Creative thinking

Arts-based Education in Outdoor Learning is a compendium of artistic endeavour created for the purposes of learning. The contents stem mainly from teaching BA undergraduate Outdoor students at the University of Central Lancashire in Preston, UK, showcased here to promote critical discussion on Outdoor issues and foster pedagogical progress wherever that may be found. This introduction outlines the structure of the book, which also illuminates the plan of teaching that has brought about such a vibrant collection of chapters. The ethos of my educational mission has been for students to become philosophical about things, ‘having ideas’ with a view to making a comment about some state of affairs in the Outdoors. With a nugget of an idea latched on to, fuelled with some passion, the next step was to transform that idea into some physical presence through an artistic medium; shape it. Thereafter, the academic task was to polish and present the artwork with a supporting chapter, in order to communicate their idea to the world; share it. The creation of art in this context was always a means to an educational end, the artworks being an impressive by-product from this experience – but now the artworks are leading the show, representing the style of education we enjoyed. It seems worth mentioning at the outset, that all the Outdoor students I have taught are not artists, they are climbers, canoeists and mountaineers. They never came to university to do or study art and nor did I teach them as such. If I have done anything, it was to free up the possibility of thinking slightly differently about topics they chose, and then equip them with some basic artistic tools to play with those ideas. As a result, I discovered a huge increase in student confidence and a palpable increase in enjoyment of learning, as much for me as their teacher as for them. In effect, what I did was invite into my classroom a raft of untapped talent in thinking and learning that suddenly had a place in their university degrees. Students were writing home asking parents to dig out their pencils and painting sets that they had at school, as there was now an urgent need to express an idea in a creative way. On this point, and towards a student-centred introduction to this book, I invite the reader to turn to the last chapter (chpt 40) Student Voices: living and learning through art and the outdoors which provides a sense of the endeavour, commitment and learning experiences from a selection of student authors in this volume.

Resumo: Estrangeiros radicados em Paris, o argelino Albert Camus e o romeno Emil Cioran possuem tantas divergências quanto afinidades intelectuais. Ambos operam uma evasão da Filosofia-entendida aqui como discursividade conceitual e abstrata-em direção a formas outras de produção do conhecimento, e o fazem como modo de participação sui generis no mundo e no contexto histórico em que se inserem. Camus se dedicaria à literatura do romance, e Cioran ao aforismo e à poética do fragmento: formas distintas que cada um deles encontrou no intuito de fazer frente à hegemonia moderna de uma racionalidade abstrata e homogeneizante, amiúde totalitária. As obras destes dois autores denotam uma tensão agônica entre a autonomia da ética e a heteronomia da moral, certa preocupação metafísica com a condição humana profunda para além de toda historicidade, certa ênfase na lucidez (lucidité, vocábulo comum a ambos) como uma disposição subjetiva necessária para a conservação de uma probidade intelectual intransigente face à absurdidade do mundo, e, por fim, a busca estética do Belo como alternativa a uma racionalidade que tende a obliterar a soberania do ser humano, em sua irredutível singularidade, em nome de ideias e ideais que tendem a anular o mesmo indivíduo em nome de causas tão abstratas quanto, muitas vezes, humanamente desastrosas. De onde o fato de terem sido, ambos, cada um à sua maneira, autores marginais e incompreendidos no contexto em que se inserem. Pretende-se problematizar, no registro de uma reflexão estético-filosófica, como suas respectivas obras, que descrevem uma evasão da Filosofia sem deixar de pressupor um espírito filosófico, se oferecem como uma possibilidade de criação alternativa capaz de elaborar uma crítica radical dos descaminhos e reveses da racionalidade europeia historicamente estabelecida.
Palavras-chave: Camus, Cioran, lucidez, absurdo, criação.

The thirty-five original chapters written by educators from different disciplines focus on theoretical and practical strategies for teaching creatively in contexts ranging from mathematics to music, art education to second language learning, aboriginal wisdom to technology and STEM. They explore and illustrate deep learning that is connected to issues vital in education – innovation, identity, engagement, relevance, interaction, collaboration, on-line learning, dynamic assessment, learner autonomy, sensory awareness, social justice, aesthetics, critical thinking, digital media, multi-modal literacy and more.

Bu kitap; duygusal ve davranışsal bozukluklara sahip öğrenciler hakkında bilgi sahibi olmak isteyen sınıf öğretmenleri, özel eğitim öğretmenleri ve alanda çalışan uzmanlar için hazırlanmış giriş niteliğinde bir uygulama kitabıdır. Her bir bozukluğun nedeni, tanımlanması, güncel araştırmalar ışığında verilmeye çalışılmış ve okul ortamındaki pratik uygulamalarla da anlatım zenginleştirilmiştir. Bunlara ek olarak belirli bir bozukluğun tüm yönlerine ilişkin temel yaklaşımla birlikte bilimsel olarak geliştirilmiş müdahele yöntemleri de verilmeye çalışılmıştır.

Bu kitabın alanda yeni çalışmaya başlayan öğretmenler kadar güncel verilerle desteklenen tanı koyma ve müdahele stratejilrine önem vermesi nedeniyle alanda uzun süredir çalışmakta olan öğretmenlere ve uzmanlara da yararlı olacağını düşünmekteyiz.

The thirty-five original chapters written by educators from different disciplines focus on theoretical and practical strategies for teaching creatively in contexts ranging from mathematics to music, art education to second language learning, aboriginal wisdom to technology and STEM. They explore and illustrate deep learning that is connected to issues vital in education – innovation, identity, engagement, relevance, interaction, collaboration, on-line learning, dynamic assessment, learner autonomy, sensory awareness, social justice, aesthetics, critical thinking, digital media, multi-modal literacy and more.

The above quote sounds all very Alice-in-Wonderland'ish but it was taken from a website entitled 'Depression, Suicide & Self-Injury Quotes'. And it startled me out of an assumption I have long held to be the truth. The basic assumption is that the person who continues to choose the hard road through life actually sees an alternative-that there are two roads, not just one. In relation to depression or any maladaptive behaviour which continues to hold sway over a person's life long past the time when that behaviour had value and relevance, I have come to believe there is choice involved. Sometimes the ability to choose is buried way down deep or hidden way back in the dim mists of our past. Over time we may come to believe we have lost the freedom to choose because a particular action or emotional state has become so much an integral part of our being. Life continues to surprise me. For which I am eternally grateful, as there was a time when my mind was so totally closed against any notion of unexpectedness or unpredictability, any possibility of life-being-any-other-way, it both frightens and amuses me to look back on it now. But I also have a greater empathy and understanding for that long-ago depressed self than I had at the time. I now see shutting down and shutting off from the world as a natural response to the death of my mother, the person I loved most in the world, rather than an abnormal reaction. The source of my surprise-a graph presented at a workshop on grief-in itself, surprises me. Having long since given up on the validity of statistics-as Mark Twain famously noted, 'There are three kinds of lies: lies, damned lies, and statistics'-it was enlightening to see the wave-like shape of grief over time. Anyone who has experienced grief will recognise that it comes in waves. We even speak of waves of emotion but to see something represented visually is always far more effective than having only the verbal description. The presenter of the workshop stated that over the first 12-13 month period-that first year after someone we love has died in which we have birthdays, anniversaries, holidays without that person in our lives-we always experience grief at a 100% level. We may expect our grief to diminish after a set period of time and when it is still at the same level after 6 months or 12 months, when a song or a scent or a visual reminder sends us back to that initial high level of loss and sadness, we may begin to think there is something wrong with us. Being able to see the shape of these waves-the peaks wide and close together at the beginning, narrower and further apart as time progresses-was an Aha! moment for me, an 'of course, how could it be otherwise' dawning of comprehension. It's that deeper understanding that comes via images as opposed to words. It's why I view the combination of image plus language as being so powerful. To draw a picture of something as ephemeral as an emotion gives us another tool with which to change an entrenched behaviour, to choose one road over another. These days, I see Depression as a place. Literally. It's a town I used to live in for a period of my life. And as a traveller for many years, I know that to get to any destination you have to travel a certain path, take steps along that road and there are signposts on the way that tell you where in your journey you now are. The more conscious I become, the more mindful of the connection between my internal world and my external reality, the more often I take responsibility for stayin' the hell outta that town called Depression. The more images and metaphors I develop, the more concrete I make my internal world and its emotional territory, the more easily I navigate the tricky bits. All of this means that I am able to take back my life as mine and hold it as the precious possession it is. When my father died almost four years ago, I had planned to start my studies in Transpersonal Art Therapy. Mum's death many years before and my ensuing depression meant that my previous intended career as an

Advances in Creativity and Gifted Education (ADVA) is the first internationally established book series that focuses exclusively on the constructs of creativity and giftedness as pertaining to the psychology, philosophy, pedagogy and ecology of talent development across the milieus of family, school, institutions and society. ADVA strives to synthesize both domain specific and domain general efforts at developing creativity, giftedness and talent. The books in the series are international in scope and include the efforts of researchers, clinicians and practitioners across the globe.

Anormal Psikoloji kitabı, ruhsal bozukluklar alanında çalışan tüm profesyoneller, psikiyatristler, klinik psikologlar, psikologlar, psikolojik danışmanlar, hekimler, sosyal hizmet uzmanları, psikiyatri hemşireleri ve bu alanlarda öğrenci yetiştiren akademisyenler ile eğitim alan öğrenciler için temel bir başvuru kitabıdır.
2013 yılının Mayısı ayında yayımlanan DSM-5 ölçütlerine göre ruhsal bozukluklarla ilgili sunulan bilgilerin güncellemesinin de yapıldığı bu kitap, tüm dünyada pek çok üniversitenin psikiyatri ve psikoloji bölümlerinde ders kitabı olarak okutulmaktadır.
Kitabın her bölümünde, ilk olarak ruhsal bozukluklarla ilgili vakalar sunulmakta, daha sonra bozuklukların klinik tanıları yapılmakta ve DSM-IV-TR’den farklı olan DSM-5’te yapılan değişikliklere yer verilmektedir. Ayrıca, DSM-5’teki tanı ölçütleri, bozuklukların etiyolojisi ve epidemiyolojisi, bozukluklar üzerinde kalıtımın ve çevrenin etkileri, biyolojik ve sosyal ve kültürel etkiler, en güncel araştırmalardan elde edilen verilerle harmanlanarak sunulmaktadır. Ruhsal bozuklukların tedavisinde etkili olacak terapi yaklaşımları ve ilaçla yapılan tedaviler hakkında da bilgiler veren kitap, sahip olduğu zengin içeriği ile eşsiz bir kaynaktır.
Anormal Psikoloji kitabının; profesyoneller ve öğrenciler için önemli bir rehber olacağına, yardıma ihtiyaç duyan insanların sorunlarının çözümüne, ruhsal bozuklukların tanı ve tedavisinde önemli katkılar sağlayacağına inanıyoruz.

Model pembelajaran sifatnya dinamis, sehingga belajar tidak cukup hanya menyelesaikan masalah rutin atau memahami konsep-konsep yang tersurat, namun harus dapat menangkap makna pada symbol, konsep, atau prinsip-prinsip yang dituangkan dengan formulasi abstrak-formal. Target utama pembelajaran adalah membelajarkan siswa, sehingga  meraka dapat memperoleh pengetahuan yang bermakna, dapat mengembangkan sesuai dengan kebutuhan, serta menerapkan pada situasi nyata. Realisasi dari kondisi ini, diperlukan upaya-upaya yang sistematis, terukur, dan berkelanjutan, demikian juga pengelolaan pembelajaran jangka panjang serta pengembangan perangkat yang mendukung pelaksanaan model tersebut.

ABSTR.~kCT. The problem of multiprogram scheduling on a single processor is studied from the viewpoint of the characteristics peculiar to the program functions that need guaranteed service. It is shown that an optimum fixed priority scheduler possesses an upper bound to processor utihzation which may be as low as 70 percent for large task sets. It is also shown that full processor utilization can be achieved by dynamically assigning priorities on the basis of their current deadhnes. A combination of these two scheduling techmques is also discussed.

The Generative Code If we consider our viewpoints , perceptions, and conceptions the results of political, economical, or cultural exposures which are themselves the results of hugely disparate human and non-human constructs; and if we consider these as being magnified by advances in communications and technologies over the last century; if we understand that this has led to an altered perception of the production of knowledge which foregrounds its fragile and temporal nature, then we can establish that knowledge production has changed from being dependent on identity and definition, to one that produces movement and possibility. Modes of being/doing have been transformed by advances in science and technology. In addition to this, our understanding of being and doing has been transformed by discoveries at the heart of science and the nature of genesis. The new ideas and concepts that proliferate as a result of technological invention has revolutionised our relationship with the world in terms of thinking and perceiving. These altered relationships regarding our integration into the world provide an altered understanding of form as being /doing. This relationship has always been explored through the experimental art practice, never more than now has this relationship carried so much in terms of an understanding of our position as percievers and concievers in rapidly moving cultural predicaments. This is because the experimental practice redraws our relationship with knowledge production as socio-cultural and politico-economic processes instigated from collective purpose/content trajectories at the same time incorporating disseminated dialogues of intervention and chance. It provides a model or a blue print for how invention-the genesis of ideas, values and things-is created, established and utilised which can aid creative intervention across disciplines and borders.

The aim of this study is to determine the effects of student-centered approaches (SCA) on students' creative thinking skills (CTS). Meta-analysis method is used in the study. The scope of the study consists of Master and PhD theses and research articles addressing this issue in Turkey. As a result of the screening, it is seen that there are 104 studies between 1990 and 2020 in line with inclusion criteria. The total number of samples within the scope of these studies is 6434 students. 3215 of these students are in the experimental group and 3219 are in the control group. According to the results of the study and the random effects model, a moderate (d=0.73; [0.63; 0.82]) statistically significant, positive effect size is determined according to SCA in favor of the students' CTS. In other words, it is seen that when student-centered approaches and methods are applied in the lessons, creative thinking skills of students are positively affected. As a result of the moderator ana...

This study aimed to examine the structural relationship between speaking and creative thinking and their impacts on students’ academic performance. Researchers in this field of science argue that there is a close relationship between student achievement and creative thinking. Students with high creative thinking skills show good results in mastering knowledge. Therefore, we tested the students’ ability by giving them creative assignments while teaching the Kazakh language. The study aimed to track the development of students’ speech skills using methods aimed at developing creative thinking. The research includes methods, such as observation, questioning, semiotic analysis, discourse analysis, and analytical essay. Tasks aimed at developing students’ creative abilities do not require the usual mechanical action that students perform automatically. It requires action, which is carried out at a high creative level, and activity that arises as a result of creative thinking. Therefore, ...

Purpose-The overall purpose of this research is to further the understanding of how future marketing managers in Egypt and the UK perceive creativity barriers. The paper also examines the construct validity of the barriers to creativity scale in an Arab non-Western context. Design/methodology/approach-A sample of 125 respondents was used to achieve the research purpose. Respondents completed a 17-item instrument designed to assess barriers to creativity in business organizations. Findings-Discriminant analysis results showed that Egyptians differ from British with respect to their attitudes towards organizational creativity barriers. t-test procedure confirmed also that gender and age have significant effects on the attitudes towards creativity barriers. Originality/value-This study has provided some insights into the factors associated with organizational creativity barriers in Egypt and the UK. The more is known of how future managers perceive creativity barriers, the more quickly and efficiently creativity can be stimulated.

Different approaches to solving the problem of mutual influence of emotional and thought processes are considered. The prospective direction of the further researches of the raised problem is outlined. Рассмотрены различные подходы к решению проблемы взаимовлияния эмоциональных и мыслительных процессов. Очерчено перспективное направление дальнейших исследований поставленной проблемы.
Розглянуто різні підходи до вирішення проблеми взаємовпливу емоційних і розумових процесів. Окреслений перспективний напрямок подальших досліджень поставленої проблеми.

In this paper the experience gained at using low-cost interactive marker augmented reality (AR) technology during course Computer graphics is presented. The preliminary exploration of AR technology adoption for teaching support and learning enhancement is done and several benefits are identified, summarized and analyzed via a model. Two learning scenarios are designed based on human-computer interaction principles to present important concepts virtually in interactive and engaging way. The students' opinion is gathered and the results describe AR as promising and effective technology that allows better understanding of theory and facts and that supports creative thinking and development of more realistic 3D models and scenes.

The study reported here described a small step in the direction of developing additional learning units within the traditional curriculum. It is apparent that if a teacher makes a decision to focus on improving higher order thinking and perseveres over time, the chances are good that the teacher will succeed. The purpose of this study was to explore whether teaching our specially designed learning unit would enhance the students' critical and or creativity thinking. The unit "Probability in Daily Life" was taught to a group of tenth-grade students, with the purpose of encouraging critical thinking dispositions such as open-mindedness, truth-seeking, self-confidence and maturity. The teacher encouraged class discussion and planned investigative lessons. The students completed a pre and post CCTDI test. The findings of the present research are likely to help composing new study programs and methods that can be based on the connection between critical thinking, creative thinking and the study of mathematics, which this research brings.

The main message carried by this article is that counterpoint can be taken as a model approach for the introduction of contrasting elements, not only in musical composition but also in the generation of ideas in any domain of knowledge. We start by an interdisciplinary review about the power of opposite concepts as constituting elements in nature. This is followed by the description of the DIMAI model for creative thinking, which is founded upon the dual forces of convergent and divergent thinking modalities. The main body of our work is an extraction of divergent modifiers from the Contrapunctus composed by Bach and collected in the Art of Fugue, with simple examples of application to the diversified fields of education and computer science.

Laboratory activity is an important part of chemistry learning, but cookbook instructions is still commonly used. However, the activity with that way do not improve students thinking skill, especially students creativity. This study aims to improve high school students creativity through inquiry-based laboratory on drugs analysis activity. Acid-base titration is used to be method for drugs analysis involving a color changing indicator. The following tools were used to assess the activity achievement: creative thinking test on acid base titration, creative attitude and action observation sheets , questionnaire of inquiry-based lab activities, and interviews. The results showed that the inquiry-based laboratory activity improving students creative thinking, creative attitude and creative action. The students reacted positively to this teaching strategy as demonstrated by results from questionnaire responses and interviews. This result is expected to help teachers to overcome the shortcomings in other laboratory learning.

Vaizduotės receptai Dr. Gedimino Beresnevičiaus knyga "Vaizduotės receptai" - asmeninio tobulėjimo ir saviugdos pratimų rinkinys, atskleidžiantis kontroliuojamos vaizduotės pritaikymo galimybes. Kaip įveikti sveikatos sutrikimus, atgauti dvasinę pusiausvyrą, įgyti pasitikėjimo savimi, suvaldyti emocijas, susigrąžinti miegą bei išspręsti asmenines, bendravimo, kitas problemas? Apie tai galite sužinoti nedidelėje Gedimino Beresnevičiaus knygoje "Vaizduotės receptai". Joje rasite daugiau kaip 50 pratimų įvairiems sutrikimams ar negalavimams sutvarkyti vaizduotės pagalba. Pateikiama ir keletas pratimų vaizduotei lavinti. Ši saviugdos knyga skirta siekiantiems patiems kurti savąjį gyvenimą ir savijautą darbo mintyse dėka. Nevaldoma vaizduotė gali kenkti, o kontroliuojama-padėti. Toks ir yra šios knygos tikslasparodyti, kaip kūrybinė vaizduotė gali padėti siekti sėkmės, įgyvendinti svajones, pagerinti gyvenimo kokybę. "Vaizduotės receptai" gausiai iliustruoti Audrio Šimakausko darbais. Gediminas Beresnevičius-socialinių mokslų daktaras, vienas iš fantastikos mėgėjų judėjimo Lietuvoje pradininkų, įvairių leidinių redaktorius ir leidėjas, lietuvių fantastikos knygų sudarytojas. Kūrybiškumo ugdymui skirtą dalyką dėsto Vilniaus universitete.

This article illustrates some features of Matthew Lipman’s epistemology which informs his Philosophy for Children/for Community. This draws from diverse aspects of contemporary com-plexity models. By virtue of its learning theory, its conception of research community as well as its praise of critical thinking, Philosophy for Children/for Community turns out to be an innovative philosophical practice which can play a crucial role in the educational reform and beyond.

It hurts while we let go Fear of pleasure. That sounds peculiar. Why would we fear something beautiful? And yet we see so many examples where people avoid pleasure or become tense in pleasant situations. There must be some logic to that, otherwise we would not be doing it. Where there is behavior, there is a motive that drives it. We must look for this one in the unconscious. It's so good it hurts Tighten your fist strongly. Hold it like that for half an hour. Okay, it is a little hard.-Imagine holding it like that for half an hour. Now, when you release the grip, the tension goes away, but it also hurts a bit. It feels good and hurts. Stretching the muscles is painful, but the circulation has started working again and that makes us feel good. It is the same with the emotions that we are squeezing into ourselves. It's just that we keep emotions for much longer than half an hour, so the math is different. The longer they stay and the more of them, the more will it hurt when we let go and the longer will it last. Admittedly, it will be more pleasing and give more to our lives when we endure the pain. Yes-there is no joy without pain. Enduring pain for the purpose of achieving pleasure is part of the principle of reality. So, we get pleasure by releasing the tension that we would not have reached if we had not endured a certain amount of pain. But this is not the same as a masochistic character. It is good to make a difference. It's so good because of the pain Motives of a masochistic character are similar, but here a person needs pain in order to get rid of the pressure. It is a need, not for pain as such, but for pleasure that can only be obtained through pain. Over and over again, like a circle, in the same or similar painful situations, a person seeks pleasure. Which certainly doesn't happen, but the person is not giving up. Another important difference is that the masochist is driven by the need for approval, which requires submission. Without working with the feeling of guilt and fear, the masochist remains in the same circle looking for pain in order to feel pleasure, which, in the end, he will always have less than pain. Happy tears Imagine a wave of warm water approaching a large piece of ice. Ice can then crack and melt. Now, imagine that ice is your defense against everything that can hurt you, and the wave of warm water is love, joy and pleasure. Perhaps it is already clearer why the "cold" take refuge from the "warm" people and why they run away from pleasure. It's because it is a threat to the ego defense. Those icy layers of protection were once created for the purpose of protecting us from pain, and now they are creating pain for us because they keep us from warm and pleasant emotions. So there is logic-sometimes we had to protect ourselves from vulnerability by

Reproductive Learning is an umbrella term for a form of education based on rote memorization and reproduction of existing knowledge. It reproduces the content, process, social structures, power relations, and
individuals that conform to what are perceived to be societal needs and norms, mostly derived from the need to train workers at various levels of expertise. It is often the result if not the actual goal of educational
approaches centered on testing, assessment, and where the acquisition of existing information and conceptual frameworks is central.

Mark Roxburgh’s research over the past decade has focused on the evolving conceptualization, discourse and development of research methodologies for design. This has lead him to question the historical pattern of design whereby the methods and epistemologies of other disciplines are used without addressing the differences between them and design. Design is a complex activity enmeshed in many aspects of our lives. In his article in Design Issues (1992), ‘Prometheus of the Everyday: The Ecology of the Artificial and the Designer’s Responsibility’, Manzini foregrounds the relational nature of this complexity by conceiving design (the artificial) as having an ecology. Roxburgh has written about these matters but his critique has conformed to the conventions of academic publishing and he has found articulating aspects of such complexity constrained by the limits of written language. Increasingly, in design, visualization is used to map complex relationships between things, ideas and actions. In this essentially visual essay, Roxburgh is attempting to graphically identify and explore the relationships of some of these concepts in a manner that echoes these trends and his own research practice. He is aware that sketches of complex phenomena, through a process of interpretation and abstraction, become somewhat reductive. The moments he draws on in crafting the depictions of his views are presented episodically rather than chronologically.
Roxburgh sketches out three key historical conceptions of design and the ramifications they have had on our perceptions and practice of it. He depicts these conceptions as being drawn from traditions outside of design and suggests that an alternative strategy may lie within design itself. This strategy calls for an engagement with what he calls the aesthetics of research. He suggests that it is imperative that design encompasses an aesthetic engagement with the world at all levels, and most importantly at the point of design research and conception, for our experience of design is fundamentally aesthetic. He is aware that there is an apparent irony in his use of non design theories to frame aspects of his view but this is a necessary strategy to critique the ontological assumptions inherent within the conceptions of design that he characterizes (one could even say ‘caricatures’). Roxburgh takes the position that there is nothing essentially given about design consciousness. Rather, the characterizations of design consciousness that he outlines all carry (usually implicit) ontological assumptions that may be inappropriate and/or limit design practice. The depiction of design that he offers is based instead on an alternative ontology. While this cannot be empirically verified (no ontology can), he proposes it as a way of extending and critiquing usual conceptions of design practice. No doubt this in turn will be found to have shortcomings of its own.

In this article, we consider the benefits and challenges of enacting creativity in the K-12 context and examine educational policy with regard to twenty-first century learning and technology. Creativity is widely considered to be a key construct for twenty-first century education. In this article, we review the literature on creativity relevant to education and technology to reveal some of the complex considerations that need to be addressed within educational policy. We then review how creativity emerges, or fails to emerge, in six national education policy contexts: Australia, Bulgaria, the Czech Republic, Finland, Slovakia, and the U.S. We also locate the connections, or lack of, between creativity and technology within those contexts. While the discussion is limited to these nations, the implications strongly point to the need for a coherent and coordinated approach to creating greater clarity with regards to the rhetoric and reality of how creativity and technology are currently enacted in educational policy.

Creative and critical thinking skills are the abilities, which can sometimes be used interchangeably in definition. In fact, they have different constructs because they differentiate in outcome of human behaviours. Also one of today’s requirements is that individuals should approach everyday problems by using both competences. So, one of the helpful tool for development of creativity and critical thinking skills proposed is problem-based learning environments in classrooms. In this study, problem based approach including philosophy; general characteristics of it, role of teachers and students in problem-based learning environment, and its uniqueness over other learning approaches is explained by considering advantages and limitations. Then, problem-based learning is discussed with regard to instructional design perspective in a scientific manner. Finally, the study is aimed to explain when PBL grounded in development of instructional strategy as a fruitful approach; instructional strategies, methods and techniques are differentiated in creativity and critical thinking skills.

The second edition of Berman, Jobes, and Silverman's Adolescent Suicide: Assessment and Intervention is an essential resource for anyone who treats adolescents-and the tangled web of adolescent depression and suicidal ideation and behavior. It is an intriguing book, an optimistic book, and a compelling piece of scholarship and creative thinking. It fills

Measuring creativity at a tertiary educational level has been problematic due to the diverse teaching and learning processes and programmes used in tertiary educational institutions. The objective of this research paper is to develop a theoretical model to measure creativity on a tertiary education level to actively support the creative development of students. To develop this model, the experimental design included an extensive literature study of various creativity models in order to identify the constructs that influence the creativity of university students. A total of twenty-eight creativity influences were observed which ultimately culminated into the selection of the eleven most important influences which resulted in a theoretical model. This model is of great value because tertiary education is important in equipping graduates with creative skills to apply in the global and competitive business and social environments.

This study investigated differences in cognitive processes related to problem complexity. It was assumed that these differences would be reflected in respondents' EEG activity--spectral power and coherence. A second issue of the study was to compare differences between the lower (alpha(1) = 7.9-10.0 Hz), and upper alpha band (alpha(2) = 10.1-12.9 Hz). In the first experiment two well-defined problems with two levels of complexity were used. Only minor differences in EEG power and coherence measures related to problem complexity were observed. In the second experiment divergent production problems resembling tasks on creativity tests were compared with dialectic problems calling for creative solutions. Differences in EEG power measures were mainly related to the form of problem presentation (figural/verbal). In contrast, coherence was related to the level of creativity needed to solve a problem. Noticeable increased intra- and interhemispheric cooperation between mainly the far distant brain regions was observed in the EEG activity of respondents while solving the dialectic problems. These results are explained by the more intense involvement of the long cortico-cortical fiber system in creative thinking. Differences between the lower and upper alpha band were significant for the power and coherence measures. In Experiment 2, fewer differences were observed in power measures in the upper alpha band than in the lower alpha band. A reverse pattern was observed for the coherence measures. These results hint to a functional independence of the two alpha bands, however, they do not allow to draw firm conclusions about their functional meanings. The study showed that it is unlikely that individuals solve well- and ill-defined problems by employing similar cognitive strategies.

Students of creativity have long been interested in the relationship between creativity and deviant behaviors such as criminality, mental disease, and unethical behavior. In the present study we wished to examine the relationship between creative thinking skills and ethical decision-making among scientists. Accordingly, 258 doctoral students in the health, biological, and social sciences were asked to complete a measure of creative processing skills (e.g., problem definition, conceptual combination, idea generation) and a measure of ethical decision-making examining four domains, data management, study conduct, professional practices, and business practices. It was found that ethical decision-making in all four of these areas was related to creative problem-solving processes with late cycle processes (e.g., idea generation and solution monitoring) proving particularly important. The implications of these findings for understanding the relationship between creative and deviant thought are discussed.

The major theme of this chapter appears at the intersection of two large fields of scientific inquiry: creativity and bilingualism. The first section presents a brief description of bilingualism studies and outlines possible cognitive mechanisms encouraged by an individual's cross-linguistic and cross-cultural experiences. Based on those findings, the author proposes an educational model that accounts for both bilingual and creative aspects of human development. Both bilingual and creative educational models are gaining increasing credibility in the scientific, educational, and legislative communities. The overview of this evidence is presented in the second section of the chapter, which recognizes the necessity of fostering students’ creative potentials and bilingual abilities. The analysis of various teaching strategies inherent to both types of education programs that shaped the construction of a theoretical framework for the Bilingual Creative Education program is presented in the third section.

This chapter explores the current state of knowledge on the genetic etiology of creativity (e.g., the genetic bases of the individual differences in creative ability). To extend this perspective, we review the socio-cultural aspects of creativity and present how these aspects have been interpreted from an evolutionary perspective. This includes examinations of the genetic forces that shape populations and their cultures, the cultural environment that receives the creative product and determines its usefulness and value, and some possible interactive effects that may contribute both to creativity as an individual ability and to the reception and adoption of novelty as a social process. We conclude by underlining the importance of studying creativity not only as an individual, objective “ability,” but also as a cultural, time-specific, biologically-grounded phenomenon with a social purpose.

Trata-se de uma amostra (2 capítulos) de um livro trilíngue em forma de diálogo entre as autoras com desafios ilustrados (por numerosos artistas e designers) para pôr o pensamento criativo em ação.

It is a sample (first 2 chapters) of a trilingual book in the form of a dialogue between both authors with illustrated challenges (by numerous artists and designers) to put creative thinking into action.

Es una muestra (dos capítulos) de un libro trilingüe en forma de diálogo entre las autoras, con desafíos ilustrados (por numerosos artistas y diseñadores) para poner en acción el pensamiento creativo.