects on the Education Bureau website. Some problems and difficulties encountered in fostering creativity in the context of Hong Kong are identified, based on the current teaching environment. The paper also draws attention to East Asian beliefs and implicit theories, which greatly influence teachers?? underlying assumptions about learning and teaching, and at the same time notes that these beliefs may be detrimental to the development of creativity among students. The paper then identifies the problems and inadequacies in fostering creativity in design at the secondary school level and expects to raise awareness of the importance of creativity in D&T.     

知识经济视域下大学生创造素质的培养

大学生是未来构建创新型国家的主体,知识经济时代更是需要加强大学生创造素质的培养工作。本文通过对知识经济背景下培养大学生创造素质的必要性的阐述,对创造型人才及其特征包括创造素质进行了分析,提出一些新观念,对大学生创造素质的培养方法、途径及其实现进行了深层透视。