Chapter
Structure of the Discipline
Content and Methodology of a Discipline
Appeal to the Imagination
Knowledge of the Discipline
Romance with the Discipline
NURTURING CREATIVE PRODUCTIVITY THROUGH ENRICHMENT LEARNING AND TEACHING
Type I Enrichment: General Exploratory Experiences
Type II Enrichment: Group Training Activities
Type III Enrichment: Individual and Small Group Investigations of Real Problems
Five Essential Elements of Type III Enrichment
A Focus on Individual or Group Interests
The Focus on Advanced-Level Knowledge
Teachers as Facilitators of Type III Investigations
Case Study: The Lightbulb Expo
APPLYING IDEAL LEARNING SITUATIONS WITHIN SCHOOL STRUCTURES
Regular Classroom and Curriculum Opportunities
School of Design – Metairie Academy
Electives and Pullout Programs
Renzulli Learning Systems
APPENDIX A INTERVIEW WITH BRIANNE BURROWES
4 Creativity: A Look Outside the Box in Classrooms
DEFINING CREATIVITY: WHAT IT IS AND IS NOT
TEACHER AWARENESS OF CREATIVITY
Thinking and Acting Outside of the Box in the Classroom
Twelve Golden Rules on How to Kill Creativity
Unit Title: Having a Job Interview
Morphological Forced Connections
Personal Reflections and Conclusions
5 Using Constraints to Develop Creativity in the Classroom
VARIABILITY, NOVELTY, AND EXPERTISE
High Variability and Novelty
High Variability and Expertise
PROBLEM SOLVING AND CREATIVITY
The Constraint-Pair Model
CONSTRAINTS IN THE CLASSROOM
USING CONSTRAINTS IN THE CLASSROOM: MATH
LEARNING IN JAPANESE AND AMERICAN CLASSROOMS
LEARNING TO BE RELIABLE AND VARIABLE
Addition as an Alternation Problem
USING CONSTRAINTS IN THE CLASSROOM: ART
Source and Subject Constraints
Task and Variability Constraints
CONCLUDING THOUGHTS AND A CONCLUDING CAVEAT
6 Infusing Creative and Critical Thinking into the Curriculum Together
THINKING CREATIVELY ABOUT CRITICAL THINKING: INFUSING CREATIVITY AND CRITICAL THINKING INTO THE CURRICULUM TOGETHER
WHY CRITICAL AND CREATIVE THINKING TOGETHER?
INFUSING CREATIVE AND CRITICAL THINKING INTO THE CLASSROOM
MANAGING A CREATIVE CLASSROOM
INTERDISCIPLINARY APPROACH
7 The Five Core Attitudes, Seven I’s, and General Concepts of the Creative Process
Core Attitude of Self-Discipline
Core Attitude of Risk-Taking
Core Attitude of Tolerance for Ambiguity
Core Attitude of Group Trust
The Visitation of the Muse: The Inspiration of Love
The Inspiration of Nature
Inspiration through Substances
Inspiration by Others’ Creativity, Especially Works of Art and Music
The Inspiration of Novel Surroundings: Travel
GENERAL ASPECTS OF THE CREATIVE PROCESS
Creativity as Defined by Community and Culture
Creativity as the Process of a Life
8 Learning for Creativity
THE DEPRESSING EXPLANATION: SCHOOLS AS BUREAUCRATIC INSTITUTIONS
THE HOPEFUL EXPLANATION: TRANSFORMING SCHOOLS BASED ON LEARNING SCIENCES RESEARCH
LEARNING HOW TO CREATE IN GROUPS
9 Broadening Conceptions of Creativity in the Classroom
DO CURRICULAR CONSTRAINTS SUPPRESS TEACHERS’ ABILITY TO SUPPORT CREATIVITY?
WHAT ROLE CAN CREATIVITY PLAY IN THE DAY-TO-DAY CURRICULUM?
INTERPRETIVE (MINI-C) CREATIVITY
Recognizing mini-c Insights
EVERYDAY (LITTLE-C) CREATIVITY
LEGENDARY (BIG-C) CREATIVITY
MAKING ROOM FOR CREATIVITY IN THE CLASSROOM: NOW AND FOR THE FUTURE
10 Everyday Creativity in the Classroom: A Trip through Time with Seven Suggestions
TEACHING “DISCOVERY SCIENCE”
NOT EVERY TEACHER WANTS THE SAME RESULT
CREATIVITY – WHO WANTS IT AND WHY?
OBSTACLES TO CREATIVITY THEN AND NOW
WHAT IS EVERYDAY CREATIVITY AND DO THE SCHOOLS REALLY WANT IT?
Do Some People Still Link Creativity Only with the Arts?
Issues of Creativity and Mental Health
Defining Other Subtypes of Creativity
The “Four P’s” of Creativity
SEVEN SUGGESTIONS FOR ENHANCING EVERYDAY CREATIVITY
Recommendation: A Greater Valuing and Conscious Development of Our...
Recommendation: A Greater Valuing and Conscious Development of Our...
Recommendation: A Greater Valuing and Conscious Development of Our...
Recommendation: A Greater Valuing and Conscious Development of Our...
Recommendation: A Greater Valuing and Conscious Development of Our...
Recommendation: A Greater Valuing and Conscious Development of Our...
Recommendation: A Greater Valuing and Conscious Development of...
11 Education Based on a Parsimonious Theory of Creativity
CREATIVITY: WHAT IT IS NOT
A HIERARCHY OF DEFINITIONS
OPTIMAL FREEDOM OF THOUGHT
CONCLUSIONS AND EDUCATIONAL IMPLICATIONS
12 Roads Not Taken, New Roads to Take: Looking for Creativity in the Classroom
WHY DOES CREATIVITY MATTER IN SCHOOLS?
DEFINING CREATIVITY: AN EMBARRASSMENT OF RICHES
WHICH DEFINITIONS OF CREATIVITY ARE MOST USEFUL FOR THE CLASSROOM?
PRIORITIES AND WEIGHING HIGH-STAKES ASSESSMENTS: CREATIVITY GETS IN LINE
TEACHER PERCEPTIONS OF CREATIVITY
TEACHING AND ASSESSING CREATIVITY IN THE CLASSROOM
BUT WHAT ABOUT FORMAL ASSESSMENT IN THE CLASSROOM?
INTEGRATING THEORY AND CLASSROOM ASSESSMENT
13 Creativity in Mathematics Teaching: A Chinese Perspective
THEORETICAL FRAMEWORK OF CREATIVE TEACHING
DOMAIN-RELEVANT KNOWLEDGE
CREATIVITY-RELATED LEARNING PROCESS
CREATIVITY AND “GOOD TEACHER AND EFFECTIVE TEACHING” IN THE CHINESE CULTURE
THE CHINESE SCHOOL SYSTEM AND ITS TEACHER TRAINING MODEL
14 Possibility Thinking and Wise Creativity: Educational Futures in England?
INTRODUCTION: CREATIVITY IN THE ENGLISH CLASSROOM
POSSIBILITY THINKING: AT THE HEART OF EVERYDAY CREATIVITY?
Stage 1: Possibility Thinking and Pedagogy (3- to 7-Year-Olds)
Stage 2: Focusing on Question Posing in Possibility Thinking (5- to 7-Year-Olds)
Stage 3: Possibility Thinking and Pedagogy (9- to 11-Year-Olds)
Stage 4: Possibility Thinking and School Aspiration (5- to 18-Year-Olds)
POSSIBILITY THINKING AND CREATIVITY IN THE CLASSROOM
QUESTIONING THE MARKETIZED CONTEXT FOR CREATIVITY IN THE CLASSROOM
WISING UP – A WIDER DRIVING FRAME FOR POSSIBILITY THINKING
CONCLUDING THOUGHTS: BEYOND ENGLISH BORDERS
15 When Intensity Goes to School: Overexcitabilities, Creativity, and the Gifted Child
PSYCHOMOTOR OVEREXCITABILITY
Psychomotor Overexcitability: Related Needs and Recommendations
Sensual Overexcitability: Related Needs and Recommendations
Intellectual Overexcitability
Intellectual Overexcitability: Related Needs and Recommendations
Imaginational Overexcitability
Imaginational Overexcitability: Related Needs and Recommendations
Emotional Overexcitability
Emotional Overexcitability: Related Needs and Recommendations
16 Intrinsic Motivation and Creativity in the Classroom: Have We Come Full Circle?
THE SOCIAL PSYCHOLOGY OF CREATIVITY
A FOCUS ON REAL-WORLD, “EVERY-DAY” CREATIVITY
THE INTRINSIC MOTIVATION PRINCIPLE OF CREATIVITY
THE REST OF THE STORY – THE CREATIVE INTERSECTION
RECIPE FOR THE TYPICAL AMERICAN CLASSROOM
RECIPE FOR CLASSROOM REFORM
THE IMPORTANCE OF INTRINSIC MOTIVATION FOR LONG-LASTING LEARNING
17 Attitude Change as the Precursor to Creativity Enhancement
ATTITUDE CHANGE AS THE PRECURSOR TO CREATIVITY ENHANCEMENT
EXAMPLES OF SOME UNHELPFUL MYTHS
A NEW MODEL OF INNOVATION ENHANCEMENT
UNDERGRADUATE COURSEWORK BASED ON THE MODEL
EVALUATING THE APPLICATION OF THE MODEL
Group and Individual Interviews
Triangulation of Data Sources
Two-Step Member Checking Process
SOME PRELIMINARY EVIDENCE
Findings Related to Belief and Attitude Change
Additional Observations: Creativity Coursework Is Difficult for Students, But “Not Because It Is Hard”
Improving Students’ Creativity and Innovation
Changing Incorrect Creativity Schemata
18 Creativity in College Classrooms
THE MANDATE TO ASSESS STUDENT LEARNING OUTCOMES IS CAUSING COLLEGES TO RETHINK THE “WHY” QUESTION FOR HIGHER EDUCATION
CRITICAL AND CREATIVE THINKING
TECHNOLOGY IS CHANGING HOW AND WHAT WE TEACH AND LEARN
LONG-DISTANCE AND CROSS-CULTURAL LEARNING GROUPS
PRIVATE TUTORS, WITH ENDLESS PATIENCE, FOR EVERY LEARNER
VIRTUAL WORLDS WHERE ALMOST ANYTHING IS POSSIBLE
A REVIEW OF EXEMPLARY SYLLABI
WHY SHOULD WE CARE ABOUT CREATIVITY?
19 Teaching for Creativity
THE INVESTMENT THEORY OF CREATIVITY
RESEARCH SUPPORTING THE INVESTMENT THEORY
HOW CAN WE DEVELOP CREATIVITY IN STUDENTS?
Question and Analyze Assumptions
Do Not Assume that Creative Ideas Sell Themselves
Encourage Idea Generation
Recognize that Knowledge Is a Double-Edged Sword and Act Accordingly
Encourage Students to Identify and Surmount Obstacles
Encourage Sensible Risk-Taking
Encourage Tolerance of Ambiguity
Help Students Build Self-efficacy
Help Students Find What They Love to Do
Teach Students the Importance of Delaying Gratification
Provide an Environment that Fosters Creativity
Creativity in the Classroom Coda: Twenty Key Points and Other Insights
Nurturing Creativity in the Classroom
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