Visual constraints in written word recognition: evidence from the optimal viewing‐position effect

In this paper we review the literature on visual constraints in written word processing. We notice that not all letters are equally visible to the reader. The letter that is most visible is the letter that is fixated. The visibility of the other letters depends on the distance between the letters and the fixation location, whether the letters are outer or inner letters of the word, and whether the letters lie to the left or to the right of the fixation location. Because of these three factors, word recognition depends on the viewing position. In languages read from left to right, the optimal viewing position is situated between the beginning and the middle of the word. This optimal viewing position is the result of an interplay of four variables: the distance between the viewing position and the farthest letter, the fact that the word beginning is usually more informative than the word end, the fact that during reading words have been recognised a lot of times after fixation on this letter position and the fact that stimuli in the right visual field have direct access to the left cerebral hemisphere. For languages read from right to left, the first three variables pull the optimal viewing position towards the right side of the word (which is the word beginning), but the fourth variable counteracts these forces to some extent. Therefore, the asymmetry of the optimum viewing‐position curve is less clear in Hebrew and Arabic than in French and Dutch.     

Possibility thinking: culminative studies of an evidence-based concept driving creativity?

The authors have, for some years, studied the concept of ‘possibility thinking’ (PT), or ‘what if’ and ‘as if’ thinking in children aged 3–11, which generates novelty – and the pedagogical strategies which foster it. They have argued, on the basis of previous qualitative studies, that ‘PT’ is at the core of creativity in education. Having begun as a conceptual study for 7 years, this team has undertaken empirical studies of PT in classrooms. This paper discusses findings from the third phase of empirical work focusing on 9- to 11-year olds. The particular research question addressed here is ‘What characterises possibility thinking as manifest in the learning engagement of children aged 9–11?’. In a small-scale qualitative study, involving co-participation with teachers, the paper features episode analysis of naturalistic video data featuring children aged 9–11 in two schools. It focuses on PT evidenced by children engaged in a range of classroom activities, some established as individual activities and others as group work. The study reveals some features of PT in both sites (question-posing [Q-P], question-responding [Q-R], self-determination, intentional action, development, being imaginative, play/playfulness, immersion and innovation) to differing degrees of strength. Risk-taking was absent in both and a new feature, collaboration, evident in both. Differences were documented in how Q-P and Q-R manifest, compared with earlier studies with younger children. This study seeks to make an evidence-based contribution to the characterisation of PT as driving creativity in the classroom, with implications for research and practice.     

Collaborative creativity in instrumental group music learning as a site for enhancing pupil wellbeing

This study explores the nature of the elements that co-influence collaborative creativity in instrumental group music learning and the intrinsic potential for enhancing pupil wellbeing as evidenced in a particular secondary-school (extra-curricular) group instrumental programme Percussion 1. Wenger’s Community of Practice (CoP) and Engestrom’s Activity Theory (AT) provide an in-depth analytical framework for the analysis of 14 rehearsals, 13 semi-structured interviews and 41 teachers’ and pupils’ reflective diary entries. Findings support the intrinsic potential for enhancing pupil wellbeing by empowering them through supportive statements and decision-making, and engaging them through the embodiment of music learning.