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Holistic Approaches to Creative Problem Solving

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Holistic Approaches to Creative Problem Solving HOLISTIC APPROACHES TO CREATIVE PROBLEM SOLVING by Cynthia Burnett A thesis submitted in conformity with the requirements for the degree of Doctor of Education Department of Curriculum, Teaching and Learning Ontario Institute for Studies in Education of the University of Toronto © Copyright Cynthia Burnett 2010 HOLISTIC APPROACHES TO CREATIVE PROBLEM SOLVING Doctor of Education, 2010 Cynthia Burnett Department of Curriculum, Teaching and Learning University of Toronto Abstract This qualitative research study explores the complex phenomenon of intuition within the Creative Problem Solving process. The first part of the study utilized 100 alumni, students, professors, and visiting professors of the International Center for Studies in Creativity (ICSC). These participants were asked a series of questions in order to help the researcher answer the questions: How do creativity practitioners construe intuition? What role does intuition play in the Creative Problem Solving (CPS) (Miller, Vehar & Firestein, 2001; Noller, Parnes & Biondi, 1976; Osborn, 1953; Puccio, Murdock & Mance, 2006) process? The second part of the study involved eleven graduate students enrolled as Creative Studies majors at ICSC who were participants in a course on holistic approaches to Creative Problem Solving. The study explored the questions: Are intuitive tools and techniques effective in CPS? If so, when are they effective? When CPS is taught from a holistic perspective, is transformation likely to occur? Four theoretical models, including: a definitional model of intuition; a skill set for intuition, a process to improve the effectiveness of intuitive tools; and a transformational model of learning, were developed. These models were designed as a way for creativity practitioners to understand this phenomenon and to incorporate it into their practices. ii Acknowledgments To my best friend and soul mate, Andy Burnett. Thank you for loving me unconditionally, for always believing in me, for lifting me up when I hit the floor, and for making me laugh every single day. I love you always and forever. Thanks for picking me. To my Mom and Dad, who taught me the greatest skill to have in life- hard work and dedication. This skill has led me down this wonderful journey of learning. I love you both and appreciate all that you do for me. To Dr. Linda Cameron, thank you for adopting me as one of your children. I have appreciated your gentle and loving approach to advisement. Your class on play brought back my creative spirit- thank you. To Dr. Lee Bartel, thank you for all of the feedback and advice. You had a special way of grounding me when I really needed it. To Dr. Jack Miller, your words have inspired so much of my thinking. Thank you for being open to my ideas. To the two greatest friends a person could ask for while working on her doctorate- Dr. Sue Keller-Mathers and Dr. John Cabra. Sue- thank you for cheering me on, putting me in my place, and giving me great advice. John- Thank you for believing in me and my research, and for taking time out to mindfully listen when I needed advice. I will always be grateful to both of you. It is time to collaborate! To Janice Francisco, your non-stop energy and enthusiasm toward this topic has kept me going for the last three years. Thank you for your friendship and for being my iii sounding board on this journey. Now it is time to write the book. To Tara Bissett, who set up the intuitive tools in her Master’s project and continued to be a sounding board- thank you. To Sara Yager, who openly listened to me talk about this thesis for the last two years and who cheered me on in the end- thank you. To the faculty of ICSC- Gerard, Roger, Mike, Jo, and Jeffrey. Thanks for being the best team in the world to work with and for supporting me in this process. To the eleven students who opened and shared their hearts with me. I will always be connected to you through your words. Thank you for being a part of this study. To my wonderful brothers and sisters- Bonnie, Annette, Joe and Ron and to my amazing friends who have been cheering me on for the last five years, especially Mindy, Annie, Kristin, and Amy- thank you!! To Kimberly Bezaire, who was always one step ahead of me- thank you for inspiring me to keep going! To Kyle Tomlin who shared his artistic talents and helped me create items for my defense- thank you! Last, but not least, to my two amazing and beautiful children, James and Emily, who were born in the process of writing this thesis, it’s now time to play… iv Contents Chapter One: Beginning with Myself ............................................................................. 1 The Start Of My Doctoral Studies............................................................................... 1 Beginning With Myself ............................................................................................... 1 Discovering The Missing Link .................................................................................... 2 How do Creativity Practitioners Construe Intuition?.................................. 4 What Role does Intuition Play in Creative Problem Solving?.................... 7 Do Students Find Deliberate, Intuitive Tools and Techniques Effective in CPS? If so, When do They Find Them the Most Effective? ...................... 8 When CPS is Taught From a Holistic Perspective, is Personal Transformation More Likely to Occur?.................................................... 10 Going Beyond The Literature: The Bigger Picture ................................................... 12 Going Beyond The Degree ........................................................................................ 14 Chapter Two: Literature Review .................................................................................. 15 Approaching The Literature Review ......................................................................... 15 What Is Creative Problem Solving? .......................................................................... 15 Creative..................................................................................................... 15 Problem..................................................................................................... 16 Solving ...................................................................................................... 17 The Creative Problem Solving Process..................................................... 18 The Challenge of Embedding Creativity Within Education...................................... 21 Why Students in Higher Education?.......................................................................... 24 v The Growth in Dissemination Channels.................................................................... 24 A Holistic Perspective ............................................................................................... 25 What Is Intuition? ...................................................................................................... 28 The Intuitive Person................................................................................................... 34 Cultivating Intuition in the Creative Problem Solving Process................................. 36 Towards a Holistic Model of Creative Problem Solving........................................... 42 Chapter Three: Methodology ........................................................................................ 46 Overview.................................................................................................................... 46 Understanding How Practitioners Define Intuition and its Role in the Creative Problem Solving Process............................................................ 46 The Impact of Intuitive Tools and Techniques......................................... 46 Teaching CPS from a Holistic Perspective............................................... 47 Methodology.............................................................................................................. 47 What is Grounded Theory?........................................................................................ 49 Overview of Two Parts of the Study ......................................................................... 51 Design and Procedures .............................................................................................. 52 Part One Participants................................................................................. 52 Part Two Participants................................................................................ 58 Ethical Considerations............................................................................................... 67 In Conclusion............................................................................................................. 67 Chapter Four: Construing Intuition ............................................................................. 69 Overview.................................................................................................................... 69 Research Question 1 - “How do Creativity Practitioners Construe Intuition?” ........ 69 vi Rapid insight ............................................................................................. 71 Defies logic ............................................................................................... 71 Sensing...................................................................................................... 72 Not at the Conscious Level......................................................................
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