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Creativity Becomes an Academic Discipline

Creativity Becomes an Academic Discipline
Photo IT BOTHERS MATTHEW LAHUE and it surely bothers you: enter a public restroom and the stall lock is broken. Fortunately, Mr. Lahue has a solution. It’s called the Bathroom Bodyguard. Standing before his Buffalo State College classmates and professor, Cyndi Burnett, Mr. The world may be full of problems, but students presenting projects for Introduction to Creative Studies have uncovered a bunch you probably haven’t thought of. “I don’t expect them to be the next Steve Jobs or invent the flying car,” Dr. Once considered the product of genius or divine inspiration, creativity — the ability to spot problems and devise smart solutions — is being recast as a prized and teachable skill. “The reality is that to survive in a fast-changing world you need to be creative,” says Gerard J. “That is why you are seeing more attention to creativity at universities,” he says. Critical thinking has long been regarded as the essential skill for success, but it’s not enough, says Dr. Dr. Jack V. Dr. Related:  Recherches en Sciences de l'éducation

La envidia y el síndrome de Solomon En 1951, el reconocido psicólogo estadounidense Solomon Asch fue a un instituto para realizar una prueba de visión. Al menos eso es lo que les dijo a los 123 jóvenes voluntarios que participaron –sin saberlo– en un experimento sobre la conducta humana en un entorno social. El experimento era muy simple. En una clase de un colegio se juntó a un grupo de siete alumnos, los cuales estaban compinchados con Asch. Mientras, un octavo estudiante entraba en la sala creyendo que el resto de chavales participaban en la misma prueba de visión que él. Haciéndose pasar por oculista, Asch les mostraba tres líneas verticales de diferentes longitudes, dibujadas junto a una cuarta línea. La conformidad es el proceso por medio del cual los miembros de un grupo social cambian sus pensamientos, decisiones y comportamientos para encajar con la opinión de la mayoría” (Solomon Asch) La respuesta era tan obvia y sencilla que apenas había lugar para el error. “Ladran, luego cabalgamos”(dicho popular)

8 Mistakes in Making Mistakes Photo by: zettberlin | Source: photocase.com The past year seems to have yielded various waves of content celebrating making mistakes. Advancing the “failure at the heart of innovation” theme seems to have become a cause célèbre for the creativity and innovation set. Celebrating mistakes as part of innovation was the topic of a July Innochat on Twitter on innovation failure and, most recently, a Wall Street Journal article on “Better Ideas through Failure.” I grew up with a clear perfectionist streak (or whatever term you would use to suggest whatever is deeper, wide, and more permanent than a “streak”), I wrestle with a gleeful attitude toward failure. Yet between Kathryn Schulz’s TED talk “On Being Wrong” and recognition of my own experiences where learning from something that did not succeed as planned has led to much better future results, openness to errors clearly has its place in creativity and innovation. Being Bad at Making Mistakes Getting Good at Making Mistakes

CONECTIVISMO El conectivismo es una teoría sobre el aprendizaje en este nuevo entorno, el digital, en el que la tecnología e Internet han dado un nuevo giro a cómo trabajamos, nos relacionamos y aprendemos. La teoría ha sido desarrollada por George Siemens un investigador en la Universidad de Athabasca (Canadá). Voy a comentar los principios del conectivismo y algunas “conexiones” con el eLearning: 1. Esto es una verdad absoluta para mí. En un entorno de aprendizaje en red, los foros de discusión sobre un concepto pueden generar más conocimiento que la búsqueda o consulta individual de información. 2. Es una nueva forma de aprender, aunque es como trabajan nuestras neuronas y funciona nuestro cerebro. Lo importante es identificar las fuentes de información y saber establecer esas conexiones. Fomentar entre los alumnos la investigación, la búsqueda de los mejores recursos, animarles a “cultivar el criterio” debe ser un objetivo trasversal a cualquier materia. 3. Ahora dos a la vez: 4. 5. 6. 7. 8.

What to do when Genius Hour fails… A teacher I work with asked me last week, “How do we deal with those students who aren’t doing anything with Genius Hour? I feel like I’ve helped and helped…but they don’t seem to care at all.” Maybe you’ve had this same experience with a student (or group of students) while running a Genius Hour or 20% Project in your class. Maybe it is something that worries you about starting this type of learning project where students get to choose their learning path, and delve into their interests and passions. While inquiry-based learning may be scary (and exciting) for many students, it can also be difficult for a teacher to manage..especially when the freedom you’ve given students is used to do “nothing”. Freedom Comes with Responsibility First, let me set the context a bit. Second, this question is not a new one. Yet, it is a difficult position for a teacher to be in. Don’t Blame the Student When this happened in my class my first thought was to blame the student. Genius Hour Never Fails Awesome!

INTELIGENCIAS MÚLTIPLES Eduard Punset dialoga en esta entrevista con Howard Gardner acerca de la Teoría de las Inteligencias Múltiples y como ésta ha repercutido en lo que el profesor de Harvard llama “conocimiento colectivo del planeta” y concretamente en la educación, tratando los aspectos clave de la “revolución educativa”: multiplicidad de la inteligencia, plasticidad cerebral, personalización de la educación, uso de las nuevas tecnologías, diferentes formas de aprender, diferentes formas de enseñar, los profesores como guía en el proceso de aprendizaje, nuevas competencias del siglo XXI, aprendizaje a lo largo de toda la vida… Un documento donde se recogen las principales claves para la REVOLUCIÓN, para el CAMBIO DE PARADIGMA EDUCATIVO, que tendrá como objetivo educar a personas que sean libres, que sean críticas, que sean competentes y que sobre todo, sean felices, como consecuencia de poder desarrollarse durante toda su vida al máximo de sus capacidades. Eduard Punset Ya es hora de pasar a la acción.

Co-Creative Processes in Education: The Small Things That Make a Big Difference Posted by core jr | 10 Mar 2014 | Comments (0) This is the third article in an ongoing series about working with kids by Copenhagen-based architect/designer/educator Moa Dickmark. Her last article was on the Future of Learning Environments. There are a few things that one should think about when it comes to working on a project using co-creative processes. There are the basics, such as how you develop and structure them, and then there's the small things that make the process go more smoothly. The Necessities Start the process with a few meetings with the headmaster and school leadership, where you can decide on a common goal and make sure that you are on the same page. Develop spaces that students and teachers feel comfortable in and that can be used in various ways depending on subject and the individual students needs. Involvement 1.) 2.) Click image to view full version [PDF] All on the Same Level / Experts in Their Own Right Overview Language There's no Right or Wrong Teams

L’Entretien d’explicitation. Accompagner l’apprenant vers la métacognition explicite 1L'approche métacognitive développée par les techniques d'explicitation, par nature métacognitive dans la mesure où elles visent la prise de conscience de sa propre cognition, peut être abordée par plusieurs entrées. En effet, ces techniques ne sont pas spécifiques à la pédagogie. Elles visent toujours l'explicitation c'est-à-dire la mise en mots, après coup, du déroulement de sa propre action. Mais, en dehors d'entretiens d'explicitation destinés à accompagner les élèves dans leur apprentissage et dans la construction d'outils métacognitifs, l'entretien d'explicitation développé par Pierre Vermersch1 est utilisé dans plusieurs cadres : la recherche, le "caoching", l'analyse ergonomique ou l'analyse d'activités professionnelles à des fins de conception de référentiels de compétences, par exemple. Pour rester dans le cadre de ce dossier, on n'abordera ici que sa dimension pédagogique2. Un exemple d'entretien : "chapeau !" Contexte 18 G. .40 G. que tu allais continuer ? , précisément ?

Are We Wringing the Creativity Out of Kids? Do you think you’re creative?” Ask this question of a group of second-graders, and about 95 percent of them will answer “Yes.” Three years later, when the kids are in fifth grade, that proportion will drop to 50 percent—and by the time they’re seniors in high school, it’s down to 5 percent. Author Jonah Lehrer recently discussed the implications of these sobering statistics for education in his new book, Imagine: How Creativity Works. Lehrer began by quoting Picasso: “Every child is born an artist. “Right now we are grooming our kids to think in a very particular way, which assumes that the right way to be thinking is to be attentive, to stare straight ahead.” One such intervention: “We have to expand our notion of what productivity means,” said Lehrer. People with such conditions are actually more likely to become “eminent creative achievers” once they’re out in the real world, Lehrer noted. Parents’ and teachers’ task, he said, is to help kids learn how to “productively daydream.”

ATENCIÓN EDUCATIVA DIFERENCIADA La literatura especializada ofrece catálogos enteros de características diferenciales de los alumnos más capaces que exigen una atención específica diferenciada que, por razones de extensión, aquí voy a resumir en un sencillo listado que puede verse en la tabla del final de la entrada. Por otra parte, parece necesario establecer algunos supuestos de partida que rescato y adapto de algunos trabajos anteriores (Cf. Tourón, 2004; también Brody, 1999, 2009). Refiriéndonos a los más capaces (podrían apliarse a todos los alumnos con algunos matices) y a sus necesidades diferenciales se pueden apuntar, al menos, estas razones: 1. Tal como mencioné anteriormente, pensar que todos los niños de la misma edad tendrán necesidades educativas similares es simplemente ignorar la realidad. 2. Es una consecuencia inmediata de lo anterior. 3. Es un error bastante común pensar en los alumnos de alta capacidad como categoría, como si estuviésemos hablando de ser o no ser. 4. 5. 6. 7. 8. 9. 10. 11.

Fuel Creativity in the Classroom with Divergent Thinking Recently, I showed a group of students in my high school art class a film called Ma Vie En Rose (My Life in Pink), about a seven-year-old boy named Ludovic who identifies as female. Ludovic has an active imagination, but is bullied by both adults and other kids who are unnerved by his desire to wear dresses and play with dolls. The film challenged my students to broaden their understanding of gender and identity and led to a discussion about ways in which our imaginations are limited when we are forced to be who we are not. In Divergent, a dystopian future society has been divided into five factions based on perceived virtues. Defining Divergent Thinking The word divergent is partly defined as "tending to be different or develop in different directions." Studies suggest that, as children, our divergence capability operate at a genius level, but that our ability to think divergently decreases dramatically as we become adults. In the Classroom: Strategies Strategy #2: Let the Music Play

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