DOCSLIB.ORG

Creativity Training in Problem Solving: a Model of Creativity in Mathematics Teacher Education

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Creativity Training in Problem Solving: a Model of Creativity in Mathematics Teacher Education New Horizons in Education, Vol.55, No.3, Dec. 2007 Creativity Training in Problem Solving: A Model of Creativity in Mathematics Teacher Education Mehmet Ali KANDEM�R* Hülya GÜR* Balikesir University, Turkey Abstract Background: The goal of the pedagogical content course is to teach how to make mathematics education better through the use of different teaching methods, and techniques. By learning the different teaching methods, future teachers will be able to apply their learning into the teaching. Aims: The aim of this exploratory study is to note and discuss some of the diversified views in the perspectives of the prospective mathematics teachers on improving creative thinking in problem solving. Sample: 43 prospective secondary mathematics teachers participated in the study. Method: All the participants were observed and interviewed during the eleven-week of that academic year. Data were recorded and transcribed. Results: The results related to prospective mathematics teachers’ views on how to improve creative thinking, and to provide an analysis on their perception of creativity in problem solving were found. The pedagogical knowledge of mathematics content course should be reconsidered in how to provide subject matter knowledge, and opportunities to teach creative problem solving techniques. This will contribute to the goal of improving creativity in problem solving in mathematics education. In brief, creative training can really enhance creativity. Conclusion: Authors’ experiences indicated that the most effective method is to provide a relevant training. Teacher training should be redesign according to creative problem teaching techniques. These include the use of creative problem solving to allow future teachers a chance to have experience and training. The factors of divergent thinking determined were special characteristics, types of thinking, supporting creativity, factors affecting creativity, and the ways to improve creativity. Keywords: Creative training, divergent thinking, problem solving, teacher training ᇞެംᠲऱ໌რಝᒭ: ԫଡᑇᖂඒஃඒߛऱ໌რᑓী ኴ૞ ᑇᖂඒߛֱ૿ᇘໂࠡᖂ୉Δࠌڇऱඒᖂֱऄࡉݾ๬ΔٵહནΚᑇᖂඒᖂऄઝؾऱؾᑑΔਢຏመլ ඒᖂΖװࢬᖂ฾ऱشஃ౨ᖂᄎ৻ᑌᚨ۔ࠐᑇᖂآ ߡ৫ڍᇞެംᠲֱ૿ڇຘီ໌ທࢤ৸ፂΔװஃ۔ၞᄷᑇᖂޏؾऱΚຍႈ൶౉ࢤઔߒऱؾᑑΔࣹૹ ऱ઎ऄΖ ԱຍઔߒΖףஃ೶۔ᄷᑇᖂۯ ᓳ਷ኙွΚ43 ᣂᇷறΖڶΔಖሉࡉᙀᙕԱृף೶ڶऱԼԫଡਣཚၴᨠኘࡉආ๶Աࢬڣ߷ᖂڇᓳ਷ֱऄΚຍઔߒ ၞ໌ທࢤ৸ፂࡉ։࣫໌რᇞެംᠲऱᄗ࢚Ζᚨᇠ֘৸ඒޏஃᣂ࣍৻ᑌ۔ࠩԱᄷᑇᖂބᓳ਷࿨࣠Κ ၞᑇᖂඒߛխ໌რᇞޏઝऱփ୲ࡉඒ໌რᇞެംᠲݾ؏ऱᖲᄎΖຍኙء౨༼ࠎঁא඄ᑇᖂઝऱֱऄΔ ೏໌რΖ༼چإటױಥ᣸Ζ១ۖߢհ, ໌რऱಝᒭڶംᠲऱؾᑑެ யऱֱऄਢ༼ࠎઌᣂऱಝᒭΖஃᒤಝᒭᚨᇠਢ௅ᖕ໌რऱംᠲඒ඄ڶ່ ,ऱᆖ᧭।ࣔृ܂࿨Κ᜔ Κ௽ڶైڂᆖ᧭ࡉಝᒭΖ࿇ཋࢤ৸ፂऱװᖲᄎڶஃ۔ࠐآრᇞެംᠲ࿯໌شਔࠌץ٦๻ૠΔຍװ؏ݾ ၞ໌რऱֱऄΖޏΕࡉైڂ௽ᐛΕ৸ፂᣊীΕ໌რऱ֭གΕᐙ᥼໌რऱܑ ᣂ᝶ဲΚ ໌რಝᒭ, ࿇ཋࢤ৸ፂ , ᇞެംᠲ, ஃᒤಝᒭ 0 0 105 Mehmet Ali KANDEM�R , Hülya GÜR Introduction of creativity that focus on this study with new The perception of the prospective and different types of thinking, and these mathematics teacher on the notion of have contributed to determination of what it creativity is an interesting and important takes to be creative. In the present study, issue in mathematics education. The study is creativity defined as an idea or product should also important to educate prospective be new, original and appropriate. Creativity is a mathematics teachers the creative thinking in thinking process that results in new, unusual, problem solving during their teacher training. and insightful solutions to a given problem Creativity plays an important role in that can branch from any difficulty, by students’ academic achievement (Onda, thinking divergently and looking at problem 1994). Creative thinking can be improved solving using new perspectives. The present with creativity, and with the use of creative research combined creativity with six problem solving techniques (Puccio and adjectives, novelty, originality idea, creative Murdock, 2001), and open-ended questions product, creativity process, creative person, and (Silver, 1993). Additionally, Meissner (1999) creative environment. Starko (2004) mentioned says that students should be asked first two of them while Fisher (1995, p.31) challenging question to improve creativity in mentioned last four of them. mathematics. It is commonly believed that divergent thinking exercises should be done LITERATURE REVIEW in the training. A desired teaching situation According to the related literature, can be reached through problem solving and creativity in problem solving related to brainstorming being used in conjunction thinking patterns such as creative, divergent, with each other, and to encourage the reflective and convergent thinking. students to produce more answers, the According to Feldhusen (1995, p.31), mathematics teacher needs to assume the creative thinking is the process of modifying role leader for these exercises. Real life ideas from existing knowledge, along with questions should be presented to students the ability to form, or to bring forth, a new and problems should include contradictory thought by using intellectual imagination. situations. This gives them an opportunity to Divergent thinking develops and broadens use their creative thinking (Ediger, 2000). out thinking process while thinking According to Fisher (1995), real life problems, divergently entails starting with a specific as they were developed to consider real life, problem or idea and generating various need to be open-ended. However, currently, perspectives on it. The purpose of divergent the problems presented to students are not thinking is to ignore constraints, and to real life problems. Instead, students are entertain all different kinds of possibilities. mostly asked close-ended questions, which On the other hand, there is a parallelism direct them to one answer only, and this is between the uses of divergent and creative what causes the conflict. The use of standard thinking together by teachers in mathematics operations to solve closed-ended questions lessons. Haylock (1987, 1997) notes that results in the information of clinches and having an acceptance of teachers receiving algorithms, and causes mental barriers improved creativity in problem solving by (Haylock, 1987). getting rid of obsessions, and through divergent thinking. Teachers who make There is not a single description of statements supporting their ability to get rid creativity, and to define it is difficult to themselves of obsessions were more suitable design. However, there are some descriptions to Ediger’s (2000) statement of a creative 0 0 106 Creativity Training in Problem Solving: A Model of Creativity in Mathematics Teacher Education mathematics teacher. Reflective thinking is (Sternberg, 1996). First of all, in order to the child of careful, efficient and consistent develop creativity, teachers should be both thinking that supports an idea, or knowledge, open-minded (Barak et.al, 2002) and have and the reaching of the goals it aims to new thoughts (Evans, 1991). This can be achieve (Dewey, 1991). Rodgers (2002) achieved by not being biased about the perceives reflective thinking as the process of programs they apply for their biases may carrying one’s own experience into meaning- prevent creativity. Creative individuals formation, and the relation and connection develop a strong self-confidence (Sternberg, of bringing a deep understanding into other 1988; Brolin, 1992). experiences and ideas. Components of reflective thinking are attitudes, process, A perception is a barrier of learning. content and depth (Lee, 2000). Thinking Additionally, some barriers such as family patterns have important role of presenting and relatives, the educational system, and the creativity. Teachers’ effect on students’ organizational environment are external. The attitudes towards creativity helps the students mental barriers, named inner barriers, were to develop positive attitudes towards formed by our confrontation of outer or mathematics. Education focuses on judging physical effects. The key to improving ideas, and those were judged without being creativity is to remove these barriers and to considered well enough or there can be prevent these barriers from forming. Every prejudices towards them. According to person has barriers, but the degree and Sternberg (1996), the development of number of these barriers changes from one creativity is time-consuming and quite to another. Adams (1986) connected the normal that the techniques being applied barriers to creativity with four subtitles: take time to improve and comprehend. A perception, emotional, cultural, prejudiced teacher prefers to judge rather environmental, and mental. Perceptional than to generalize ideas and to have little or barriers restrict the information gathering too much self-confidence stands as a barrier needed to understand the problem, or the to the development of their creativity. It can inability to identify the problem itself. be stated that those individuals cannot Perceptional barriers result from the fact that overcome the mental, comprehensive, and learner perception is not always right (Vidal, emotional barriers. Parnes (1978) puts forth 2004). Haylock (1987) divides into two that prospective teachers indicated that they fixation categories. One is algorithmic developed their self-confidence and freedom fixation (obsession), and the other is a real by participating in the creativity training. life obsession. According to Finke and et al. Scott et al. (2004) implicates that the training (1996, p.150): aimed at developing creativity provided self- confidence to the participants. Additionally, “Fixation is a very general Haylock (1987) determined that teachers, phenomenon and occurs in a wide who express their development of confidence variety of cognitive domains, and opinions to use
Load more

Recommended publications
  • Innovation Through Design Thinking (2 Units)
    University Of California, Berkeley Department of Mechanical Engineering ME 290K A: Innovation through Design Thinking (2 units) Graduate Course Syllabus CATALOG DESCRIPTION Designed for professionally-oriented graduate students, this course explores key concepts in design inovation based on the human-centered design approach called “design thinking”. Topics cover include human-centered design research, analysis of research to develop design principles, creativity techniques, user needs framing and strategic business modeling. COURSE PREREQUISITES Graduate level standing; Prior design course TEXTBOOK(S) AND/OR OTHER REQUIRED MATERIAL No formal textbook. Sample readings are: Designing for Growth: A Design Thinking Tool Kit for Managers, by Jeanne Liedtka and Tim Ogilvie, Columbia Business School, 2011. Peter Guber Interview – The MAGIC is Story at http://tinyurl.com/3phk6bl and the executive summary of the book Made to Stick at Design Thinkng .tagonline.org/files/Made_to_Stick.pdf. “Design Thinking: Notes on its Nature and Use,” Design Research Quarterly Vol. 2, N0. 1, January, 2007 “The Principles of Collective Invention,” White Paper by Erika Gregory & Clark Kellogg “Learning from Studio,” by Clark Kellogg, Design Intelligence Knowledge Reports, January, 2006 The Future of Innovation, by Andrew Razeghi, selected chapters (Slimbooks), 2012 “PFPS Toolkit,” by Clark Kellogg, Sara Beckman and Helene Cahen “Culture of the Charrette,” White Paper by Arnold Wasserman “Ethnography Primer,” IDSA, 2010 Business Model Generation: A Handbook
    [Show full text]
  • The Effects of Creative Problem Solving Training on Cognitive Processes in Managerial Problem Solving”
    “The Effects of Creative Problem Solving Training on Cognitive Processes in Managerial Problem Solving” Ching-Wen Wang AUTHORS Ruey-Yun Horng Shih-Chang Hung Yung-Chang Huang Ching-Wen Wang, Ruey-Yun Horng, Shih-Chang Hung and Yung-Chang Huang ARTICLE INFO (2004). The Effects of Creative Problem Solving Training on Cognitive Processes in Managerial Problem Solving. Problems and Perspectives in Management, 2(1) RELEASED ON Wednesday, 17 March 2004 JOURNAL "Problems and Perspectives in Management" FOUNDER LLC “Consulting Publishing Company “Business Perspectives” NUMBER OF REFERENCES NUMBER OF FIGURES NUMBER OF TABLES 0 0 0 © The author(s) 2021. This publication is an open access article. businessperspectives.org Problems and Perspectives in Management, 1/2004 101 The Effects of Creative Problem Solving Training on Cognitive Processes in Managerial Problem Solving Ching-Wen Wang1, Ruey-Yun Horng2, Shih-Chang Hung3, Yung-Chang Huang2 Abstract: The purpose of this study is to investigate the effect of Creative Problem Solv- ing (CPS) training on managerial problem solving behaviors. The ill-defined nature of managerial problem solving process is modeled by a two-space four-stage search model. Twenty-two mangers solved a managerial case before they received 12 hours of CPS training (control group). Another 22 managers solved the case problem after the CPS training (experimental group). All managers were administered the Torrance Test of Creative Thinking, Circle Test before the CPS training. The results showed that after the CPS, managers in the experimental group improved in the num- ber of inferences made in the problem space and the number ofroblem p definitions linking the cognitive activities between problem space and solution space,compared to managers in the con- trol group.
    [Show full text]
  • Teaching Creativity in a Technological Design Context*
    Int. J. Engng Ed. Vol. 19, No. 2, pp. 260±271, 2002 0949-149X/91 $3.00+0.00 Printed in Great Britain. # 2002 TEMPUS Publications. Teaching Creativity in a Technological Design Context* KEES VAN OVERVELD, RENEÂ AHN, ISABELLE REYMEN and MAXIM IVASHKOV Stan Ackermans Institute, Centre for Technological Design, Eindhoven University of Technology, PO Box 513, 5600 MB Eindhoven, The Netherlands. E-mail: [email protected] We want to teach creativity techniques to prospective technological designers in a domain- independent way. To facilitate this, we adopt a format and nomenclature that is close to the terminology used by engineers. Central notions are concepts, attributes and values. A crucial role is played by, what we call, productive attributes: attributes that come with a set of values that can easily be enumerated. In this paper we show how this format supports several creativity techniques and how it allows engineers to explore option spaces in a structured manner. We briefly discuss some practical experiences with our approach. INTRODUCTION: PROBLEM STATEMENT ANALYSIS THE STAN ACKERMANS INSTITUTE (SAI) We focus on the following problem: `How to is a subsidiary of Eindhoven University of Tech- teach creativity techniques in interdisciplinary nology [1]. It has been established in order to design for post graduate technological design organise various postgraduate programs in programs'. advanced technological design. In order to enrol Even when dealing with design problems that in these programs, candidates possess a completed offer ample opportunity for an innovative masters degree in some technical discipline; after approach, novice designers and students in tech- successful completion of an SAI program, they nological design very often fall back to conven- receive the title MTD (Master of Technological tional, and frequently sub-optimal textbook-type Design): a degree that is certified by the Dutch solutions.
    [Show full text]
  • Brainstorming and Brainwriting As Creativity Techniques: a Diagnosis in Companies of the Metallurgic Sector
    Brainstorming and Brainwriting as creativity techniques: a diagnosis in companies of the metallurgic sector Jaqueline Fonseca Rodrigues (UTFPR) [email protected] Ivanilde Scussiatto Eyng (UNAM-Argentina) [email protected] Thompson von Agner (CESCAGE) [email protected] Isaura Alberton de Lima (UTFPR) [email protected] Dálcio Roberto dos Reis (UTFPR) dá[email protected] Abstract The objective of this article is to diagnosis the level of knowledge and the level of experience allied to the importance of the creativity, through the use of the techniques of Brainstorming and Brainwriting, as stimulation to the generation of ideas. The present study was developed in companies of the metallurgic sector in the City of Ponta Grossa. Here presented through a field research in eleven companies. Creativity for some authors is the process to become sensible the problems, deficiencies; gaps in knowledge, disharmony; to identify the difficulty, to search solutions, formulating hypotheses regarding the deficiencies; to test and to re-test these hypotheses; and finally, to communicate the results. Brainstorming, more than a technique of group dynamics, is a developed activity to explore the potentiality creativity of individual, placing them it service of their objectives, whereas Brainwriting is the quiet version of the Brainstorming. The results demonstrate that in relation to the knowledge level: Brainstorming: there are managers who do not know, others that know and still a third group that knows well; Brainwriting: many managers are unaware of, some know and few know well. With regard to the experience level: Brainstorming: a great number of managers does not use, few use occasionally and some use it regularly; Brainwriting: a totality of the researched managers practically do not use, a minority uses occasionally and none of the managers makes regular use of the technique.
    [Show full text]
  • Fostering Creativity and Innovation 203 This Work May Not Be Reproduced Or Distributed in Any Form Or by Any Means Without Express Written Permission of the Publisher
    Fostering Creativity and DO Innovation 7NOT Creativity at J.Crew On the inside cover of a spring 2013 mail catalog, Jenna LEARNING Lyons, Creative Director of J.Crew wrote “You may remember OUTCOMESCOPY, us from years ago—J.Crew, all about the classics. You’ll still find them here, but we’ve changed a lot since then. These After reading this chapter, you should be days, you might be surprised by what you find.” able to: In that short statement, Lyons summarizes a much more com- 1. Interpret the steps in the creative process plex series of developments that have occurred at J.Crew POST,over the last 10 years. Not only has the company tripled its 2. Distinguish between creativity and annual revenue, but it has become an almost cult-like brand. innovation and understand how they Much of the credit for the change goes to Mickey Drexler work together who became chairman and CEO at J.Crew in 2003. Under 3. Recognize and resolve impediments Drexler and Lyons (as Creative Director), the J.Crew product to creativity and innovation in design would be no longer dictated by corporate strategy. In organizations fact, this approach ORwould be turned on its head: the focus 4. Employ various tools and approaches would be on the creative process and building a unified aes- to enhancing creativity thetic for the brand. Early in his tenure, Drexler appointed Lyons not only Creative Director, but also president of the 5. Explain the role of leadership in company. “What it says,” LyonsDISTRIBUTE argues, “is that no financial enhancing organizational creativity and innovation decision weighs heavier than a creative decision.
    [Show full text]
  • Problem Discovery As a Collaborative, Creative, and Method-Guided Search for The
    No. 14-0003 Problem Discovery as a Collaborative, Creative, and Method- Guided Search for the “Real Problems” as Raw Diamonds of Innovation by Gerald Steiner, Visiting Scholar, Program on Transatlantic Relations Associate Professor, Institute of Systems Sciences, Innovation and Sustainability Research, University of Graz Working Paper Series 1737 CAMBRIDGE STREET • CAMBRIDGE, MA 02138 • TEL 617.495.4420 • FAX 617.495.8292 [email protected] • http://www.wcfia.harvard.edu Problem Discovery as a Collaborative, Creative, and Method-Guided Search for the “Real Problems” as Raw Diamonds of Innovation Gerald Steiner Visiting Scholar, Program on Transatlantic Relations, Weatherhead Center for International Affairs, Harvard University Associate Professor for Systemic and Sustainability Management, Institute of Systems Sciences, Innovation, and Sustainability Research, University of Graz, Austria Acknowledgements: This work was conducted as part of Visiting Scholarship at the Weatherhead Center for International Affairs (WCFIA) at Harvard University. I would like to thank my colleagues from the WCFIA for their generous support and for helpful discussions and comments on various aspects of this research. Abstract This paper poses that the creative search for frequently hidden “real” problems is critical if innovation aims at comprehensive system improvements and changes in thinking paradigms, rather than simple, incremental changes. These hidden real problems can perhaps best be symbolized by raw diamonds, which one strives to find in order to then grind them into sparkling diamonds, i.e. innovation. Currently, problem solving-related research focuses on the analysis and solution of predefined problems, with little emphasis on problem reframing and systemic discovery; moreover, inter- and transdisciplinary collaborations for problem finding and the application of convoluted methods receive little attention.
    [Show full text]
  • Using Creativity Techniques in the Product-Innovation Process
    61-03-83 USING CREATIVITY TECHNIQUES IN THE PRODUCT-INNOVATION PROCESS Horst Geschka uring the process of product innovation, numerous problems that require creative solutions are encountered. These problems include D recognizing of customer needs, generating ideas for new products or product applications, developing new product concepts, finding solutions for technical problems, adjusting the production process, and developing a marketing concept for the market launch. A number of solutions may be developed for each of these problems. Through screening and evaluation, the best solutions serve as a point of departure for the next step in the product-innovation process (see Exhibit 1). Solutions can be found by means of technical know-how and experience. However, solutions can also be developed systematically by applying creativity techniques. New product ideas often result from the efforts of a few highly creative individuals whose brilliant ideas are turned into new products. Although this method of developing new product ideas is often successful, an organization cannot merely depend on a few highly creative individuals. The reasons for this are: Only a limited number of people within an organization can be labelled “highly creative.” Experience shows that within certain professions less than 10% of the people can be indicated as highly creative. This means that when these people are the only ones that an organization can depend on, the production of useful ideas is rather limited. New products are now being developed systematically. Because the process of product development has a fixed sequence, creative input is required at certain fixed moments in the process. Therefore, a company must be able HORST GESCHKA is the founder of Geschka & Partner Management Consultants and professor at the Technical University of Darmstadt, Germany.
    [Show full text]
  • Creativity in Business 2014.Pdf
    CreativityCreativity InIn BusinessBusiness Guest Editor Fredricka K. Reisman, PhD President, American Creativity Association KIE Conference Book Series INTERNATIONAL CONFERENCE ON Knowledge, Innovation and Enterprise 11 —15 A UGUST 2015 ISTANBUL , T URKEY Papers are solicited in most topics or fields within the following and related themes: Themes: Knowledge Including knowledge management, comparative knowledge, indigenous knowledge, Knowledge & Education, Knowledge Transfer Partnerships, Knowledge Utilisation, Pat- ents & Copyrights and Business & Information Systems Innovation Including Science Innovation, Technology Innovation including Big Data Analytics and Management/Organisation and Open Innovation Creativity Including Concepts—process, product, personality and environment, Business/ Organisational Creativity, Arts, Media & Digital Creativity, Creative Industries & Enter- prise, Digital Design & Architectures, Craft & Animation Enterprise including entrepreneurship, Marketing & Strategy, HR, Talent & Development, Servant/ Leadership in Enterprise, SME Business Finance & Accounting, Supply Chain Manage- ment, International Business & Management & Ethnic Minority Entrepreneurship Papers will be published in the KIE Conference Book Series and selected papers will be published in the associated journal of the conference—see www.jkie.org For details of registration including deadlines, please visit: www.kiecon.org Creativity in Business Guest Editor Fredricka K. Reisman, PhD CREATIVITY IN BUSINESS © All rights reserved. You are welcome
    [Show full text]
  • A Tabletop Interface for Generic Creativity Techniques
    IADIS International Conference Interfaces and Human Computer Interaction 2010 A TABLETOP INTERFACE FOR GENERIC CREATIVITY TECHNIQUES Marc René Frieß, Martin Kleinhans, Florian Forster, Florian Echtler and Georg Groh Technische Universitaet Muenchen Boltzmannstraße 3, 85748 Garching ABSTRACT Within this paper, a multi-touch based tabletop application supporting a generic model for creativity techniques will be introduced. Therefore, based on related work, requirements will be worked out and transferred into a concept and a prototypical implementation. After this application has been described in detail, an evaluation done with the system will be presented. The results of this evaluation will be discussed by referring to a survey and observations. Finally the conclusions and prospects for future research will be shown. KEYWORDS Creativity Support System, Tabletop, Creativity Technique, Collaborative Problem Solving, CSCW, HCI 1. INTRODUCTION One preferred way to guide creative problem solving processes are creativity techniques which are applied in many companies (Fernald1993). Depending on the domain, the context, the problem type or the people involved in the (creative problem solving) process, specific creativity techniques can be more or less adequate for finding appropriate solutions. Brainstorming is probably the most popular and most often applied (group) creativity technique for idea generation processes. Collaborative IT support systems for the creative process (so called creativity support systems (CSS)) have been proven to foster creative idea generation. They reduce several negative effects by providing parallel input, contribution awareness and the possibility of anonymity and distributed work (Isaksen1998, Carte2006). Those systems are typically built on the client-server architecture and are used with personal computers. While this IT-support obviously emphasizes on the distributed, parallel and possibly anonymous work of each individual, one could pose the question if there are also any disadvantages.
    [Show full text]
  • What Is Value Engineering?
    The Methodology for Maximizing Project Value Table of Contents Chapter 1 – Value .................................................................................................................... 1 Introduction ................................................................................................................................... 1 What is Value Engineering? ........................................................................................................ 2 History ............................................................................................................................................. 3 Value Study ................................................................................................................................... 5 Job Plan ......................................................................................................................................... 5 Value Engineering Principals ....................................................................................................... 9 Reasons for Poor Value .............................................................................................................. 12 Chapter 2 – Preparation and Pre-Workshop Activities ....................................................... 15 Introduction ................................................................................................................................. 15 Definitions....................................................................................................................................
    [Show full text]
  • Design Patterns for Creativity
    Design Patterns for Practical Creativity Towards Innovation Petros Georgiakakis & Symeon Retalis ITisART - Interactive Technologies for ART and Education 4, Platonos Street, 18535, Piraeus, Greece [email protected] University of Piraeus, Department of Digital Systems, 80 Karaoli & Dimitriou, 18534 Piraeus, Greece [email protected] Fostering Creativity According to Wikipedia creativity is “a mental and social process involving the generation of new ideas or problem solutions, or new associations of the creative mind between existing ideas or concepts”. Creativity towards innovation in product development settings are often used interchangeably. Innovation and creative product development refer to completely new as well as significantly improved products, processes or methods. Creativity techniques have been developed by both academia and industry to shift a person's mental state into one that fosters creativity. Michalko (2006) in his book presents the various creativity techniques that have been proposed in the Oslo Manual which is the foremost international source of guidelines for the collection and use of data on innovation activities in industry (OECD, 2005). Several other web resources contain guidelines and examples of creativity techniques (e.g. http://www.brainstorming.co.uk/tutorials/ or http://www.mindtools.com/pages/main/newMN_CT.htm) in effort to train and guide individuals and teams which technique to choose and how apply them. Of course, it is well known that “design patterns are potentially more general than existing guidelines, use more specific examples, deliberately scope their context of application, and explicitly reflect particular values” (Dearden and Finlay, 2006). Thus, the scope of this paper is to propose two design patterns for two well known creativity techniques, namely the Six Hats technique and the SCAMPER technique.
    [Show full text]
  • Course Information — 105 COURSE INFORMATION
    Course Information — 105 COURSE INFORMATION Course Numbers are not normally eligible to enroll in 400- level courses. This section has been prepared to give you a list- ing and description of the approved graduate level courses at the University of Missouri-Rolla. Courses list- Course Information ed are those approved at the time this publication went to press. Changes are made at regular intervals. Elec- The number in parentheses following the name of tronic catalog descriptions, which are updated during the course indicates the number of credit hours given the academic year, are available on the Web at for successfully completing the course. It also reflects http://campus.umr.edu/registrar/catalog.html. This will the section type; for example, (Lect 3.0) designates a enable you to keep abreast of new course additions. For lecture course of three hours credit; (Lab 1.0) desig- current information on when courses are available, con- nates a laboratory course of one-hour credit. A lecture sult the campus schedule of classes available from the credit hour is usually the credit granted for satisfactori- Registrar’s Office, 103 Parker Hall. ly passing a course of approximately 15 classroom hours. A laboratory course of one-hour credit would nor- mally meet three classroom hours per week for 15 0- 99 Courses normally taken by freshman and weeks. sophomores. May not be used as any part Three credit hour courses normally meet 50 min- of a graduate degree program. utes three times per week, or 75 minutes twice a week, for 15 weeks. The time in class is the same in each case.
    [Show full text]