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
11 - Education Based on a Parsimonious Theory of Creativity
Published online by Cambridge University Press: 05 June 2012
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
Summary
The best education is grounded in good science. It is not based on opinion, tradition, or speculation but instead is drawn directly from the reliable information of empirical studies and the logical theories that take into account the empirical data. I have often told my students (many of whom are planning to teach) that it is their ethical responsibility to develop curriculum and follow pedagogy that has been tested and verified.
Fortunately, there is no lack of good information about creativity. This means that educators should have plenty of data and reliable theory to apply in the classroom. There is also quite a bit of bad information about creativity, but if opinion, tradition, and speculation are used to identify untrustworthy sources, it is not that difficult to separate the wheat from the chaff.
Indeed, there may be too much information about creativity. There are different perspectives on various aspects of the creative process (e.g., Simonton, 2007; Weisberg, 2007), which can make it difficult to focus. Many of the differences can be explained by the fact that creativity is a syndrome (MacKinnon, 1965; Mumford & Gustafson, 1988), which is affected by quite a few different influences. Additionally, it takes various forms depending on the creator's age (Runco & Charles, 1997) and the domain (Albert, 1980; Gardner, 1983). Age and domain are especially relevant to education because they indicate that certain things may be best for the creativity of a preschool- or elementary school–aged student, but other things may be best for an adolescent or a young adult.
- Type
- Chapter
- Information
- Nurturing Creativity in the Classroom , pp. 235 - 251Publisher: Cambridge University PressPrint publication year: 2010
References
(1980). Family position and the attainment of eminence: A study of special family positions and special family experiences. Gifted Child Quarterly, 24, 87–95.CrossRefGoogle Scholar
(in press). The Achievement of Eminence as an Evolutionary Strategy. In (Ed.), Creativity research handbook (Vol. 3). Cresskill, NJ: Hampton Press.
(1990). Within you, without you: The social psychology of creativity, and beyond. In & (Eds.), Theories of creativity (pp. 61–91). Newbury Park, CA: Sage.Google Scholar
(1994). Managing the creative process. In (Ed.), Problem finding, problem solving, and creativity. Norwood, NJ: Ablex.Google Scholar
(in press). Managing the creative process. In (Ed.), Problem finding, problem solving, and creativity. Norwood, NJ: Ablex.
(1999). Dangerous minds: Eminently creative people who spent time in jail. Creativity Research Journal, 12, 3–13.CrossRefGoogle Scholar
(1999). Barriers to creativity and creative attitudes. In & (Eds.), Encyclopedia of creativity (pp. 165–174). San Diego, CA: Academic Press.Google Scholar
(1999). Creative prisoners: Do they exist?Creativity Research Journal, 12, 205–210.CrossRefGoogle Scholar
(1990). Generativity theory. In & (Eds.), Theories of creativity (pp. 116–140). Newbury Park, CA: Sage.Google Scholar
(2000) How to get a great idea. In (Ed.), Creativity, cognition, and behavior. New York: Praeger.Google Scholar
(1990). Disorders of the pathways involved in the creative process. Creativity Research Journal, 3, 158–165.CrossRefGoogle Scholar
(1981). On the relation between ‘a ha’ experiences and the construction of ideas. History of Science, 19, 41–59.CrossRefGoogle Scholar
(1988). The evolving systems approach to creative work. Creativity Research Journal, 1, 27–51.CrossRefGoogle Scholar
(1996). The life space of a scientist: The visionary function and other aspects of Jean Piaget's thinking. Creativity Research Journal, 9, 251–265.CrossRefGoogle Scholar
(1962). The nature and nurture of creative talent. American Psychologist, 17, 484–495.CrossRefGoogle Scholar
([1960] 1983). The highly effective individual. In (Ed.), Genius and eminence: A social psychology of creativity and exceptional achievement (pp. 114–127). Oxford: Pergamon.Google Scholar
(1968). Creativity in self-actualizing people. In Toward a psychology of being (pp. 135–145). New York: Van Nostrand Reinhold.Google Scholar
(1977). The path between the seas: The creation of the Panama Canal 1870–1914. New York: Simon & Schuster.Google Scholar
(1994). In (Ed.), Problem finding, problem solving, and creativity. Norwood, NJ: Ablex.Google Scholar
, & (1988). Creativity syndrome: Integration, application, and innovation. Psychological Bulletin, 103, 27–43.CrossRefGoogle Scholar
(1981). Foreword. In , Darwin on man: A psychological study of scientific creativity. Chicago, IL: Chicago University Press.Google Scholar
, & (in press). Understanding organizational creativity: Toward a multi-paradigmatic approach. In (Ed.), Creativity research handbook (Vol. 2). Cresskill, NJ: Hampton Press.
(1954/1959). Toward a theory of creativity. In (Ed.), Creativity and its cultivation: Addresses presented at the interdisciplinary symposia on creativity (pp. 69–82). New York: Harper & Row.Google Scholar
(1987). Tools for thought: Designing an integrated curriculum for lifelong learners. Roeper Review, 10, 17–21.CrossRefGoogle Scholar
, & (1992). The psychoeconomic approach to creativity. New Ideas in Psychology, 10, 131–147.CrossRefGoogle Scholar
, & (1995). The psychoeconomic view of creative work in groups and organizations. Creativity and Innovation Management, 4, 232–241.CrossRefGoogle Scholar
(1996). Personal creativity: Definition and developmental issues. New Directions for Child Development, 72(Summer), 3–30.CrossRefGoogle Scholar
(1999). Tactics and strategies for creativity. In & (Eds.), Encyclopedia of creativity (pp. 611–615). San Diego, CA: Academic Press.Google Scholar
(2003). Education for creative potential. Scandinavian Journal of Education, 47, 317–324.CrossRefGoogle Scholar
(2007a). Creativity: Theories and themes: Research, development, and practice. San Diego, CA: Academic Press.Google Scholar
(2007b). A hierarchical framework for the study of creativity. New Horizons in Education, 55(1), 1–9.Google Scholar
, & (1985). The reliability and validity of ideational originality in the divergent thinking of academically gifted and nongifted children. Educational and Psychological Measurement, 45, 483–501.CrossRefGoogle Scholar
, & (1993). Assessing ideational and evaluative skills and creative styles and attitudes. Creativity and Innovation Management, 2, 166–173.CrossRefGoogle Scholar
, & (1995). Cognition and creativity. Educational Psychology Review, 7, 243–267.CrossRefGoogle Scholar
, & (1997). Developmental trends in creativity. In (Ed.), Creativity research handbook (Vol. 1, pp. 113–150). Cresskill, NJ: Hampton.Google Scholar
, & (1996). Optimization as a guiding principle in research on creative problem solving. In , , & (Eds.), Problem solving and cognitive processes: Essays in honor of Kjell Raaheim (pp. 119–144). Bergen, Norway: Fagbokforlaget Vigmostad & Bjorke.Google Scholar
(1995). Exceptional personal influence: An integrative paradigm. Creativity Research Journal, 8, 371–376.CrossRefGoogle Scholar
(2007). The creative process in Picasso's Guernica sketches: Monotonic improvements versus nonmonotonic variants. Creativity Research Journal, 19, 329–344.CrossRefGoogle Scholar
, & (1965). Modes of thinking in young children. New York: Holt, Rinehart and Winston.Google Scholar
(2007). We are all partly right: Comment on Simonton. Creativity Research Journal, 19, 345–360.CrossRefGoogle Scholar
- 20
- Cited by