Book contents
- Frontmatter
- Contents
- List of Contributors
- Preface
- Acknowledgments
- 1 How to Discourage Creative Thinking in the Classroom
- 2 Teaching for Creativity in an Era of Content Standards and Accountability
- 3 Developing Creative Productivity in Young People through the Pursuit of Ideal Acts of Learning
- 4 Creativity: A Look Outside the Box in Classrooms
- 5 Using Constraints to Develop Creativity in the Classroom
- 6 Infusing Creative and Critical Thinking into the Curriculum Together
- 7 The Five Core Attitudes, Seven I's, and General Concepts of the Creative Process
- 8 Learning for Creativity
- 9 Broadening Conceptions of Creativity in the Classroom
- 10 Everyday Creativity in the Classroom: A Trip through Time with Seven Suggestions
- 11 Education Based on a Parsimonious Theory of Creativity
- 12 Roads Not Taken, New Roads to Take: Looking for Creativity in the Classroom
- 13 Creativity in Mathematics Teaching: A Chinese Perspective
- 14 Possibility Thinking and Wise Creativity: Educational Futures in England?
- 15 When Intensity Goes to School: Overexcitabilities, Creativity, and the Gifted Child
- 16 Intrinsic Motivation and Creativity in the Classroom: Have We Come Full Circle?
- 17 Attitude Change as the Precursor to Creativity Enhancement
- 18 Creativity in College Classrooms
- 19 Teaching for Creativity
- Creativity in the Classroom Coda: Twenty Key Points and Other Insights
- Index
- References
5 - Using Constraints to Develop Creativity in the Classroom
Published online by Cambridge University Press: 05 June 2012
- Frontmatter
- Contents
- List of Contributors
- Preface
- Acknowledgments
- 1 How to Discourage Creative Thinking in the Classroom
- 2 Teaching for Creativity in an Era of Content Standards and Accountability
- 3 Developing Creative Productivity in Young People through the Pursuit of Ideal Acts of Learning
- 4 Creativity: A Look Outside the Box in Classrooms
- 5 Using Constraints to Develop Creativity in the Classroom
- 6 Infusing Creative and Critical Thinking into the Curriculum Together
- 7 The Five Core Attitudes, Seven I's, and General Concepts of the Creative Process
- 8 Learning for Creativity
- 9 Broadening Conceptions of Creativity in the Classroom
- 10 Everyday Creativity in the Classroom: A Trip through Time with Seven Suggestions
- 11 Education Based on a Parsimonious Theory of Creativity
- 12 Roads Not Taken, New Roads to Take: Looking for Creativity in the Classroom
- 13 Creativity in Mathematics Teaching: A Chinese Perspective
- 14 Possibility Thinking and Wise Creativity: Educational Futures in England?
- 15 When Intensity Goes to School: Overexcitabilities, Creativity, and the Gifted Child
- 16 Intrinsic Motivation and Creativity in the Classroom: Have We Come Full Circle?
- 17 Attitude Change as the Precursor to Creativity Enhancement
- 18 Creativity in College Classrooms
- 19 Teaching for Creativity
- Creativity in the Classroom Coda: Twenty Key Points and Other Insights
- Index
- References
Summary
Creativity is a commendation given to responses that are new and appropriate, generative, or influential (Csikszentmihalyi, 1996; Simonton, 1999). Appropriate means that the novelty solves a problem; generative, that it leads to other new things; influential, that it expands a domain. Children, like other novices, are capable of creativity at the appropriateness level. Generativity and domain change require far greater expertise. (Stokes, 2005).
Creativity at the classroom level can be characterized by two things, novelty and appropriateness. Novelty depends upon variability; appropriateness, on expertise. This chapter introduces a constraint-based model of problem solving to establish these two important precursors of creativity. Before introducing the problem-solving model and applying it to the classroom, we briefly discuss the critical connections between variability, novelty, and learning.
VARIABILITY, NOVELTY, AND EXPERTISE
Variability is defined as how differently something is done. As Figure 5.1 shows, variability can be pictured as a continuum with high and low levels at its extremes.
High Variability and Novelty
Expected (reliable, repeated) behaviors lie closer to the low end of the continuum, while surprising (novel, unanticipated) behaviors lie closer to the higher end (Stokes, 1999). The reason for the placements is simple: reliability is rewarded, reinforced. As a result of operant conditioning, responses that were successful in particular situations in the past will be tried before new ones are attempted. Since familiar solutions surface sooner than novel ones (Maltzman, 1960; Runco, 1986; Ward, 1969), variability is a precondition for novelty. It is also a precondition for acquiring expertise.
- Type
- Chapter
- Information
- Nurturing Creativity in the Classroom , pp. 88 - 112Publisher: Cambridge University PressPrint publication year: 2010
References
- 14
- Cited by