Pensamiento complejo y creatividad

This thesis is an article-based (3-paper format) dissertation. In the first article, the research team adapted an input-process-outcome (IPO) model of group-level processes in the classroom, as a theoretical framework, to examine students’ experiences regarding pre-college engineering curricula, classroom environments, and their experiences with the creative process in the two engineering courses offered in a university-based summer enrichment program. Applying provisional and open coding to semi-structured interview data from 16 participants, an Input-Process-Outcome Model of Collaborative Creativity (IPOCC model) was developed. In this study, I grouped our findings under Inputs, Group Processes, Outcomes, and Mediating Factors. The IPOCC model expands the 4P model of creativity to incorporate more collaborative contexts. According to the 4P model, creativity can be viewed from four different perspectives: Person, Process, Product, and Press. The IPOCC model suggests that in K-12 collaborative practice, creativity involves group-level considerations in addition to individual-level components. The IPOCC model offer insights for educators in terms of input components, group processes, and mediating factors that can facilitate learners’ engagement in creative teamwork. Findings of this study indicated that a combination of challenging tasks, open-ended problems, and student teamwork provides a rich environment for learners’ engagement to think creatively. The purpose of the second study was to systematically investigate how novice/K-12 students’ visual representation of design ideas has been operationalized, measured, or assessed in the research literature. In the different phases of screening in this systematic review, inclusion, exclusion, and quality criteria were applied. From an initial sample of 958 articles, 40 studies were included in the final step of the coding process and qualitative synthesis. Applying provisional and open coding, three broad themes, and 23 characteristics were identified that have been used by researchers to conceptualize sketching of ideas, in novice/K-12 design activities: Communicating Ideas, Visual-Spatial Characteristics, and Design Creativity. We propose this Three-pronged Design Sketching (3-pDS) framework to examine K-12 design sketches. In K-12 settings, one major challenge of conducting research on the influence of engineering education programs and curricula involves assessment. There is a need for developing alternative, effective, and reliable assessment measures to evaluate students’ design activities. The third study aimed to address this need by developing the idea-Sketching Early Engineering Design (i-SEED) Scale to assess pre-college learners’ freehand sketches in response to a design task. Applying the Three-pronged Design Sketching (3-pDS) as a theoretical framework, the purpose of this study was to examine evidence of content validity, construct validity, and internal consistency of the i-SEED Scale data. The data collection took place in a residential summer enrichment program for students with gifts and talents at a Midwestern university. Following different stages of scale-development design, a sample of 113 design sketches were scored in this study, and the scores were used to provide evidence of the validity of the data for the i-SEED Scale. The sketches were generated by 120 middle- and high-school students in a collaborative design-oriented course. Exploratory factor analysis results supported a three-factor model for the i-SEED Scale, including Visual-Spatial Characteristics, Design Creativity, and Communicating Ideas.

With an increasing relevance of the creative management phenomenon in the postmodern age, integration of creative processes into the management models is becoming a factor of maintaining long-term competitiveness in an organization. Such an organization transforms into learning entity, where creativity and, as a consequence, innovation becomes a source of renewing values. Therefore, a deeper knowledge of the creative process as well as its more effective management in the context organizations’ activities defines an important, yet underexplored issue. Goal of the research is to analyze the aspects of creative management in the public service organization. The investigation of the phenomenon of creativity in an organization and aspects of creative management involved theory-based analysis of the results of Lithuanian and foreign scientific research. To obtain the results of empirical research, in 2012 an expert survey was conducted in the public service organization PI Klaipėda Children’s Leisure Center (Lith. VsĮ „Klaipėdos vaikų laisvalaikio centras“). Aspects of the creative organization, creative team building, use of creative techniques, creative management, and stimulation for creativity were analyzed. KEY WORDS: creativity, creative management, public service organization, methods.

Ruth Marini’s creative process in performing Wanci Monologue by Imas Sobariah, was Ruth Marini’s attempt in exploring various stages of work or creativity in the role of Icih as the main character in Wanci Monologue. As a consequence of the singular characterization of the monologue, the subsequent search was directed at the specific creativity that Ruth Marini had done in transforming the Icih character to the role of several other figures as a result of Icih’s narrative of her past which later spawned tragic stories in her life. The search for this creative process was thus focused on the creative ways that Ruth Marini pursued in developing role play or acting, including the stimulants that supported the maximal acting of Ruth Marini in the Imas Sobariah’s Wanci Monologue.Stimulants that were excavated for the development of Ruth Marini’s acting was traced through various views of Ruth Marini works of art, especially Ruth Marini’s perspective on acting in a monologue. The conclusion of the views of art and acting would be preceded by exploring some of Ruth Marini’s works of art through previous performances to understand Ruth Marini’s contributions to her artistic enrichment process, specifically to the development of acting that was required in the Wanci Monologue by Imas Sobariah. Keywords: Monologue,art perspective, acting.

In the modern society, the creative performance of organizational members is increasingly valued. Research on creativity pointed out that goal orientation theory focusing on the learning behavior can predict the creative performance. But, the underlying psychological mechanism is unclear. Moreover, how the situational factors enacted on the creative process needs to be explored. Therefore, this current study collected data from 408 supervisor-subordinate dyads in Taiwan and explored how goal orientation influences the creative performance via the creative self-efficacy. The results showed that both learning goal orientation and approach performance goal orientation positively and indirectly affected the creative performance through the creative self-efficacy, but avoidance performance goal orientation did not. Additionally, perceived organizational innovative climate moderated not only the relationship between the approach performance goal orientation and creative self-efficacy, but that between creative self-efficacy and creative performance. Finally, related implications of these results for research and practice are discussed.

For most of human history, the essential nature of creativity was understood to be cumulative and collective. This notion has been largely forgotten by modern policies that regulate creativity and speech. As hard as it may be to believe, the most valuable components of our immortal culture were created under a fully open regime with regard to access to pre-existing expressions and reuse. From the Platonic mimesis to Shakespeare’s “borrowed feathers,” the largest part of our culture has been produced under a paradigm in which imitation—even plagiarism—and social authorship formed constitutive elements of the creative moment. Pre-modern creativity spread from a continuous line of re-use and juxtaposition of pre-existing expressive content, transitioning from orality to textuality and then melding the two traditions. The cumulative and collaborative character of the oral formulaic tradition dominated the development of epic literature. The literary pillars of Western culture, the Iliad and the Odyssey, were fully forged in the furnace of that tradition. Later, under the aegis of Macrobius’ art of rewriting and the Latin principles of imitatio, medieval epics grew out of similar dynamics of sharing and recombination of formulas and traditional patterns. Continuations, free re-use, and the re-modeling of iconic figures and characters, such as King Arthur and Roland, made chansons de geste and romance literature powerful vehicles in propelling cross-country circulation of culture.The parallelism between past and present highlights the incapacity of the present copyright system to recreate the cumulative and collaborative creative process that proved so fruitful in the past. In particular, the constant development and recursive use of iconic characters, which served as an engine for creativity in epic literature, is but a fading memory. This is because our policies for creativity are engineered in a fashion that stymies the re-use of information and knowledge, rather than facilitating it. Under the current regime, intellectual works are supposedly created as perfect, self-sustaining artifacts from the moment of their creation. Any modifications, derivations, and cumulative additions must secure preventive approval and must be paid off, as if they were nuisances to society.Rereading the history of aesthetics is particularly inspiring at the dawn of the networked age. The dynamics of sharing of pre-modern creativity parallel the features of digital networked creativity. As in the oral-formulaic tradition, digital creativity reconnects its exponential generative capacity to the ubiquity of participatory contributions. Additionally, the formula—the single unit to be used and reused, worked and re-worked—is the building block of the remix culture as well as the oral formulaic tradition. Today, in an era of networked mass collaboration, ubiquitous online fan communities, user-based creativity, digital memes, and remix culture, the enclosure of knowledge brought about by an ever-expanding copyright paradigm is felt with renewed intensity. Therefore, I suggest that the communal, cumulative, social and collaborative nature of creativity and authorship should be rediscovered and should drive our policies. In order to plead my case, I have asked for the support of the most unexpected witnesses.

Проаналізовано особливості трансферу сучасного модерну в освітній системі країн Європейського Союзу. Підкреслено, що викладач поступово перестає бути єдиним модератором процесу формування компетенцій, а технологічна складова в організації освітнього процесу збільшується рік від року. Визначено фундаментальні напрями модерну економічної освіти, що базуються на концепціях М. Спенсера, Дж. Д’юї, аналізі космополітичної моделі У. Бека, соціально-економічної турбулентності М. Фезерстоуна і С. Леша, культурній дифузії Я. Пітерзе. Особливу увагу звернено на формування новітніх парадигм розвитку суспільства Homo Urbanus та Homo Creativus, які вже найближчим часом визначатимуть трендовість освітньої сфери та регуляторну домінантність «суперкреативного ядра», до якого, за Р. Флоридою, відносяться творчі викладачі. Проведений аналіз європейської моделі викладача в межах його творчої ідентифікаціїї, що, на думку авторів, носить поліструктурний характер просвітництва, це дало змогу максимально оптимізувати критеріальну основу структуризації М. Генсона. Проведений аналіз ідентифікаційних підходів щодо творчої особистості викладача уможливив визначити типові для ЄС риси: розуміння потреби в розширеному інвестуванні в освіту, психолого-педагогічний професіоналізм, ступінь конвергенції освітніх систем, селективне опанування наукової і дидактичної інформації, вплив багаторівневих програм (зокрема «Еразмус+») на стан академічної мобільності, а також характер міжнародної інституалізації освітнього менеджменту. Розроблена модель трансформаційної дифузії європейської креативізації, дала змогу визначити мікс-сприйняття та індикативно-дифузне поле процесів взаємодії «викладач-учень», що охоплюють креативізацію, демократизацію, гібридизацію, біохевіризацію, креолізацію, корпоративізацію, космополізацію, національну стандартизацію. Зазначене дає змогу з прагматичних і, водночас, творчих позицій розробити індикативні виміри творчої дифузії викладача економіки.

Various concepts have been introduced in every lesson to improve students' mathematical analytical ability. This paper introduces a new concept to improve students' creative thinking ability based on kinesthetic learning style in solving math problems. The uniqueness of Kinesthetic male students' creative thinking process in elementary school can be seen when a person can solve problems correctly, use accurate and different approach strategies, create the correct solution process, and produce unique and new products. The primary purpose of this research is to describe the uniqueness of Kinesthetic male students' creative thinking process in solving mathematics problems in elementary school. The method used in this study is qualitative. The subjects in this study were fifth-grade students of SD Negeri 7 Dobo, Aru Islands Regency. The instrument used in this study was a student creativity test on geometry. This research resulted in a valuable lesson that Male Subjects with Kinesthetic Learning Styles have different uniqueness in solving mathematics. The discovery of correct ideas can prove this by presenting more than one different and correct approach and solution strategy and the discovery of a correct and unique (unusual) answer completed by kinesthetic male students at their stage of development or level of knowledge. Keywords: uniqueness of creative thinking process, mathematical problem solving, male subject, kinesthetic learning style. DOI: http://dx.doi.org/10.23960/jpmipa/v25i1.pp313-328

This study aims to: (1) determine the level of students mathematical creative thinking abilities; (2) analyze the difficulties of students mathematical creative thinking process through the Problem Based Learning (PBL) model. This type of research is a qualitative descriptive study using Miles and Huberman’s data analysis methods. The results of the analysis of the data obtained indicate that students who are capable of creative thinking in the high category can reach the stages of preparation, incubation, illumination, and verification. For students who can think creatively, the medium category takes several minutes in the incubation stage and difficulty in finding concepts with different ideas. While students with low ability to think creatively have difficulty starting from the preparation stage to the verification stage.

Creativity often is perceived to be an elusive and unmanageable dimension of advertising, typically delimited to the work of the “creative” copywriter or artist. But creativity pervades the advertising process. Moreover, it can be understood and managed. In this review, we illustrate that paradox also pervades the advertising process. We propose and demonstrate that confronting and comprehending the oppositional forces of paradox can lead to creative thought and activity throughout the advertising process, from account management to sales performance.

Each individual process has an unique characteristic which distinguishes each other’s students. It placed individual process as important thing in enhancing creative thinking. Descriptive-qualitative research was chosen to describe the creative thinking process on fluency indicators to solve open-ended problems in terms of self-efficacy. It uses creative thinking skills tests and interview guidelines to obtain data as an instrument to find out the level of student’s self-efficacy. By means of analyzing process data which consisted of reduction, presentation, and conclusion stage, it could be shown that the creative thinking process of students with high self-efficacy solving problems at the stage of preparation, incubation, illumination, and verification. Need a respond to a new event by modifying the existing schema, so that it fits the object. other than that it can form a completely new schema that is in accordance with the object or event experienced. In students with moderate self-efficacy and low creative thinking processes that occur almost the same as integrating directly information or new knowledge into the scheme of the mind. However, not all stages of creative thinking are carried out by students with moderate and low self-efficacy, not at all.

Many design projects, including human-centered design (HCD) projects, incorporate multiple teams cooperating within what is referred to as a Multiteam System (MTS) environment. These teams mutually rely on resources and processes provided by other teams. As an MTS increases in complexity, knowledge is distributed to more individuals. While effectively distributed knowledge increases creativity and productivity, it is also can hinder team effectiveness. Team members may fail to exchange relevant information or to integrate pertinent information into reasoning for design decisions. Our research addresses information sharing among teams and individuals in HCD by examining interactions between and within the MTS (i.e., instructional team, novice designer or student team, and stakeholder team) in an interdisciplinary design course. Specifically, we used a thematic analysis of design reviews to investigate the influence of information requests toward the quality of the information exchanged, the influence of meeting structure and flow on design team interactions and meeting outcomes, and the influence of information sharing on cooperation within the HCD process. The findings align with previous studies about information sharing in a MTS and also contribute to a broad understanding of how an integrated interpretation of information sharing can influence a cooperative design process, such as HCD. Our analysis also suggests that designers must promote a cooperative decision-making process by eliciting open and unique information relevant to the design goals. Finally, design educators can support the development of novice engineers by improving their understanding of how to elicit information from, and share information, with other teams and stakeholders.

This study aims to determine and describe the creative thinking process skills of SMP Negeri 2 Sungai Ambawang students in solving contextual problems related to the topic of ratios based on Wallas' theory. The research method used is descriptive method with a qualitative approach. The research instruments used were creative thinking tests and interview guidelines. The data sources used were the answers to students' creative thinking tests and the results of interviews with students by researchers. This study reveals about students' creative thinking processes with three criteria for thinking levels, namely students with high, medium and low abilities. Of the 22 students, 23% were at a high creative thinking level, 32% were at a moderate creative thinking level and 45% were at a low creative thinking level. Students who are at a high level of creative thinking are able to go through all stages of creative thinking based on Wallas, at an intermediate level they are able to go through the Wallas creative thinking stage but are constrained in verification and do not find more than one way of solving it, while students at a low level do not go through the preparation stage and verification but find creative ways to solve problems.

The Treffinger model is a series of learning processes designed to solve mathematical problems by students creatively through 3 (three) stages. The first stage is the Basic tool, the second stage is Practice with Process, and the third stage is Working with real Problems. The purpose of this study was to determine how much influence the Treffinger model has in improving students 'creative thinking skills in learning Calculus 1. The formulation of the problem in this study is whether the Treffinger model can improve students' creative thinking skills in learning Calculus 1 ?. Is the creative thinking ability of students in the aspects of analyzing (C4), evaluating (C5) and creating (C6) who learn using the Treffinger model higher than students who learn with the conventional model in the calculus 1 course? The method used in this research is quasi-experimental research. The design used in this study is a design with unequal groups. The conclusion in this study, in general, is that the application of the Treffinger model is effectively used in order to improve students' creative thinking skills in calculus 1 subject. ) and create (C6) who learn using the Treffinger model higher than the ability of students who learn using conventional models.

The purpose of this study is to describe the students’ process of creative thinking in solving geometry problems based on the level of Van Hiele in class VII-E SMP Negeri 1 Jember. This research is a descriptive research with qualitative approach. Data collection methods used were tests and interviews. In this study, data analysis was conducted using descriptive analysis. Data analyzed in this research is students’ answer sheet on problem solving test about creative thinking process and result of interview. The results of the analysis show that each subject differs in the creative thinking process. Creative thinking process at the stage of preparation according to Van Hiele level but at the incubation stage, illumination stage, and verification stage does not match the level of Van Hiele. So, not all students who is at a high level in Van Hiele Level, their creative thinking process is also high and vice versa. This is due to different students’ experiences in solving problems and concentration levels of students.

It is difficult for junior high school teachers to position and nurture their students who are still in transition in creative thinking when solving math problems. This study evaluates students' creative thinking process based on Wallas model (2014). The four stages of the creative thinking process according to Wallas include the preparatory, incubation, illumination, and verification phases. The purpose of this study is to describe the creative thinking process of students based on their basic ability level in solving math problems. This research applies giving test of geometric crater thinking ability by looking at homogenous student in kemampuandan interview for deepening. Subjects of junior high school students who categorized on the ability of high, medium, and low after the ability test. Variable of this research is the existence of junior high school students in solving math problems. By using qualitative descriptive method, data is analyzed through classification stage, data representation, and conclusion. In order to complete the results of data groupings used interview techniques to perform data triangulation. The results showed 1) there were 23.33% of students not complete and only reached the preparation stage, called the low category category; 2) there are 60% of students reach the illumination stage even though to this stage students take a long time, called the middle category category; And 3) 16.67% of students have been completed until the verification stage, called the high category category. Based on the deepening of the triangulation of the interviews, the students are correct in that category. For students with low and medium capability categories still require assistance when experiencing barriers to their creative thinking process, while high ability category students need enrichment material