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Development of children’s creative abilities in arts education by applying tactile, visual and auditory stimuli
... However, despite the great interest of psychologists, educators, artists and art historians in the issue, children's creativity has not been considered systematically enough. Therefore, today a comprehensive study of the problems of facilitating children's visual art is very relevant[18]. ...
Frank Barron was a pioneering creativity researcher. His vision of creativity was wonderfully rich: "The problem of psychic creation is a special case of the problem of novelty in all of nature. By what process do new forms come into being? The specification of the conditions under which novelty appears in human psychical functioning is the task to which the psychology of creativity addresses itself. In doing so, it links itself to the general scientific enterprise of describing the evolution of forms in the natural world." (Barron, 1969, p. 9) In this article I reflect on Barron as a person and as a unique scholar who drew from the arts and sciences, and in whose work we can find a treasure-trove of insights about creativity.
In this article, I review ideas about creativity and its assessment. I open with some general remarks on the nature of creativity. Then I present the investment theory of creativity. Then I describe prompts my colleagues and I have used to measure creativity. Next I describe some of the assessments we have used to measure creativity. The ultimate goal is that assessments such as those described in this article eventually will make their way into standardized tests of abilities, talents, and skills.
Howard Gardner reflects on how students who learn in different ways might grapple with deep epistemological questions. Gardner advocates teaching disciplines that present our culture's image of what is true, beautiful, and ethical. His understanding pathway should appeal to children possessing a strong existential intelligence. (MLH)
Administered a questionnaire on creativity and noncreativity to 16 established professional artists, 20 amateur artists, and 52 undergraduates with little or no artistic experience. Ss were asked to list characteristics of (1) artistic creativity (AC), (2) scientific creativity (SCC), (3) everyday creativity (EC), and (4) noncreativity (NC) and to rate their own AC, SCC, EC, and NC. Ss generated 278 different characteristics for AC, 244 for SCC, 281 for EC, and 253 for NC. A multiple analysis of variance (MANOVA) and qualitative comparisons were conducted. The S groups did not differ significantly in terms of the number of responses or of unique responses. Specific characteristics were quite different among the groups. It is suggested that the differences among the implicit theories was due to the fact that the groups used different prototypes rather than that they approached the task differently. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
Like E. Paul Torrance, my colleagues and I have tried to understand the nature of creativity, to assess it, and to improve instruction by teaching for creativity as well as teaching students to think creatively. This article reviews our investment theory of creativity, propulsion theory of creative contributions, and some of the data we have collected with regard to creativity. It also describes the propulsion theory of creative contributions. Finally, it draws some conclusions.
A rounded, comprehensive, guide to issues of practice, pedagogy and policy concerned with creative education.
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