DOCSLIB.ORG

Acknowledging Creative Thinking Skills

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Acknowledging Creative Thinking Skills Acknowledging Creative Thinking Skills EDUCATING FOR A CREATIVE FUTURE Elaine Holt www.acts.cloud | 2018 1 Acknowledging Creative Thinking Skills EDUCATING FOR A CREATIVE FUTURE Funded by And The Steiner Waldorf Schools Fellowship 2 Published 2018 All rights reserved © Elaine Holt 2018 Grateful acknowledgement is given for permission to reproduce the following: Front Cover: Pastel Water Drop (2009) © Blomerus Calitz, https://www.flickr.com/photos/blomeruscalitz/ Figures 1 & 7: Steiner Waldorf Schools Fellowship; Figure 8: Blomerus Calitz; Figures 4 & 14: Getty images; Figure 15: London Transport Museum Figure 26: Science Photo (Gonville and Caius College, Cambridge) Figure 34: The Waldorf School of Baltimore; Figure 41: Graham Holt; Figure 49: The National Gallery; Figure 86: Crossfields Institute; Figures 56, 64, 72, 76, 77, 87 & 88: Gottfried Straube Fjeldså; Figures 32, 36, 37, 38, 44, 50, 52, 54, 57, 60, 61, 62, 65, 67, 70, 74 & 78: Ringwood Waldorf School Appendix 1: Michael Hall School Appendix 2: The Journal of Philosophy for Children 3 For the future 4 Contents Preface ............................................................................................................................................................. 8 Part One ..................................................................................................................................................... 11 Introduction: The Crisis in Education .............................................................................................................. 12 Chapter 1: The Search for Creative Solutions ................................................................................................. 15 Chapter 2: Identifying Creative Thinking Skills ............................................................................................... 19 Chapter 3: Defining Success: The Origins and Purpose of Standardised Testing ............................................ 23 Chapter 4: An Exclusive Meritocracy .............................................................................................................. 29 Chapter 5: True and False Autonomy ............................................................................................................. 32 Part Two ..................................................................................................................................................... 39 Chapter 6: The Creative Thinking Skills Spectrum .......................................................................................... 40 Chapter 7: Written Articulation ...................................................................................................................... 43 7.1: Background and Context ..................................................................................................................... 43 7.2: How is Written Articulation Developed? ............................................................................................ 47 7.2.1 The Early Years Setting ................................................................................................................. 47 7.2.2 The Lower School ......................................................................................................................... 47 7.2.3 The Middle School ........................................................................................................................ 49 7.2.4 The High School ............................................................................................................................ 49 Chapter 8: Verbal Articulation ........................................................................................................................ 51 8.1: Background and Context ..................................................................................................................... 51 8.2: How is Verbal Articulation Developed? .............................................................................................. 55 8.2.1 The Early Years Setting ................................................................................................................. 55 8.2.2 The Lower School ......................................................................................................................... 56 8.2.3 The Middle School ........................................................................................................................ 56 8.2.4 The High School ............................................................................................................................ 57 Chapter 9: Non-linguistic Thought Pictures in Two Dimensions ..................................................................... 59 9.1 Background and Context ...................................................................................................................... 60 9.2 How are Imaginative, Non-Linguistic Thought Pictures in Two-Dimensions Developed? ................... 65 9.2.1 The Early Years Setting ................................................................................................................. 65 9.2.2 The Lower School ......................................................................................................................... 66 9.2.3 The Middle School ........................................................................................................................ 68 9.2.4 The High School ............................................................................................................................ 69 Chapter 10: Imagined Structure or Systems in Three-Dimensions and Over Time ......................................... 71 10.1: Background and Context ................................................................................................................... 71 10.2: How is Imagined Structure or Systems in Three-Dimensions and Over Time Developed? .............. 76 10.2.1 The Early Years Setting ............................................................................................................... 76 10.2.2 The Lower School ....................................................................................................................... 77 10.2.3 The Middle School ...................................................................................................................... 78 10.2.4 The High School .......................................................................................................................... 79 Chapter 11: Resonance and Pattern in Thinking ............................................................................................ 82 11.1: Background and Context ................................................................................................................... 82 11.2: How is Resonance and Pattern Developed? ..................................................................................... 88 11.2.1 The Early Years Setting ............................................................................................................... 88 5 11.2.2 The Lower School ....................................................................................................................... 89 11.2.3 The Middle School ...................................................................................................................... 90 11.2.4 The High School .......................................................................................................................... 91 Chapter 12: Heuristic Thinking ....................................................................................................................... 95 12.1: Background and Context ................................................................................................................... 95 12.2: How is Heuristic Thinking Developed? .............................................................................................. 98 12.2.1: The Early Years .......................................................................................................................... 98 12.2.2: The Lower School ...................................................................................................................... 99 12.2.3: The Middle School ................................................................................................................... 100 12.2.4: The High School ....................................................................................................................... 101 Chapter 13: Observational Thinking ............................................................................................................. 103 13.1: Background and Context ................................................................................................................. 103 13.2: How is Observational Thinking Developed? ................................................................................... 104 13.2.1: The Early Years ........................................................................................................................ 105 13.2.2: The Lower School .................................................................................................................... 105 13.2.3: The Middle School ................................................................................................................... 106 13.2.4: The High School ......................................................................................................................
Load more

Recommended publications
  • Lesson 09: Michelangelo- from High Renaissance to Mannerism
    East Tennessee State University Digital Commons @ East Tennessee State University Art Appreciation Open Educational Resource 2020 Lesson 09: Michelangelo- From High Renaissance to Mannerism Marie Porterfield Barry East Tennessee State University, [email protected] Follow this and additional works at: https://dc.etsu.edu/art-appreciation-oer Part of the Art and Design Commons, and the History of Art, Architecture, and Archaeology Commons Editable versions are available for this document and other Art Appreciation lessons at https://dc.etsu.edu/art-appreciation-oer. Recommended Citation Barry, Marie Porterfield, "Lesson 09: Michelangelo- rF om High Renaissance to Mannerism" (2020). Art Appreciation Open Educational Resource. East Tennessee State University: Johnson City. https://dc.etsu.edu/art-appreciation-oer/10 This Book Contribution is brought to you for free and open access by Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Art Appreciation Open Educational Resource by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. “Michelangelo from High Renaissance to Mannerism” is part of the ART APPRECIATION Open Educational Resource by Marie Porterfield Barry East Tennessee State University, 2020 Introduction This course explores the world’s visual arts, focusing on the development of visual awareness, assessment, and appreciation by examining a variety of styles from various periods and cultures while emphasizing the development of a common visual language. The materials are meant to foster a broader understanding of the role of visual art in human culture and experience from the prehistoric through the contemporary. This is an Open Educational Resource (OER), an openly licensed educational material designed to replace a traditional textbook.
    [Show full text]
  • “Summonses to Awareness:” a Meditation Upon Wisdom and Artful Inquiry
    “Summonses to Awareness:” A Meditation upon Wisdom and Artful Inquiry By Giovanni Antonio Rossini A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Curriculum, Teaching and Learning Ontario Institute for Studies in Education University of Toronto © Copyright by Giovanni Antonio Rossini (2018) “Summonses to Awareness:” A Meditation upon Wisdom and Artful Inquiry Giovanni Antonio Rossini Doctor of Philosophy Department of Curriculum, Teaching and Learning Ontario Institute for Studies in Education University of Toronto 2018 Abstract In his writings Thomas Merton ponders the relation of contemplative experience and the arts within a meditation upon the spiritual life; one whose seminal character is “a life of wisdom” (Merton, 1972, p.141). With Merton as a guide post, my inquiry explores whether the kinship of wisdom and spirituality with the aesthetical, which is offered in his writings, can be extended to reinforce a relation of wisdom and artful inquiry. While the inquiry into the relation of the art and wisdom is informed by the discourse of wisdom studies (Curnow, 2015; Baltas, 2004; Walsh, 2015) it also departs from it by pondering wisdom not in relation to the text, but to the artful. Such different alignment in turn underscored by the question: While we speak of texts that are wise can we, in kindred spirit, speak of art that is wise? The exploring of such question departs from rational and empirical methodologies and instead is nested within a contemplative approach (Hart, 2004; Miller, 2006; Palmer, 1993; Zajonc, 2006); one which immerses inquiry within the life of the researcher and embraces strategies for research which are seeded by an aesthetical presence.
    [Show full text]
  • THE CRITICAL PROCESS Thinking Some More About the Chapter Questions
    THE CRITICAL PROCESS Thinking Some More about the Chapter Questions CHAPTER 1 Andy Warhol’s Race Riot, 1963 the god’s chest and stomach muscles, which have been sculpted with Warhol seems most interested in the second traditional role of the great attention to detail, and in the extraordinary horizontality of the artist: to give visible or tangible form to ideas, philosophies, or feelings. outstretched left arm. Lyon presents herself to the viewer in the same He is clearly disturbed by the events in Birmingham. By depicting the terms. Rather than a passive object of display, Lyon is an active ath- attack on Martin Luther King, Jr., in the traditional red, white, and lete. By presenting herself in this way, Lyon asserts the power of the blue colors of the American flag, he suggests that these events are not female and implicitly argues that the female body has been “condi- just a local issue but also a national one. Thus, to a certain degree, he tioned” not so much by physical limitations as by culture. also reveals a hidden truth about the events: All Americans are impli- cated in Bull Connor’s actions. Perhaps he also wants us to see the world CHAPTER 5 Jeffrey Shaw’s The Legible City, 1989–91 in a new way, to imagine a world without racism. The second red panel The idea that reality might in some way be “virtual” suggests that its underscores the violence and anger of the scene. As horrifying as the space is somehow both “real” and not. That is, this space is mechani- events are, it is possible to imagine a viewer offended not by the police cal and electrical, other than human, and “apparent” but not tangible, actions but by Warhol’s depiction of them, his willingness to treat such as if in another dimension.
    [Show full text]
  • Center-40.Pdf
    CENTER40 CENTER40 NATIONAL GALLERY OF ART CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS Record of Activities and Research Reports June 2019 – May 2020 Washington, 2020 National Gallery of Art CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS Washington, DC Mailing address: 2000B South Club Drive, Landover, Maryland 20785 Telephone: (202) 842- 6480 E- mail: [email protected] Website: www.nga.gov/casva Copyright © 2020 Board of Trustees, National Gallery of Art, Washington. All rights reserved. This book may not be reproduced, in whole or in part (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law, and except by reviewers from the public press), without written permission from the publishers. Published by the Center for Advanced Study in the Visual Arts at the National Gallery of Art ISSN 1557- 198X (print) ISSN 1557- 1998 (online) Publisher and Editor in Chief, Emiko K. Usui Series Editor, Peter M. Lukehart Center Report Coordinator, Jen Rokoski Managing Editor, Cynthia Ware Design Manager, Wendy Schleicher Typesetting and layout by BW&A Books, Inc. Printed on McCoy Silk by C&R Printing, Chantilly, Virginia Photography of CASVA fellows and events by the department of imaging and visual services, National Gallery of Art Frontispiece: Members and staff of the Center, December 2019 CONTENTS 6 Preface 7 Report on the Academic Year June 2019 – May 2020 8 Board of Advisors and Special Selection Committees 9 Staff 11 Report of the Dean 17 Members 28 Meetings 41 Lectures 44 Publications and Web Presentations 45 Research 55 Research
    [Show full text]
  • 13 • 1/2020 • 13
    Aisthesis Pratiche, linguaggi e saperi dell'estetico Aisthesis Crafts edited by 13 • 1/2020 Laura Gilli Andrea Mecacci 13 • 1/2020 FIRENZE ISSN 2035-8466 PRESSUNIVERSITY www.fupress.net FUP di libro pagata - Piego Tassa Italiane spa - Poste 072/DCB/FI1/VF del 31.03.2005 n. Aut. Aisthesis Pratiche, linguaggi e saperi dell'estetico Crafts Edited by Laura Gilli, Andrea Mecacci Vol 13, No 1 (2020) Firenze University Press Opera edita con il contributo dell’Università IULM Milano (quota premiale fondi Apeiron 2017, primo quartile Area Umanistica, assegnato a Laura Gilli) Firenze University Press Aisthesis www.fupress.com/aisthesis Crafts Citation: L. Gilli, A. Mecacci (2020) Crafts. Aisthesis 13(1): 3-5. doi: Laura Gilli1, Andrea Mecacci2 10.13128/Aisthesis-11615 1 Università IULM Milano 2 Copyright: © 2020 L. Gilli, A. Mecacci. Università degli Studi di Firenze This is an open access, peer-reviewed article published by Firenze University Press (http://www.fupress.com/aisthe- sis) and distributed under the terms of Talking about crafts today may seem like a comeback on paths the Creative Commons Attribution that have been trodden away too much. An impression that may License, which permits unrestricted use, distribution, and reproduction probably arise from the idea that such a matter has recurred since in any medium, provided the original the very beginning of human thought, i.e. the classification of the author and source are credited. arts whose reflection involves the whole human being in its vari- Data Availability Statement: All rel- ous activities. The theme is therefore definitely an ancient one, yet evant data are within the paper and its Supporting Information files.
    [Show full text]
  • List of Figures PDF Compressor Pro
    PDF Compressor Pro List of Figures PDF Compressor Pro 802 List of Figures Philosophiae Doctor PDF Compressor Pro 803 List of Figures List of Figures • Figures various sources as a compilation of personal lectures attended; re- search pertaining to Art Exhibitions, Art Galleries and Art Museums worldwide representative of the Western Culture. • Research inclusive of book compilations, books, magazines, articles, newspa- pers, Art reviews. • Television Series, Films, Commentaries, etc. • Personal Interviews pertaining to Art appreciation: Professors, Doctors in Visual Arts, Living Artists, University Lecturers, etc. • The above mentioned list of fi gures pertains the accumalation of knowledge, understanding, wisdom and Art appreciation for the last 50 years. The following list of fi gures as sourced from the above mentioned: Figure Description Page Number Number 1 The Louvre, as a symbol of power 3 2 La Crucifi xion du Parlement de Paris 4 3 King Francois 1 - Jaen Clouet 5 4 Thick strong walls underneath the building of the Louvre 5 5a ‘La Jaconde’ - Mona Lisa. The smile 5 5b Hands are greeting the spectator 5 6 The Renaissance Palazzi style 6 7 The medieval tower was pulled down 6 8 The Courtyard – Cour Carree 6 9 The four Caryatides in the Salle des Carytides - Jean Goujon 6 10 Salle des Carytides 7 11 Beautiful deatil of relief’s - outside the Louvre 7 12 Saint Bartholomew’s eve Massacre 8 Philosophiae Doctor PDF Compressor Pro 804 List of Figures 13 Henri IV Statue - Pont Neuf 9 14 The Grand Galerie- project of Henri IV 10 15 Gabrielle
    [Show full text]
  • Front Matter
    Cambridge University Press 978-0-521-76140-6 - Michelangelo and the Art of Letter Writing Deborah Parker Frontmatter More information MICHELANGELO AND THE ART OF LETTER WRITING Michelangelo’s extant correspondence is the most abundant of any artist. Span- ning sixty-seven years, it comprises roughly 1,400 letters, of which Michelangelo himself wrote 500. Biographers and art historians have combed the letters for insight into Michelangelo’s views on art, his contractual obligations, and his relationships. Literary scholars have explored parallels between the letters and Michelangelo’s poetry. Nevertheless, this is the first book to study the letters for their intrinsically literary qualities. In this volume, Deborah Parker examines Michelangelo’s use of language as a means of understanding the creative process of this extraordinary artist. His letters often revel in witticisms, rhetorical flour- ishes, and linguistic ingenuity. Close study of his mastery of words and modes of self-presentation shows Michelangelo to be a consummate artist who deploys the resources of language to considerable effect. Deborah Parker is Professor of Italian at the University of Virginia. She has been awarded grants from the National Endowment for the Humanities, Villa I Tatti– the Harvard Center for Italian Renaissance Studies, and numerous others. She is the author of many articles; her most recent book is Bronzino: Renaissance Painter as Poet (Cambridge University Press, 2000). © in this web service Cambridge University Press www.cambridge.org Cambridge University
    [Show full text]
  • © in This Web Service Cambridge University
    Cambridge University Press 978-0-521-85162-6 - Artistic Centers of the Italian Renaissance: Florence Edited by Francis Ames-Lewis Index More information INDEX S N.B.: Churches are indexed according to the name of their dedication, irrespective of their prefix (San, Santa, Santissima, etc.). Architects and artists are indexed according to how they are commonly known: those who have surnames (Brunelleschi, Bandinelli, etc.) are usually indexed by surname (but not Michelangelo, for example); those without surnames are usually indexed by given name (Maso di Banco, Leonardo da Vinci, etc.), although there are exceptions (Pollaiuolo, Antonio del; Pontormo, Jacopo da, etc.). Figures are indexed by page number, shown in boldface italics. Accademia del Disegno, 30, 358, 359 Alfonso V, king of Naples, 192–93 Andrea di Bonaiuto, 96, 110 Accademia Fiorentina (Accademia degli Humidi), Allori, Alessandro, 357, 362, 364 frescoes in chapterhouse, Santa Maria 336–37, 340–41, 346 Christ among the Doctors (Santissima Novella, 95–97, 95, 101 discussions on Etruscan civilisation, 339–40 Annunziata, Montauto Chapel), 362, The Way to Salvation, 96, 96, pl. VIII Acciaiuoli, Agnolo, 7, 14, 21 363 Andrea di Cione, see Orcagna Acciaiuoli family, 22 Original Sin (Santissima Annunziata, Andrea di Cresci, 17 Acciaiuoli, Donato, 279 Montauto Chapel), 363, 364 Angelico, Fra, 9, 162 Acciaiuoli, Margherita, 311–12 Altichiero, 115 Bosco ai Frati Altarpiece (Museo di San Acciaiuoli, Niccolo,` 7 Altoviti, Bindo, 14, 31 Marco), 189–90 Accolti, Benedetto, 191 Ambrogio di Baldese,
    [Show full text]
  • Moses (Michelangelo) 1 Moses (Michelangelo)
    Moses (Michelangelo) 1 Moses (Michelangelo) Moses Artist Michelangelo [1] Year c. 1513 – 1515 Type Marble Dimensions 235 cm (92.5 in) Location San Pietro in Vincoli, Rome The Moses (c. 1513–1515) is a sculpture by the Italian High Renaissance artist Michelangelo Buonarroti, housed in the church of San Pietro in Vincoli in Rome. Commissioned in 1505 by Pope Julius II for his tomb, it depicts the Biblical figure Moses with horns on his head, based on a description in the Vulgate, the Latin translation of the Bible used at that time. Description The marble sculpture depicts Moses with horns on his head. This was the normal medieval Western depiction of Moses, based on the description of Moses' face as "cornuta" ("horned") in the Latin Vulgate translation of Exodus.[2] The Douay-Rheims Bible translates the Vulgate as, "And when Moses came down from the mount Sinai, he held the two tables of the testimony, and he knew not that his face was horned from the conversation of the Lord."[3] The Greek in the Septuagint translates as, "Moses knew not that the appearance of the skin of his face was glorified."[4] The Hebrew Masoretic text also uses words equivalent to "radiant",[5] suggesting an effect like a halo. Horns were symbolic of authority in ancient Near Eastern culture, and the medieval depiction had the advantage of giving Moses a convenient attribute by which he could easily be recognized in crowded pictures. According to Giorgio Vasari in his Life of Michelangelo, the Jews of Rome came like "flocks of starlings" to admire the statue every Shabat.
    [Show full text]
  • Credulous Spectatorship from Zeuxis to Barthes
    Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Bryn Mawr College Dissertations and Theses 2013 Credulous Spectatorship from Zeuxis to Barthes Carrie Robbins Bryn Mawr College Follow this and additional works at: https://repository.brynmawr.edu/dissertations Custom Citation Robbins, Carrie. "Credulous Spectatorship from Zeuxis to Barthes" PhD diss., Bryn Mawr College, 2013. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. https://repository.brynmawr.edu/dissertations/87 For more information, please contact [email protected]. Credulous Spectatorship from Zeuxis to Barthes by Carrie Robbins October 2013 Submitted to the Faculty of Bryn Mawr College in partial fulfillment of the requirements for the degree of Doctor of Philosophy Abstract This dissertation explores intersections between trompe l'oeil painting and photography. It began as an interest in contemporary photographers, such as Thomas Demand, whose photographs of constructed paper models encourage viewers to discover the nature of his interventions. His strategy resonates with a centuries-old strategy in trompe l'oeil painting, but now in the terms of photographic, rather than pictorial presence. That is, most of Demand's photographs do not compel the viewer's belief in the tangible presence of the object represented; instead, they exploit photography's indexical promise of delivering the world as it once appeared, in order to temporarily trick viewers about the terms of that indexical delivery. Beyond intersections in artistic strategies, I track reception accounts of trompe l'oeil painting and photography for their reliance on a credulous spectator. Pliny's Zeuxis, who is tricked by Parrhasius's painting of a curtain, remains the model for this errant credulity.
    [Show full text]
  • Awakening Yet Prisoner – George Steiner: Real Presences Translated by Marta López‐Luaces, Mercedes Roffé, Edwin Lamboy
    Alfonso Masó Michelangelo: Awakening Yet Prisoner ALFONSO MASÓ Michelangelo Buonarroti: Awakening Yet Prisoner – George Steiner: Real Presences Translated by Marta López‐Luaces, Mercedes Roffé, Edwin Lamboy In the speculative intuitions of the aesthetic, the motions of spirit are not those of an arrow, but of the the spiral at once ascendant and retrogressive, as is the stairway in the library of Montaigne. (George Steiner) 1 All art keeps hidden within a whole bazaar of that which cannot be taken for granted, after feeling the attraction to a form and a narrative that exempt us, if that is what we want, from going further. 1. Francis Bacon, Figure With Meat, 1954. Michelangelo Buonarroti, Awakening (between 1513 and 1536) 1 Alfonso Masó Michelangelo: Awakening Yet Prisoner Every creative process implies a projection, a transferring onto the matter of the person who leads it . not trying to hide but to bare, beyond the visible flesh, the lives, the buried faces, presences probably unthought‐of by both himself and others; amplified, probably only partially softened, travestied, transsexualized, transubstantiated in a theatre of the world where it is possible to show oneself under the appearance of enlivened signs and objects. Michelangelo discovered too many things about sculpture to be understood by his contemporaries. From there on, nothing is easier for the observer than making other people’s excuses his or her own, categories such as “perfection” or “the appropriate,” unknown to the standards of the artist’s times and even to his own intentions and possibilities, shackled by centuries of incomprehension; celebrated even for his biggest and most superficial sculpture, the David, a work of youth and dissatisfaction, too much wrapping for such little content, such little life, such little contact with the world.
    [Show full text]
  • Suggestion for Tombola Procedure
    AY / BA Core Course Spring Term 2010 VALUES OF RENAISSANCE FLORENCE 1 INTRODUCTION This Academy Year / BA core course prepares an intensive on-site engagement with late medieval and Renaissance Florentine art and culture by fostering fundamental dialogue about art and its relationship to history, ethics, and politics. It is hardly possible to encounter the organic growth of Florentine painting from the 12th to the 16th centuries without asking general questions about style and style change, realism and artistic representation, or indeed about the social and religious roots of art itself. More broadly, this dialogue about art raises fundamental questions such as: How do we value art, and what characterizes the values that are specific to art? What kinds of demands and claims does art make on us? Does it make demands at all, or are we as human beings free to engage with art on any terms we like, or even to live a life without any real contact with or need for art? Is the reception of art always historically conditioned? If so, can we improve –does our response as viewers become richer and more meaningful – can we more fully enjoy art – when we become better historians? Is there value-free reasoning about art, or is thinking about art irreducibly aesthetic, and thus thoroughly embedded in aesthetic values, however defined? Are the creation of and response to works of art ipso facto ways of knowing? Can art mediate between political and personal virtue? While these questions are important in and of themselves, they are also the types of questions taken up by the art historical study of the period.
    [Show full text]