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There are intersections between creativity research and gifted education. The opinions and experiences of important researchers in understanding creativity included in giftedness theories will contribute to the development of this field. In this interview with Chen Yao Kao, who has important works in the field of creativity, I contributed to this article by sharing with you his experience and knowledge on topics such as Janusian Thinking, Smilies and mataphors. [ABSTRACT FROM AUTHOR]

Background: Children and young people experience various transitions throughout their education. Theory and evidence highlight that these can be complex, and poor experiences of transitions can be associated with worsened outcomes, necessitating a need to develop and implement wellbeing support. However, children and young people's views are lacking in the literature, and studies tend to focus on specific transitions rather than on what matters for wellbeing during transitions generally. Aims: We explore children and young people's own perceptions of what would support wellbeing during educational transitions. Sample: We engaged with 49 children and young people aged 6–17 years, using purposeful maximum variation sampling to facilitate engagement of a diverse sample across a variety of education setting types. Methods: We undertook focus groups, using creative methods centred around a storybook, asking participants to make decisions as headteachers about wellbeing provision in a fictional setting. Data were analysed using reflexive thematic analysis. Analysis: We constructed four themes: (1) helping children and young people understand what to expect; (2) developing and sustaining relationships and support; (3) being responsive to individual needs and vulnerabilities; and (4) managing loss and providing a sense of closure. Conclusions: Our analysis highlights a desire among children and young people for a considered, supportive approach that recognizes their individual needs and their connection to educational communities. The study makes a methodological and conceptual contribution, demonstrating the value of adopting a multifocussed lens to researching and supporting transitions. [ABSTRACT FROM AUTHOR]

This article tracks the life-histories of 23 British schoolchildren aged from seven to 12 who were designated as 'lower-attaining' at age seven. Drawing on Self Determination Theory's mini-theory of Causality Orientations, the authors explored whether/how children with a Controlled or Impersonal Orientation approached creative learning differently from those with an Autonomy Orientation. Six detailed life-histories presented illuminate that children with a Controlled or Impersonal Orientation often channelled their energies into conformity, as well as avoidance of subordination and punishment, diverting them away from creative learning. Relationships with peers also influenced their orientations significantly. Using Chris Watkins' concepts of Learning Orientation and Performance Orientation, based on Carol Dweck's Growth and Fixed Mindset theories, they conclude that their life-histories highlight a focus in schooling on both prior attainment and the end product – 'performances' – rather than children's motivated engagement with learning. This threatens the chance that they achieve positive-experience and wellness outcomes through creative learning. [ABSTRACT FROM AUTHOR]

The present study adopted a mixed-methods sequential explanatory design to explore the status of nurturing creativity in Iranian EFL classrooms. A standard questionnaire was given to 214 public high school EFL teachers to rate the frequency of using creativity-nurturing strategies in their classrooms. While the curriculum policies stipulate creativity-nurturing strategies, the results suggested that the teachers do not frequently adopt the strategies. Further, interviews were conducted with the teachers to find out the factors hindering the teachers from using these strategies. Deductive thematic analysis of interview transcriptions led to the extraction of five themes regarded as attributes to the inability of Iranian EFL teachers to adopt creativitynurturing strategies. The findings imply that the existence of performativity in Iranian EFL classrooms creates pressure and dilemma for EFL teachers to teach for creativity. Issues such as time, exams, and pressures of the curriculum strictly constrain the creativity-nurturing practices of these teachers. Generally, modifications need to be supported in various aspects of teaching English in Iran to help the teachers nurture creativity in the classrooms. [ABSTRACT FROM AUTHOR]

Materialities play a crucial role in both the educational practice of physical education (PE), and in physical education teacher education (PETE). This article explores how, often unnoticed, materialities, human as well as non-human, play part in movement exploration in creative dance in PETE. The methodological point of departure is a pedagogical unit in creative dance enacted as part of an optional dance course in a Swedish PETE program where movement exploration was studied. In the unit, students and a teacher collaboratively explored movement and movement assignments, including the use of materialities. In order to understand how materialities ‘co-act’ in movement exploration during class, this article provides a post-anthropocentric and Deleuzian approach. The concept dancemblage is introduced both as a way to analyse materiality and as something to work with in pedagogical practice. Moreover, the article suggests that by recognising dancemblages in creative dance teaching, teachers can be given a tool to further learn about learners’ explorations and to become open to divergent understandings about what it means to participate in creative dance. [ABSTRACT FROM AUTHOR]

This article is a theory/practice positioning paper which applies posthumanising creativity as a conceptual framework for Global Science Opera (GSO) practice, in the context of global education/citizenship and STEAM education. Through this positioning we demonstrate how GSO has potential to help students to globally attend to wicked problems from within education, and how posthumanising creativity might prove a productive way to understand creativity more generally within education. The Global Science Opera (GSO) emerged as a practice in 2014, at the intersection of developing agendas in STEAM (Science, Technology, Engineering, Arts and Maths) education, and global education and citizenship. Since this time GSO has been implemented on a global scale with a remit to explore the interweaving of arts, sciences and technology within a creative and democratic inquiry process which necessarily crosses geographical and other boundaries. The article considers the intersections of posthuman understandings of creativity, STEAM and global education and goes on to articulate GSO in relation to these. This includes discussion of how GSO creative process might be shaped through this positioning and how GSO creative pedagogies might manifest. The article concludes by offering insights into how GSO and posthumanising creativity might symbiotically productively move forward. [ABSTRACT FROM AUTHOR]

This study aims to investigate the effectiveness of design thinking in enhancing primary school children's learning in the context of using educational equipment. To achieve this objective, a crosssectional research design was utilized, which involved an examination of the theoretical underpinnings and background of the research. An online questionnaire was administered to gather the necessary information, comprising of two sections: demographic information of the respondents and questions relating to children's education and the role of educational equipment. The Likert questionnaire used a 7-point scale. The sample population included primary school teachers and parents with children aged 7 to 12 years from different cities of Iran. The sampling method was voluntary, and a total of 139 respondents completed the questionnaire. Cronbach's alpha was measured at 0.865, indicating the high internal consistency of the survey. The results indicate a significant relationship between the duration of learning with the aid of educational tools and the degree of reliance on creative methods and problem-solving power. The study also found a correlation between the educational tool and the motivation to learn. In summary, this study provides evidence that design thinking is an effective approach to enhance primary school children's learning, particularly in the context of using educational equipment. The findings also highlight the importance of the type and complexity of educational tools, as well as the use of creative methods and problem-solving power, in facilitating students' motivation and willingness to use these tools. [ABSTRACT FROM AUTHOR]

"Making" has its origin in the maker movement, emphasizes novel, innovative creations by adopting applicable technologies, and fosters students' creativity or encourages them to engage in creative thinking in school-based making activities, in which teachers act as a facilitator for the implementation of creative pedagogy. This study constructed a hypothesized model based on the theory of planned behavior and incorporated pedagogical beliefs, personal innovativeness, peer influence, and facilitating conditions to predict teachers' perceptions regarding the perceived implementation of creative pedagogy in making activities. Questionnaires were obtained from 68 Chinese teachers with maker instruction experience and were tested against the proposed model by partial least squares structural equation modeling. The findings reveal that teachers' attitudes and subjective norms had positive impacts on their intentions to implement creative pedagogy. Pedagogical beliefs and personal innovativeness showed a significant impact on their attitudes, while peer influence exerted a significant influence on subjective norms. [ABSTRACT FROM AUTHOR]

This study explored how educational robotics (ER) was implemented in classrooms to foster creativity among elementary school students and identified challenges associated with its implementation. Twenty‐six teachers at different elementary schools were interviewed. In‐depth teacher interviews and grounded theory were used to collect and analyze the interviews. We found that the intended creative learning outcome for students was mastery of the developmental process of creativity. The teachers generally reported using a four‐phase instructional framework consisting of eight sub‐phases and targeted teaching strategies to support students' learning outcomes. Challenges included insufficient appropriate learning materials, a lack of expansive learning activities and tasks and limited opportunities to engage students in the process of design thinking and developing metacognitive abilities. The findings have practical implications for teachers and researchers who are interested in developing pedagogical practices (PP) incorporating ER to support students' creativity. The study also has theoretical value, offering insights into teachers' PP in implementing ER. [ABSTRACT FROM AUTHOR]

Background/Context: Beliefs about teaching for creativity is a newer area of empirical investigation in education. Purpose: The purpose of the quantitative study was to measure teachers' domain-specific beliefs about teaching for creativity, piloted for the first time in this study, and compare these beliefs with domain-general beliefs about creativity. Subjects: The study subjects were preservice and practicing teachers enrolled in bachelor's, master's, and doctoral (PhD and EdD) education programs within a private university located in the northeastern United States. Research Design: This study surveyed a convenience sample of preservice and practicing teachers' beliefs about creativity and their beliefs about teaching for creativity to examine their creative self-efficacy, growth and fixed creative mindsets, desirability of creativity for teaching success, and valuing creativity for student learning. Data Collection and Analysis: A total of 149 students completed a measure on beliefs about creativity (domain-general) and beliefs about teaching for creativity (domain-specific). Exploratory factor analysis was conducted to examine potential newly aligned items and factors with a change in wording. Results: The factor structure of the Fixed Creative Mindset items, Creative Self-Efficacy items and Desirability items was stable when rewording them to represent teacher perspectives. The Growth Creative Mindset items do not show the same stability, but two of the items seem to be related to a single factor, which is evidence that these items are functioning well. The newly worded Value items loaded on a separate factor, with only one cross loading. Educators rated themselves high in most areas, and low in the area of Fixed Creative Mindset. The results indicate that the Beliefs About Teaching for Creativity scales are reliable, with significant correlations among factors. Recommendations: We propose research and policy recommendations to further examine the complex relationship between teachers' beliefs about teaching for creativity and their pedagogical practices, especially in the area of growth and fixed creative mindset. [ABSTRACT FROM AUTHOR]

There has been widespread interest in the study of oxoacids of phosphorus owing to their characteristic structures and uses in various areas of daily life. In this article, a new strategy is recommended to determine their structures. This strategy will help to develop problem-solving skills and creativity among students. The strategy is based on the use of the characteristic bonding features of oxoacids of phosphorus. [ABSTRACT FROM AUTHOR]

The article contains the approaches of modern scholars to the definition of "creativity" and "creative abilities". The experimental work method is determined and described with the introduction to methods of development of creative abilities. The pedagogical interpretation of the quantitative measurement of the experimental study results for developing the creative abilities of students in the experimental and control groups using the Student's t-test and Fisher's F-test is given. The authors discuss that creativity is developed on the basis of an interdisciplinary approach (integration of music methods and choreographic training), has an effective influence on the quality of the professional training of the future teacher of musical art. [ABSTRACT FROM AUTHOR]

The article presents a practical guide on teaching creativity to filmmakers, screenwriters, and cinema studies students. Also cited are the debates on whether creative ability or artistic talent can be taught, the concept of creativeness by Arthur Koestler in his book "The Act of Creation," and the theory of bisociation as applied in such films as "Citizen Kane," "The Battleship Potemkin," and "The Nutty Professor."

This paper explores how maker pedagogies helped middle school students develop transferable competencies, such as creativity, problem solving, self‐directed learning and citizenship skills. We offer an in‐depth look at how purposeful or critical making related to bullying awareness can help struggling students develop positive attitudes related to their roles as contributing members of a classroom community of learners. [ABSTRACT FROM AUTHOR]

This paper investigates the role of play in university-based communities of practice. We consider play through the lens of Bogost (2016), as an exploration of the possibilities afforded by a structure or system. As educators and creative practitioners in a contemporary music university program, we draw on collaborative approaches that act as precursors to our students' future work in more naturally occurring social domains. Through the design of musical interventions that are intended to foster joint creativity, our students are encouraged to play with the possibilities available within a system, with the idea of a system being considered from a social standpoint as well as from a technical standpoint. Building on Lave and Wenger's (1991) conception of communities of practice (CoPs), we use Hoadley's (2012) definition of 'knowledge-building communities' to differentiate explicitly designed learning communities of practice from endemic CoPs. We consider knowledge-building as an experiential activity, and argue that play is an essential component of any knowledge building. We believe that fostering a 'whole of student', or holistic, approach in our teaching reinforces the transformational role that music can play. In this paper, we discuss an exemplar of this approach, Flow, a student-run, collaborative, interactive musical experiment. While this project did not overtly target pre-existing external communities such as with other 'community music' projects, we designed it as a pedagogical strategy to encourage inclusive and collaborative approaches, processes, and technologies as a normative aspect of our students' creative practice. [ABSTRACT FROM AUTHOR]

This paper investigates childlike thinking as a means toward creative practice through researching literature, constructing a set of original childlike thinking design methods, and testing these methods using burgeoning design practitioners. This paper indicates which phase within the design process benefits most from creative thinking, positing that childlike thinking can increase creative thinking through molding childhood games (e.g., Musical Chairs) into design ideation games. Five main creativity criteria are used to measure the outcomes of the game testing, and the end results indicate that the experimental group (who played design ideation games) is more creative than the control group (who did not play games). Both groups report how they would label their thinking throughout the design ideation process. The game-playing group's self-labeling indicates that their thinking throughout the activity is more creative than the non-game-playing group. Ultimately, the results indicate that game-playing during the design ideation phase produces about 170% more ideas. This paper concludes with thoughts on further potential studies regarding the facilitation of creative childlike thinking. [ABSTRACT FROM AUTHOR]

The article offers information on views of Kerry Chappell on creativity in posthumanizing approaches. Topics discussed include conceptualization of creativity that is constructed out of a reexamination of the basic principles of humanism; core ideas of Chappell involves the right to creative expression, the autonomy or freedom to creative exploration, and the idea of play; and concept of teachers collaboration to nurture creativity.

The article discusses how a visual arts educator in New South Wales and her 10th-grade students used art practice as research and visual process diaries to make mini bodies of work. It explores how art practice as research promotes conceptual and technical skills to students. Art practice as research is recognized for helping students understand their experiences in new ways. The role of the creative process in art making practice is also explored.

Considering the political environments of Australia and the United States, the authors discuss the disconnect between policy and the practical needs of educators for creativity in the classroom. [ABSTRACT FROM AUTHOR]

When undertaking teaching as an embodied pedagogy, the teacher understands the body as a site of risk and possibility as well as a site of knowing – of self, of others (empathy) and of the world. This article focuses on research undertaken by the authors in the International Centre for Classroom Research at the University of Melbourne into the pedagogical and creative learning practices associated with an embodied approach to teaching, and draws on a growing body of research undertaken by cognitive scientists investigating the role of the body in thinking, learning and problem-solving (Glenberg 2008), and by drama education researchers into the ways that embodiment can substantially enhance learning (Ewing 2010). The authors contend that researchers have focused principally on the processes and characteristics of embodied learning and have given less attention to the pedagogical practices employed by drama educators as facilitators of embodied learning. This article addresses this gap in the research by examining the role of the drama educator in facilitating the conditions for aesthetic embodied learning experiences in a classroom environment. The authors propose a set of principles of embodied pedagogies for implementation in and beyond the drama classroom. [ABSTRACT FROM AUTHOR]

This article describes an approach to creativity in advertising based on Zen theory. The authors believe that the Zen Masters offer insights which can help instructors help students search within themselves to find their unique creativity. [ABSTRACT FROM AUTHOR]

The article explores the idea of creativity in art education by examining the question of whether creative agency is available to all art and design students in the U.S. It presents art and design curriculum that integrates concepts of creativity with social justice theory. The achievement gap in student art performance is discussed, as well as the nature of the relationship between art educators and their students.

Creativity is considered one of the key 21st century skills and has received an increasing amount of attention in the field of education. How teachers perceive creativity has a significant impact on their pedagogical practices to stimulate student creativity in the classroom. The present exploratory study, based on a qualitative approach, aimed to investigate pre-service English teachers' perceptions of creativity. Analysis of data coming from a semi-structured focus-group interview with eight pre-service teachers revealed their perception of creativity as being different and unique, having extraordinary ideas and being able to produce original outcomes. The participants posited that creativity was innate to some extent and environmental factors such as family environment, cultural background and school education contributed to its development later in life. They suggested using open-ended, communicative, and collaborative tasks in English classrooms to foster student creativity. As prospective teachers, they perceived themselves creative to some extent, but felt unprepared to teach creativity. Finally, they all agreed on the facilitative role of teacher education in helping PTs teach creatively and develop an understanding of teaching creativity. [ABSTRACT FROM AUTHOR]

Approaches to teaching music notation and instrumental technique have been standardized and codified in the United States with great success in beginning instrumental programs. While these skills are important, we do a disservice to students if we do not equally develop comprehensive musicianship and creative thinking at a young age. Creating music is one of the four “Artistic Processes” that guide our instruction in the new National Core Arts Standards framework. It is also a process that many instrumental music teachers struggle to implement, especially in early stages of instruction when note-reading and technique seem to be the highest priority. Drawing on examples from an elementary school band program that shifted away from music notation in the rehearsal room and group lesson space, I examine how instrumental music teachers can move students beyond the music stand into a deeper and more creative understanding of the elements of music. [ABSTRACT FROM AUTHOR]

English language teaching (ELT) is gaining huge importance and every year the number of people studying foreign languages increases drastically. This is on the one hand, on the other hand, our educational institutions need to be provided with the skilled instructors so that foreign language teaching attains the goals and objectives that are planned to be attained. This study aims to investigate the usefulness of teaching thinking skills and other skills that lead in the end to create a self-independent learner and a more capable language instructor on a university level. The findings came up to in this research are of significance to textbooks designers, educationalists as well as researchers and students. [ABSTRACT FROM AUTHOR]

How creativity in education is applied by teachers to secondary school contexts is dependent on how the term ‘creativity’ is grounded, politicised, and practised. This paper reports on an international study of secondary schools in Australia, USA, Canada, and Singapore investigating how creativity is understood, negotiated, valued and manifested in secondary schools, focusing on teacher and student understandings, actions, benefits and impediments to creative and critical thinking. Participant reflections revealed inter-, trans- and cross-disciplinary learning shaped by teacher collaboration, dialogue and classroom organization that fosters critical and creative thinking. Implications are made for the ways practicing teachers develop and foster creativity via pedagogical approaches that enhance connectivity and interdisciplinarity of teaching practices between domains of learning. An education-based Creativity Index through which administrators and teachers can gauge, assess and implement creative skills, capacities, pedagogic practices and assessment of creativity within secondary schools is posited. Implications for STEM/STEAM education and centralizing creative capacities in teaching, learning, and educational change are offered. [ABSTRACT FROM AUTHOR]

The existence of creation as narrated in the biblical stories has shown that there is advancement in humanity and in many other fields of endeavour. The creativity in art has advanced the economy, social-political and technological development of not only Europe centuries ago, but also in Africa. This advancement was much earlier realized and as a result of centers of creativity which were established to better the lives in their society. With the advancement of time, art decoration which has not been giving position because of arts aesthetical contents, began to generate success not only in the West where it originated from, but also in other continents of the world. The artist including the author and art aesthetics in Nigeria has not only been encouraged this upliftment, but, has gained enough ground to be appreciated. Decoratives are created by the artists; the use of forms embellished with colours has equally been appreciated in Nigeria and the societies of the world. The usefulness of decoration has been extended for both interior and exterior decorations for beautification and for other forms to solve other human endeavours. [ABSTRACT FROM AUTHOR]

The study of individual creativity is well established in the fields of psychology and sociology but, more recently, management studies focused on the aspects of team and organization creativity in the workplace as part of a triad of creativity, innovation, and entrepreneurship. This paper employed a tri -level component analysis of individual, team, and organi zational creativity as steps towards development of the creative sustainable organization. The main aim of the paper is to identify and explore the key issues and considerations involved in fostering creativity in the workplace as a guide to organization managers whose objective is organizational sustainability. The research process involved secondary research of published journals and reputable texts relevant to the field of creativity studies, and extrapolation of the author's experience in teaching creativity at the MBA level and in leading organizations. The main finding is that business and organization leaders must take full responsibility for promoting creative behavior among organization members as a precursor to innovation. The value of this work is that, the concept of creativity and its key elements are presented in a simple format to facilitate greater understanding by business practitioners, managers of businesses in developing countries, heads of non-profit organizations, and university staff and students. The model of organizational sustainability which is the main result of the study can serve as a framework to guide managerial action in organizations. [ABSTRACT FROM AUTHOR]

The purpose of this study was to examine Addis Ababa city schools' mathematics teachers' responses on the paper folding activities and perception on implementing paper folding in teaching mathematics. Exploratory survey design and quantitative and qualitative research methods were used. 75 mathematics teachers were selected by cluster and simple random sampling. Training manual activities and questionnaire were used for data collection, and analysed using mean, standard deviation, independent samples t-test and qualitative analysis. Some of the findings were the primary school teachers have better perceptions than the secondary school teachers and male teachers have better perceptions than female teachers in the importance of applying paper folding in teaching mathematics than female teachers. The primary and secondary school teachers and male and female teachers have almost similar challenges in implementing paper folding in teaching mathematics. In addition, some of the teachers challenged in drawing of perfect figures, cutting or folding the papers to get the properties of mathematical expressions. Therefore, some of the recommendations were training on paper folding should be given at the beginning of the year for mathematics teachers; paper folding is included in the design of the curriculum; and necessary materials should be provided. [ABSTRACT FROM AUTHOR]

The forces of globalization are magnifying the importance of interdisciplinary creative work. While the field of creativity studies always has been more open to interdisciplinary idea borrowing than many other fields, it can and should do more interdisciplinary synthesizing. This article begins with a discussion of the rationale for encouraging interdisciplinary work in the field and then explores several examples of constructs imported from various disciplines that can enrich theory and research in creativity studies. These constructs include market fundamentalism from economics, and networked science from various STEM fields. Some other candidates for importation also are discussed briefly. [ABSTRACT FROM AUTHOR]

Throughout decades of creativity research, a range of creativity training programs have been developed, tested, and analyzed. In 2004 Scott and colleagues published a meta-analysis of all creativity training programs to date, and the review presented here sat out to identify and analyze studies published since the seminal 2004 review. Focusing on quantitative studies of creativity training programs for adults, our systematic review resulted in 22 publications. All studies were analyzed, but comparing the reported effectiveness of training across studies proved difficult due to methodological inconsistencies, variations in reporting of results as well as types of measures used. Thus a consensus for future studies is called for to answer the question: Which elements make one creativity training program more effective than another? This is a question of equal relevance to academia and industry, as creativity training is a tool that can contribute to enhancement of organizational creativity and subsequently innovation. However, to answer the question, future studies of creativity training programs need to be carefully designed to contribute to a more transparent landscape. Thus this paper proposes a methodological research standard consisting of three criteria, to which researchers can look when designing future studies of the effectiveness of creativity training. [ABSTRACT FROM AUTHOR]

The article examines teaching methods and objectives of education focused on the creative processes as a dramatist and dramatic pedagogue. It discusses the concept of design thinking and how it can promote problem solving, creativity, and innovation before exploring how this can be adapted for an approach to drama. Particular attention is given to the application of this method to the education of First Nations people in Australia.

This article, written by survivor artists, practitioners and academics (each moving between these different identities and associated voices), will explore a creative arts approach to social work (SW) education within the context of service user and carer involvement. In addition to building upon a developing literature base, the writers will draw upon their own experience and the experience of other service user and carer contributors as well as student and practitioner feedback. In doing so, this article will seek to analyse some of the ways the creative arts can be harnessed as a tool for a more radical, creative and critical approach to professional education and how this in turn can help develop more empathic, critically self-reflective and creative (in the broadest sense of the word) practitioners. In critiquing the more traditional service user and carer involvement approach, this article will attempt to show how the more innovative approach of the Survivor Arts Project can move us beyond an arguably more limiting 'expertise through experience' model. In outlining an emancipatory model which recognises the relevance of lived experience and places this within the context of survivor movements, focusing also on the skills and insights survivors bring to SW education, this article will detail the ways we can work towards developing a more vibrant and dynamic learning environment which values our life stories and recognises our strengths as well as the many different and overlapping identities which place us along a continuum that connects our lives and informs our practice. [ABSTRACT FROM AUTHOR]

This study reported 2 experiments that studied the effect of perspective taking on assessment of creative products by using human raters. Forty responses of 2 alternative uses tasks (AUTs) and 15 alien stories generated by 6th-grade students were used as assessment materials. Undergraduate students as the novice raters assessed the products under 3 experimental conditions: assessing without any information of the ratees, assessing only with age information of the ratees, and assessing with age information and taking the perspective of the ratees. Results of Experiment 1 showed significant differences in creativity ratings between group 1 and 2. But no significant difference was found between group 2 and 3. In Experiment 2, raters in group 1 used objective perception and raters in group 3 were asked to take the perspective for more time. Raters in group 3 assigned higher ratings than the other 2 groups but no difference was found between group 1 and 2. Overall, the results showed the effect of perspective taking on assessment of creative products. Possible mechanisms of the effect and implications for creativity assessment and creativity teaching practice were discussed. [ABSTRACT FROM AUTHOR]

In the process of the specialisation of arts and sciences and the fragmentation of knowledge, architecture - in certain aspects - has isolated itself from the other disciplines of fine arts. Yet, distinctive points of connection have continuously persisted between them. The ability to understand, oversee and associate the knowledge accumulated in the different disciplines also has the potential to facilitate progress and inspiration, both in intellectuality as well as in the creation of forms and spaces. This paper demonstrates four distinct directions of the creative work at the Budapest University of Technology and Economics Department of Graphics, Form and Design, each of which aims to explore new territories in this unique borderline between arts and architecture through interdisciplinary approaches and interoperability. The first direction, titled "The architecture of the picture and the picture of architecture" was the earliest research project, best described as an architectonic planar and spatial thinking exercise. Another, still ongoing project series has been titled "Folding - creating forms and spaces in light of a philosophical concept". The third group of research projects could be best summarized under the title "Ideas and Forms-from conceptual thinking to visualisation". And the final direction "Research Team - experimental architectonic form creation in the virtual space" includes the most recent research projects conducted at the department. These four directions of research projects spanning over a 15-year period have confirmed that the border area between architecture and fine arts carries an exceptional potential in the development of visual thinking, spatial and formal sensitivity and creativity of architecture students. [ABSTRACT FROM AUTHOR]

The Remote Associates Test (RAT) is an important measurement of creativity and is well known because it is simple to use and the results are objective. To determine how the RAT would work for native Mandarin speakers, RAT was translated into Chinese in 2004 in a version called the CRAT. However, the construct validity of the CRAT was absent, and correlations with other creativity tasks, such as the Divergent Thinking Test and Creative Tendency Inventory, were not significant. Thus, the validity of the CRAT is limited. To enhance the CRAT, based on the remote association of the Association theory, the present study initiates a new approach to redesign the CRAT by developing a set of remote associate items with low frequency vocabularies and a set of close associate items with high frequency vocabularies, according to the associative hierarchies. By investigating the performance of 49 participants on these remote and close associate items, we determine the passing rate, response time, and the correlations with the Divergent Thinking Test and the insight problems task as well as the validity of the CRAT in the measurement of creativity. We find that the passing rate of remote associate items was lower than that of the close associate items as it took more time to solve remote associate items than close ones. The remote associate items were positively correlated to the Divergent Thinking Test and the insight problems task, but the close associate items were not related to these tasks. The passing rates of remote associate items and close associate items were higher in high creativity groups than low creativity groups. The construct of the present CRAT is strongly correlated with creativity and is now effective for measuring the creativity of Mandarin language speakers. [ABSTRACT FROM AUTHOR]

How might researchers better understand the variations in creative learning in and across classrooms? This article addresses this question. We introduce a multi-method approach that we used to explore the more dynamic features of creative learning in ten elementary classrooms. The ten classrooms were first classified into one of three groups (positive, negative, and null), based on the relationship between students’ ( N = 204) measured creativity and academic achievement (average positive r = 0.52; average negative r = −0.23; and average null r = 0.02). Next, we analyzed observed teacher and student behaviors in each classroom. We found different patterns of behavior based on classroom classifications. Teachers in classrooms with a positive association between creativity and academic achievement tended to demonstrate more caring behaviors toward students and to provide more emotional support to students. We also found that teacher behaviors associated with encouraging creativity in the classroom were associated with students’ positive engagement, self-expression, and ideation (regardless of classroom type). Finally, we used a micro-level interactional analysis to visually illustrate patterns of interactions between teachers and students in three different classroom classifications. We found more extended and exploratory interactions in the positive association classroom, whereas the negative association classroom was characterized by more directive and rapidly closing patterns of interaction and the null association classroom tended to have patterns of interaction that left students’ ideas suspended and lacked exploration, development or refinement of ideas. We close by discussing how the use of blended methodologies, like the one demonstrated in this article, can be further refined and developed in subsequent research to explore and understand the more dynamic features of creative thought and action in classroom settings. [ABSTRACT FROM AUTHOR]

Instructional processes support the production of learning outcomes such as valid conclusions, solutions or decisions. These processes invite the evaluation of information at hand and knowledge construction, which involve the elaboration and evaluation of arguments. This article provides a practical guide for evaluating arguments during instruction. The practical criteria for goodness of arguments in instruction include clarity, explicitness, relevance of the reasons supporting the claim, inclusion of evidence and theoretical explanations, acceptability (according to the rules and norms of the context), and sufficiency (of groundings). In addition, it must cope with competing arguments, as well as with opposing and alternative evidence and theoretical explanations. I show that evaluation of arguments involves not only critical thinking but also creative thinking. [ABSTRACT FROM AUTHOR]

Modern societies prioritise creative thinking and the capacity to actualize ideas. Creativity is one of six fundamental ideals 1 1 Translators of Icelandic curricula use the words “fundamental pillars” in English, which we find goes against the grain of the policy, as it creates the connotation that the pillars are separated and independent; whereas in Icelandic the policy indicates that ideals or issues can be integrated and intertwined. in the Icelandic curricula presented by educational authorities in Icelandic in 2011. These curricula were designed for the three first school levels – preschool, compulsory school (6–16 years old), and upper secondary school (16–20 years old) – with the common aim of enhancing core competencies built on the six fundamental ideals for students ( Ministry of Education, Science and Culture, 2011 ). This paper describes an action research project that ran from autumn 2013 until autumn 2015. I, the author of this article describe and anlayse our work on behalf of and in collaboration with the other participants. With it, we sought to understand how we as teachers could work to enhance student creativity. Participants included eight teachers at four school levels working in a research group led by the author. Data included journals, reflective notes, teaching plans, photographs, student information and research group meetings. Bernstein’s (2000) concepts of framing and classification were used to locate teachers’ work with students. Through the research process, we became more aware of their roles in nurturing student creativity. Constraints and supportive elements of creative work were identified. The main theme that emerged was: control in learning spaces . Other connected themes were: supporting student agency , experimenting with framing , engagement and personal interpretation , challenging ingrained patterns of learners as receivers , finding balance between freedom and control , and professional development through action research. Fostering creativity turned out to be a complex endeavor, characterized by several factors that can be adjusted and influenced. [ABSTRACT FROM AUTHOR]

The author contrasts an early research passion, creativity and mental illness, with his current interest in creativity and social justice. Kaufman's initial research revolved around the Sylvia Plath Effect, yet was insensitive to broader implications or concerns. As his thinking about creativity has evolved, he is currently more focused on a more positive use for creativity - namely, how creativity can help issues of fairness and equity. [ABSTRACT FROM AUTHOR]

This study employed purposive sampling across 20 SE Idaho schools to explore PK-3 educators' perceptions regarding the value and importance of creativity education in the early childhood education setting (PK-3). A survey instrument and semi-structured interview protocol were developed for use. Surveys were distributed by mail and through on-site meetings, Interviews were conducted in one-on-one settings. Seventy-three PK-3 educators were surveyed and eight took part in the interviews. The findings indicated that while PK-3 educators valued the concept of creativity, there was a discrepancy between teachers' claims of valuing creativity and the realities of their classrooms. Barriers to increasing creativity education were identified as a lack of educators' understanding of creativity, children's freedom of expression, curricular restrictions, and the high-stake testing environment. Needed supports included loosening regulations associated with standardized tests, more curricular flexibility and space for free-play activities, and a clearer, shared understanding of creativity. [ABSTRACT FROM AUTHOR]