基于学习元和元认知的英语远程智慧学习

基于网络环境的英语学习,既是学习者利用网络环境提供的各种形式的学习资源实现的主动性学习,又是教师在把握语言习得和远程教育规律基础上,通过与学生互动共同完成的探索性学习。在教与学的互动过程中,充分发挥资源的重要性和基础性,学生的能动性和创造性,并在主体认知生成过程中融入学习者自己的创造性见解。通过分析学习元和元认知的理论和实践,建立二者沟通融合的学习模型,从而构建网络环境下英语远程智慧学习的新模式。     

Meaningful learning and creativity in virtual worlds

Virtual worlds open new possibilities for learners, prompting a reconsideration of how learning takes place, and setting education in a context of playfulness, delight and creativity. They provide environments in which it is not only possible but also necessary to generate and try out ideas. They therefore offer opportunities to explore new possibilities related to teaching and learning about creativity and to challenge assumptions about the creative capabilities of young learners. The research reported here focuses on a group of teenaged learners who worked together online in the virtual world of Second Life®, as well as using other online tools. It applies thematic analysis to a 120-post forum discussion carried out over two weeks, in which 19 learners and educators debated how to develop their virtual island, and sets this discussion in the context of ongoing interaction within this group. Their focus widened from building plans to cover the creation and maintenance of a community, creatively synthesising considerations relating to environment, ethics, governance, aesthetics and purpose. The teenagers’ creativity when dealing with this authentic problem extended well beyond the elements identified by England's National Curriculum, and was supported by staff's active and supportive engagement in the debate.     

Creative pedagogy: a case for teachers’ creative learning being at the centre

While educators in many parts of the world grapple with what creativity means in practice, discussions about creative pedagogy usually include the elements of creative teaching, teaching for creativity and creative learning. This article stems from a research project that occurred at a Preparatory to Year 9 school in Australia where we worked with staff to explore their understandings of creativity and creative learning in the Arts. We found that while students’ creative learning is a fundamental element in a creative pedagogy framework, the notion of creative learning of teachers is largely overlooked in discourses of teachers’ professional learning. Given the important role teachers play in student learning, we argue that teachers need to be informed not only about how to teach creatively and for creativity, but also how to consider possibilities and understand things in new ways, thereby making a case that a teacher’s own creative learning is crucial.     

Secondary school creativity,teacher practice and STEAM education: An international study

How creativity in education is applied by teachers to secondary school contexts is dependent on how the term ‘creativity’ is grounded, politicised, and practised. This paper reports on an international study of secondary schools in Australia, USA, Canada, and Singapore investigating how creativity is understood, negotiated, valued and manifested in secondary schools, focusing on teacher and student understandings, actions, benefits and impediments to creative and critical thinking. Participant reflections revealed inter-, trans- and cross-disciplinary learning shaped by teacher collaboration, dialogue and classroom organization that fosters critical and creative thinking. Implications are made for the ways practicing teachers develop and foster creativity via pedagogical approaches that enhance connectivity and interdisciplinarity of teaching practices between domains of learning. An education-based Creativity Index through which administrators and teachers can gauge, assess and implement creative skills, capacities, pedagogic practices and assessment of creativity within secondary schools is posited. Implications for STEM/STEAM education and centralizing creative capacities in teaching, learning, and educational change are offered.     

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.     

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.     

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.     

Teachers as metacognitive role models

This paper draws on data collected during a longitudinal collaborative project with teachers in England from schools and further education colleges. The project investigated ‘Learning to Learn’ in partnership with teacher–researchers with a focus on how metacognitive awareness can be improved by enquiring into creative combinations of pedagogy, environment and learners’ dispositions. The paper is an attempt to make clear the theoretical underpinnings of our belief that the project teachers were enacting something different, something metacognitive. We present a pragmatic model of metacognition development based on ideas collaboratively produced across the project. The five cycles of development are exemplified from the pedagogic and the professional learning perspective with quotes, vignettes and case study excerpts. We show a catalytic relationship between the pedagogies used by the teachers to develop their students’ metacognition and the teachers’ own learning and metacognitive knowledge and skilfulness.     

Structured creative processes in learning playwriting: invoking imaginative pedagogies

The concept of the ‘creative’ in creative writing has a vexed history. This article explores the myths surrounding creativity and how they have influenced the way teachers have approached playwriting pedagogy. It reports on research into the teaching and learning experiences of students and teachers in secondary schools, focusing on the participants’ understanding of creativity and the impact this had on the pedagogical process. The research found that a counterproductive idealist view of creativity persists in classrooms: the teachers and students were operating on a conception of creativity and creative practice that reflected a belief in a mystical and unknowable creative process. This article explores the experiences of creativity through systems theory and argues that this approach can inform teaching and learning for creative processes and products. The article concludes that the teaching and learning practices were unnecessarily tentative and that knowledge of creativity theory would improve the students’ development of both playwriting proficiency as well as creativity-relevant skills. It suggests that demystifying the creative process should result in greater student proficiency and improved teaching and learning experiences for teachers and students.     

The influence of school type and perceived teaching style on students’ creativity

School is an excellent place to foster young learners’ creative thinking skills. However, the emphasis on creativity varies among schools. In two studies the putative influence of school education on the development of students’ creativity was examined by means of a retrospective approach. We investigated whether two influential factors within school education (1) school type (i.e., traditional vs. alternative vs. religious) and (2) perceived teaching style (i.e., independence, judgment, flexibility, integration) associate with students’ creativity at university entrance level. The difference was examined at the primary and secondary school level, respectively. Study 1a found that students who attended alternative schools at the secondary school level performed better on divergent thinking tasks as compared to students who attended traditional or religious schools. Relationship between students’ creative performance and the perceived teaching styles were inconclusive. Finally, teaching styles in alternative schools during secondary education were perceived as high in independence and flexibility. Study 1b replicated the finding that university students who attended alternative schools during secondary education have an advantage in divergent thinking. Taken together, our results highlight the positive influence of alternative school education on students’ creative performance at the university entrance level.     

自组织理论视角下的广告学教学改革研究

自组织理论主要研究系统如何从无序走向有序,这对于培养创新人才很有启示。广告学专业人才培养具有自组织特性:人才培养方案的开放性、教学系统的非线性、学习者内部的协同性、学生能力形成的涨落性。基于自组织理论的课程设计和人才培养措施主要有:开放性的教学系统培养创造性人才、激发学生系统内部协同性学习、非线性的教学改革、发挥"涨落性"的杠杆作用。     

Creative in finding creativity in the curriculum: the CLIL second language classroom

Modern education is often characterized by a tension between learning and creativity (Connery et al. in Vygotsky and creativity: A cultural-historical approach to play, meaning making, and the arts, 2010). ??The Arts????if attended to at all??is often positioned as a distinct element of the broader curriculum, and separate from teaching and learning within other curricular domains. Yet, despite being largely neglected within contemporary social constructivist literature, Vygotsky??s sociocultural theory of mind (Vygotsky in Mind in society, 1978; Vygotsky in The collected works of L. S. Vygotsky (Vol. 1: Problems of general psychology, 1987)) has as its core a fundamental concern for creativity, affect, and emotion as the basis for human development. This paper argues that Vygotsky??s understanding of catharsis??in particular, the transformative potential of emotion??gives cause to rethink the qualitative nature of pedagogy, and especially the importance of ??mundane creativity?? (Holzman in Vygotsky and creativity: A cultural-historical approach to play, meaning making, and the arts, 2010, p. 27) at the core of teaching and learning. This, in turn, opens up new possibilities for conceiving of how creativity might be understood and realized within and across different dimensions of the curriculum more broadly. For an empirical example to explore these constructs, the paper considers data from a ??content and language integrated learning?? (CLIL) context. Emerging in the mid-1990s as a European response to the success of the Canadian French immersion method for teaching languages (Johnson and Swain in Immersion education: International perspectives, 1997), CLIL sets out several guiding principles for integrating second language (L2) with content to develop both simultaneously. With a focus on how Japanese mediates a unit of work on Geography, the study highlights how the integrated language/content focus affords a space for creative pedagogical engagement in terms of learners making their own creative choices on what language to use, and how it could be used, to facilitate the learning of both language and content (Bachman and Palmer in Language assessment in practice: Developing language assessments and justifying their use in the real world, 2010; Mahn and John-Steiner in The gift of confidence: A Vygotskian view of emotions, 2002).     

浅议在教学中培养和发展学生的创造性

随着应试教育向创造教育、素质教育的转变,培养和发展学生的创造性成为教师应加以关注的内容。通过建立民主、平等的师生和谐关系及自由和谐及班集体为学生创造能力的发展提供支持性的环境。教师在日常教学中应运用适当的激励手段,多给予学生鼓励和支持,提供尽量多的场所活动,使学生有机会发挥其创造性。另外,对学生的创造性行为和观念,教师要给予适时的引导和点拨。     

Fostering Creative Thinking in Student Engineers

In order to prepare engineering students for a changing future and to help them develop their own capacity for independent innovative thought and creative problem‐solving, we are faced with the need to explore ways of fostering creativity in students within engineering programmes. We see the need to focus on how to access creativity, how to develop an environment which is less constrained and which will allow creative flow. Three case studies are presented which demonstrate the importance of establishing the freedom of the learning process as well as providing motivation, whether extrinsic, in terms of the assessment scheme, or intrinsic. This latter might take the form of helping students to realize that the process of learning is a process of invention in itself and that students need to recognize their existing creativity and capacity for engagement. The very important and yet elusive issue of evaluation is also considered for each course. We discuss how to monitor the level of success in achieving the given objective of fostering creativity in students.     

Counter-conduct in creative university research: deliberations on freedom

This article describes how a political assemblage currently at work in higher education is re-articulating academic subjectivities. This assemblage draws together entrepreneurial and humanist concepts of creativity into an intellectual resource that can change national economies. Academics are urged to use their creativity to counteract the narrowing funding base of the university. The article first introduces a history of the concept of creativity and explains how governmental agendas for creative industry and creativity in education emerged. Second, it describes a practice-based research project that grapples with the difficulties of knowledge transfer between the ‘creative’ and ‘social science’ academic disciplines. This raises questions about creative knowledge and reveals some ethical tensions in the performance of academic research. The research project is then positioned as a ‘counter-conduct’, used to short-circuit the procedures implemented for the conduct of creative research in the creative, entrepreneurial university.     

Creativity through self-directed learning: three distinct dimensions of teacher support

ABSTRACT

Self-directed learning and creativity are critical workplace competences that are important to foster in formal educational settings. Previous studies have identified a relationship between self-directed learning and creativity, but the specific nature of this relationship is unclear. The purpose of the present theoretical paper is to examine through a literature review the possibility that creative learning outcomes can be supported through a self-directed learning process. The importance of considering self-directed learning in the context of adult learning – as a pragmatic learning process – is outlined. A conclusion is drawn that (1) creative learning outcomes are potentially supported through self-directed learning, and (2) in the process, teachers can provide support to learners in three distinct different ways. A variety of pragmatic educational activities that may enable self-directed learning and creative learning outcomes are discussed, including experiential learning; workplace simulations; and problem-, case-, and (e-) portfolio-based learning. In these activities, teacher support seems advantageous for many learners. The three distinct dimensions of teacher support identified in the present paper are important to consider in further empirical studies on self-directed learning.     

Teaching Creativity and Inventive Problem Solving in Science

Engaging learners in the excitement of science, helping them discover the value of evidence-based reasoning and higher-order cognitive skills, and teaching them to become creative problem solvers have long been goals of science education reformers. But the means to achieve these goals, especially methods to promote creative thinking in scientific problem solving, have not become widely known or used. In this essay, I review the evidence that creativity is not a single hard-to-measure property. The creative process can be explained by reference to increasingly well-understood cognitive skills such as cognitive flexibility and inhibitory control that are widely distributed in the population. I explore the relationship between creativity and the higher-order cognitive skills, review assessment methods, and describe several instructional strategies for enhancing creative problem solving in the college classroom. Evidence suggests that instruction to support the development of creativity requires inquiry-based teaching that includes explicit strategies to promote cognitive flexibility. Students need to be repeatedly reminded and shown how to be creative, to integrate material across subject areas, to question their own assumptions, and to imagine other viewpoints and possibilities. Further research is required to determine whether college students'' learning will be enhanced by these measures.     

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.     

5x5x5=Creativity: Art as a Transformative Practice

The purpose of this article is to share ideas from 5x5x5=creativity, a research initiative established in Bath (UK) in 2000, with the aim of developing and embedding a creative and reflective pedagogy in schools and early years settings. 5x5x5=creativity research, in partnership with schools, educators, artists, creative professionals, mentors and cultural centres, aims to raise the aspirations and improve the life chances of children and young people as creative learners. In our research we want to develop creative reflective practice and influence systemic educational change. This research defends the special role of the arts in developing a more flexible concept of education through curiosity and creativity, together with the capacity for the arts for allows ‘possibility thinking’ through a creative and critical pedagogy. In this article we analyse the impact of the artists’ involvement on the development of a creative, reflective pedagogy in schools. As both artists and educators we believe it is necessary to challenge current orthodoxies and establish creative and critical thinking at the heart of learning for both children and adults.