Изучение креативности в разных сферах
Using confirmatory factor analysis such types of creative behavior as visual creativity, literature, craft, performance and organizational creativity were identified. The study also revealed the existence of a generalized factor of creativity. Literature and visual creativity brings the greatest contribution in the generalized factor.
In this monograph, Anatoliy V. Kharkhurin presents the results of his empirical investigation into the impact of multilingual practice on an individual's creative potential. Until now, the relationship between these two activities has received little attention in the academic community. The book makes an attempt to resuscitate this theme and provides a solid theoretical framework supported by contemporary empirical research conducted in a variety of geographic, linguistic, and sociocultural locations. This study demonstrates that several factors - such as the multilinguals' age of language acquisition, proficiency in these languages and experience with cultural settings in which these languages were acquired - have a positive impact on selective attention and language mediated concept activation mechanisms. Together, these facilitate generative and innovative capacities of creative thinking. This book will be of great interest not only to scholars in the fields of multilingualism and creativity, but also to educators and all those interested in enhancing foreign language learning and fostering creativity.
The article substantiates that uncertainties, instabilities, and fluctuations accompanying the development processes in the modern world not only create difficulties for us, but also form a basis for our individual and collective creativity. The future is open and not given to us in advance, and it is in the power of a man to make a deliberate and measured choice of the further path of development from a whole spectrum of possibilities in states of instability or at points of bifurcation. The world is constructed by men and with their active participation taking into account some preferred images of the future. Such scientists and thinkers of the 20th century as Ilya Prigogine and Ivan Frolov combined philosophy and science and taught us to develop integrative, holistic, interdisciplinary strategies for understanding the present and constructing the future, guided by humanitarian values and a culture of reason.
The paper is focused on the history and modern practices of creating and applying interactive exploratory objects and worlds that provoke curiosity in the individual and require exploration and experimentation to learn them and to achieve practical goals. The development, use and demonstration of a wide range of exploratory objects (play, educational, psycho-diagnostic, etc.) in various fields reflects an increasingly wide spread belief: one of the basic human abilities that is needed now and will be in demand in the future is the ability to cope with novelty, including through active exploration and experimentation. Five interrelated directions for the development and popularization of exploratory objects are identified: science; educational practice; assessment; game practices; and literature, art, official and unofficial journalism. Parameters of specially developed interactive exploratory objects and worlds in the context of preparing for encounters with novelty and complexity are discussed. The triangle of tests of intelligence, creativity and exploratory behavior in the space of regulation – freedom is presented. Two types of motivational challenges when exploring new objects are described: exploration for the sake of the very process of cognition and exploration for the sake of desired practical effects. The issue of features of exploratory objects that stimulate posing and solving epistemic problems rather than pragmatic problems, and vice versa, is raised. In conclusion, possible reasons for the mass development and supply of exploratory objects and worlds are formulated.
This article discusses the trend in the development of testing from maximum regimentation of the test-takers’ activity (where they solve problems clearly formulated by the creator with a single correct answer) to diagnostic problematic situations that are very new and indefinite with an open beginning and an open end. With increasing frequency, the open beginning used in testing presupposes a freedom of independent formulation of one’s own research questions of the reality being studied and a search for answers while interacting with that reality. The emergence of mass testing of exploratory behavior is a reflection of the conviction that one of the key abilities that will be required in the very near future is the ability to cope with uncertainty and novelty, including by actively investigating them.
The discussion deals with the problems of testing intelligence and creativity in conditions of novelty and uncertainty, including the “judging problem.” It is pointed out that any thinking test, especially a test of creative thinking, is also an implicit (albeit perhaps not conscious) claim by its developers that their wisdom is virtually unsurpassed. After all, it is assumed that any person’s intelligence and creativity that unfold in a new situation may be described in the context of the model produced by the creative intellect of the test’s developer and, hence, by a more powerful “superintellect.” The errors that are practically inevitable with such an approach can be corrected in a dialog among various groups of researchers or, to the contrary, may be deepened if criticism is shut off.
The article analyzes a fundamental methodological error of creativity testing—the “standard list of creative answers” drawn up by the test-maker in advance, against which the participants’ solutions are checked. This error is explored in the case of an invention-oriented task in the international scholastic test PISA 2012, based on which the education ratings of countries are constructed.
An optimistic thesis is offered: no matter how successful testing is, humankind will never be fully prepared to determine its creative potential, due to its forward development. Without diagnostic tools, however, it will be far less prepared; they are a new and important part of that potential.
The acknowledgment of the knowledge-based nature of today’s economy and of organisations points out that knowledge workers and knowledge processes are at the basis of organisations competitiveness and knowledge management is a necessary dimension connecting operations and strategy in order to translate knowledge into organisational performance and value outputs and impacts. However, the ability of an organisation to prosper is linked not only to its capacity of managing and developing its knowledge resources, but most importantly to the identification of those cognitive resources that have strategic relevance for the future success of the organisation, i.e. the organisational knowledge assets. Indeed, knowledge assets contribute to the definition of the value of an organisation both from a static and a dynamic perspective. From static point of view, knowledge assets such as, for example, patents, brand, culture, core competences, identity and image, and so on, stand for most of the market value of today’s company. The notion of intellectual capital has been introduced in the management and economic literature to represent those assets explaining the difference from the market value and the book value of today’s knowledge intensive companies. On the other hand, most importantly knowledge assets define the roots of value creation dynamics. They are the value drivers to execute organisational processes that in turn explain organisational performance. This involves the definition of knowledge management initiatives as strategizing planned actions connecting business strategy and every day operation management. The formulation and implementation of a strategy define the route that an organisation leadership undertake to navigate the business landscape by coping with an unknown world by continuously projecting and revising strategic objectives to be achieved. In order to operate, organisations need to develop their knowledge domains that in turn define organisational capabilities, skills and competences. Knowledge strategies are aimed to maintain and growth organisational knowledge. Although knowledge management is still not fully acknowledged as a mainstream managerial discipline with all business schools dedicating courses on the subject, it represents a fundamental management and economic research area with fundamental implications to understand organisations, their working mechanisms and value creation dynamics, and the ways how organisations interact and shape the business landscape. The mission of IFKAD is the development of research and scientific conversations aimed to contribute to theory-building as well as to the managerial practice about the role of knowledge as an organisational value-driven source. Our view is that organisations are primarily in the business of knowledge and from their capacity of managing knowledge depends their future business sustainability and value creation capacity.
Purpose - This paper investigates relationships among correlates of individual innovative activity: creativity, innovativeness, novelty seeking, and intelligence.
Design/methodology/approach - Data were collected from 202 students of the Higher School of Economics (123 females and 79 males).
Findings- The findings revealed significant relations between intelligence and fluency of participants’ creative performances, as well as novelty seeking and innovativeness.
Research limitations/implications - Limitations include the correlation design, the sample of students, and the self-reported measures for novelty seeking and innovativeness.
Practical implications- The paper proposes a number of implications for researchers and practitioners who deal with innovation. The results of the study can be applied to various procedures and stages of innovation management.
Originality/value – The study contributes to knowledge on psychological correlates of innovation on an individual level, such as creativity, innovativeness, novelty seeking, and intelligence, as well as produces an empirically validated model of the relationships among them.
The purpose of the study is to identify the long-term benefits of the video creation for developing students’ professional curiosity and employability skills when learning a foreign language.
Objectives of the research: 1) to study the optimal forms of projects for the formation of speech skills in foreign language and solving intellectual problems; 2) to determine interaction between student and teacher, and the role of the teacher to enhance the student's creativity solving a specific problem; 3) to assess the student’s logical chain of decision-making on the topic choice.
Methods: analysis of the students’ final works, teacher-student discussion, group discussion and evaluation of the project by peers, monitoring the delayed educational impact of the project on the student's activity at the next stage of foreign language learning, monitoring the impact of the work on the evolution of the student’s view of the world.
Materials: French textbook "Landscape Architecture and Horticulture of the 21st Century: Challenges and Imperatives of Our Time"; student final projects.
Results. One hundred and fifty student works in French by Russian students of agrarian specialties of the 2017-2018 academic year have been analysed (made by more than two hundred students, future specialists in various agricultural sectors: agronomy, veterinary and sanitary examination, veterinary medicine, agro-industrial complex, standardization and metrology, land use and cadastres, landscape architecture and horticulture).
Criteria: originality of the idea; quality of filming; strategies for finding the equivalents for Russian terms in French; quality of subtitles (correctness, use of terms), quality of the oral presentation; humor.
Discussion. As the study showed, the students consider the optimal form of projects to be the Power Point presentation with the inclusion of video and audio elements and with subtitles. This form was used for an individual project. This kind of project required much more participation of the teacher in its creation, since this form was chosen by lower-achieving students.
The shooting of a video has been mastered by students: the development of the plot, the preparation of the text, artistic realization. In total, about twenty videos were created; most of them were group videos. From the point of view of the French language learning outcomes, this type of work is the most effective for the formation of speech skills and the solution of intellectual problems.
The poster as form was a completely new kind of activity for students; only one such project was implemented. It did not require any participation of the teacher: the student used tips of various training sites and performed the work perfectly.
During the implementation of the project, we note an increase in the students' creativity. They started by choosing a topic from the text-book, but the course of thought led them to an independent search on the new ground: they treat, through a logical chain, aspects concerning acute problems. For example, forestry – deforestation in France – draining the Shatura marshes in the Moscow region – current manmade fires in the world. Our goal, ideally, is that students are able to communicate in an unconventional professional situation. To do this, they learn to use their own experience and news sites, especially Euronews, for delivering material in a way of compression: abstracts, poster, presentation, subtitles.
—Software engineering is an interactive, collaborative and creative activity that cannot be entirely planned. Inspection and adaption are required to cope with changes during the development process. Software engineering education requires practical application of knowledge, but it is challenging and time consuming for instructors to evaluate the creation of innovative solutions to problems. Current higher education practices lead to a multitude of rules, guidelines and order. Instructors see deviations of students as failures and limit the creative thinking processes of students. In this paper we describe chaordic learning, a self-organizing, adaptive and nonlinear learning approach, to stimulate the creative thinking of students. Instructors provide structure and guidance, but also integrate freedom for self-organization and self-guided learning and embrace innovation and creativity. Deviations are seen as opportunities and failures as possibilities for students to learn and improve. We introduced chaordic learning into a games development course and a joint advanced student school and describe the chaordic process of these courses as case studies. Students in these courses report about an increased intrinsic motivation, a higher level of self-organization and more room for creativity leading to an improved learning experience and more fun