试论艺术设计的创造性思维方式

现代艺术设计思维最关键的问题是具有创造性，创造性思维是艺术设计的灵魂。接受最新观念和时尚元素，融合中西方哲学思想，才能培养全新的最具创造精神的思维方式。综合运用逆向、异构、联想、组合、类比、演绎、移植、跳跃、收敛、发散等思维方式，可以充分发挥大脑的思维潜力。设计徒手草图训练是提高创造性思维能力、使现代艺术设计走向成功的有效途径。     

创新型人力资本界定与测度研究综述

界定和测度创新型人力资本对于经济现实和理论研究都是非常必要的.文章对创新型人力资本的界定和测度作了文献综述.在对创新型人力资本界定与测度的研究进行综述后,文章接着对有关研究方法也进行了概述,最后提出了既有研究的不足.     

高等教育大众化背景下的自学考试定位与创新发展

自学考试在我国高等教育大众化进程中发挥了重要作用。高等教育迈入大众化阶段后,自学考试的发展将面临新的挑战。本文认为随着现代教育的发展,自学考试制度的定位必然调整为继续教育中后大学教育和职业教育,其发展模式、学习方式和考试评价等方面也要进行相应的改革。     

罗杰斯有意义的自由学习观对我国教育改革的启示

罗杰斯有意义的自由学习观主张以学生的自发性和主动性为学习动力,把学习与学生的愿望、兴趣和需要有机地结合起来,让学生自由地学习具有个人意义的知识,从而有效地促进个体的发展。该主张对于我国当前正在进行的创造性人才的培养及课程改革产生了积极的影响。     

A model of inventive ideation

Despite significant progress over the past six decades, a number of obstacles still exist as far as the understanding and application of inventive ideation techniques is concerned. This paper describes the development of a model aimed at simplifying the selection and application of these techniques.Analysis of a diverse range of creative thinking techniques as well as invention heuristics has suggested that, collectively, they use only 10 basic strategies, or ‘mechanisms’, to generate inventive ideas. These mechanisms are applied either in sequence or in parallel, demand different degrees of intuition, are used with different frequency and tend to be applied to certain types of problems.These features have been represented in a model of inventive ideation. The model provides a structured method to produce a diverse range of ideas, and also allows the problem solver or group to develop ideation strategies best suited to their skills, needs and the type of problem. An example is shown to illustrate its application.     

西部农村人力资源能力建设思路创新的必要性分析

知识经济、人的全面发展、西部人力资源状况以及教育资源的“瓶颈”制约对西部农村人力资源能力建设提出了巨大挑战。以基础教育、高等教育、职业教育、科普教育和继续教育为内容的学校教育培训体系是西部农村人力资源能力建设的重要途径。但是，鉴于西部农村地区教育资源严重不足的情况，西部农村人力资源能力建设急需思路创新。以便大面积地、全方位地、系统地、迅速地提高西部农村人力资源能力。     

Are the creative industries meritocratic? An analysis of the 2014 British Labour Force Survey

ABSTRACT

There is currently widespread concern that Britain’s cultural and creative industries (CCIs) are increasingly dominated by the privileged. This stands in stark contrast to dominant policy narratives of the CCIs as meritocratic. Until now this debate has been clouded by a relative paucity of data on class origins. This paper draws on new social origin data from the 2014 Labour Force Survey to provide the first large-scale, representative study of the class composition of Britain’s creative workforce. The analysis demonstrates that CCIs show significant variation in their individual “openness”, although there is a general under-representation of those from working-class origins across the sector. This under-representation is especially pronounced in publishing and music, in contrast to, for example, craft. Moreover, even when those from working-class backgrounds enter certain CCIs, they face a “class origin pay gap” compared to those from privileged backgrounds. The paper discusses how class inequalities, as well as those related to gender and ethnicity, between individual CCIs point to occupational subcultures that resist aggregation into the Department for Culture, Media and Sport’s broader category of CCIs. The paper concludes by suggesting the importance of disaggregating CCIs and rethinking the definition and boundaries of CCIs as a meaningful category.     

"问题教学法"在数据结构教学中的应用

本文首先介绍了问题教学法的一般原理及在教学中的作用，然后例举了在数据结构课程教学中的若干应用实例。     

绘画欣赏的三要素

绘画艺术是供人欣赏的，而绘画欣赏不仅涉及美学范畴，同时也是一种创造，但智见智，仁见仁，因而形成不同的爱好和欣赏水平。然而，绘画欣赏毕竟是直观的、科学的、遵循美学规律的。本着重阐述绘画欣赏中不可或缺的三个要素，对提高绘画欣赏的层次和精神明的素质具有现实意义。     

论美术能力之培养

本文从美术教学中培养创造能力的三个方面作了一点探讨,主要是从培养创造能力的基础——开拓视野,从培养创造能力的核心——培养创造性思维,从培养创造能力的实现——创造性思维与实践的结合进行了一些尝试,并进一步挖掘美术学科在培养学生创造能力方面的特殊作用。