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The Effects of Thinking Style Based Cooperative Learning on Group Creativity  [PDF]
Soon-Hwa Kim, Ki-Sang Song
Creative Education (CE) , 2012, DOI: 10.4236/ce.2012.38B005
Abstract: Recent studies have emphasized group creativity within a socio-cultural context rather than at an individual level, but not many researchers reported strategies for developing group creativity. This paper aims to explore strategies to enhance group creativity based on the theoretical basis of thinking styles by Sternberg. The hypothesis was that groups with members of diverse thinking styles would show greater gains in creative performance. In this study, the participants (n=72) were divided into 24 three-person groups. Each group was given the task to create a game using Scratch programming language. Among the 24 groups, eleven groups (n=33) consisted of heterogeneous thinking styles, and the other thirteen groups (n=39) consisted solely of homogeneous thinking styles. All divided groups performed same creative task. The empirical results supported the hypothesis that group formation of diverse thinking style shows better group creativity.
A Family of Encodings for Translating Pseudo-Boolean Constraints into SAT  [PDF]
Amir Aavani
Computer Science , 2011,
Abstract: A Pseudo-Boolean (PB) constraint is a linear arithmetic constraint over Boolean variables. PB constraints are convenient and widely used in expressing NP-complete problems. We introduce a new, two step, method for transforming PB constraints to propositional CNF formulas. The first step involves re-writing each PB constraint as a conjunction of PB-Mod constraints. The advantage is that PB-Mod constraints are easier to transform to CNF. In the second step, we translate each PB-Mod constraints, obtained in the previous step, into CNF. The resulting CNF formulas are small, and unit propagation can derive facts that it cannot derive using in the CNF formulas obtained by other commonly-used transformations. We also characterize the constraints for which one can expect the SAT solvers to perform well on the produced CNF. We show that there are many constraints for which the proposed encoding has a good performance.
Translating Words, Translating Cultures
Richard Whitaker
Akroterion , 2012, DOI: 10.7445/46-0-125
Abstract: What exactly does (or should) translation from one language into another try to do? Attempt to convey to readers of the target language (the language into which one is translating) something of the strangeness, difference and historicity of the original in the source language (the language from which one is translating)? Or must translation try to bridge the gap between source and target language, by rendering the original in a thoroughly contemporary style and diction, as if this were a work being written now for the first time? And related to these the further questions: how closely should a translation render the genre, language, metre, style and content of the original? How far can a translation depart from the original without ceasing to be a translation – in other words, where is one to situate the border between “translation”, “version” and “adaptation”?
认知抑制对艺术创造力的影响:认知风格的调节作用
Cognitive Inhibition and Artistic Creativity: The Moderating Effect of Cognitive Style
 [PDF]

程丽芳,胡卫平,贾小娟
- , 2015, DOI: 10.16187/j.cnki.issn1001-4918.2015.03.05
Abstract: 以114名大学生为被试, 采用Mittenecker指向测验和粘贴画任务考察了认知抑制能力与艺术创造力的关系, 并采用镶嵌图形测验考察了认知风格在其中所起的调节作用。研究结果表明:(1)认知抑制能力与艺术创造力之间呈现负相关, 认知抑制对于个体的创造程度、沟通传播水平和艺术创造综合印象可以起到显著的负向预测作用, 对于个体艺术创造的可爱程度和想象水平可以起到边缘显著的负向预测作用;(2)认知风格在认知抑制能力与艺术创造力的关系中起着调节作用, 主要表现为认知抑制能力对于场依存个体的创造程度、想象水平和沟通传播水平具有显著的预测作用, 对于场独立个体的艺术创造力则不具有预测作用。
114 undergraduates were recruited to complete the Mittenecker Pointing Test, Embedded Figure Test and the collage design as the measure of cognitive inhibition, cognitive style and artistic creativity respectively. The results showed that (1) Cognitive inhibition showed significant negative relationship with artistic creativity and it can predict individuals' creativity, communicative level and general impression significantly, likeability and imagination marginally significantly. (2) Cognitive style moderated the relationship between cognitive inhibition and artistic creativity, which showed that cognitive inhibition predicted creativity, imagination and communicative level of individuals who were inclined to field independence, whereas it can't predict artistic creativity of those inclined to field dependence.
Discussion Article: Disciplinary Boundaries for Creativity  [PDF]
Stuart Rowlands
Creative Education (CE) , 2011, DOI: 10.4236/ce.2011.21007
Abstract: Creativity is a very topical issue and indeed a political one. For example, the very notion of ‘little c creativity’ seems to be a reflection of the requirements of what could be described as a ‘Post-Fordist’ economy. However, the call to develop creativity in education is largely based on the idea of creativity as the production of novel ideas. The central argument of this article is that creativity cannot be seen purely in terms of novel ideas but that it is intrinsically bound with the teaching of the academic disciplines. It is within the context of creativity in the sense of transforming the disciplines that two paradoxes are discussed. The first paradox is that the truly creative act is not the preserve of the genius but the potential for the whole of humanity. Secondly, creativity involves both thinking within the constraints of the discipline and challenging those constraints. This implies the need for students to engage in meta-discourse, involving the nature and history of the subject-matter taught.
BoolVar/PB v1.0, a java library for translating pseudo-Boolean constraints into CNF formulae  [PDF]
Olivier Bailleux
Computer Science , 2011,
Abstract: BoolVar/PB is an open source java library dedicated to the translation of pseudo-Boolean constraints into CNF formulae. Input constraints can be categorized with tags. Several encoding schemes are implemented in a way that each input constraint can be translated using one or several encoders, according to the related tags. The library can be easily extended by adding new encoders and / or new output formats.
Managing the Classroom for Creativity  [PDF]
Molly A. James
Creative Education (CE) , 2015, DOI: 10.4236/ce.2015.610102
Abstract: Enhancing student creativity is an educational goal, and increasingly, a global imperative. In the current educational context of the United States, this is a formidable task. I have struggled with this issue as an MA student, and as an educator. As an MA student I examined learning environments that support and enhance creativity, and received my Masters in Creative Thinking. As an educator at an academically rigorous N-12 grade school, I endeavor daily to encourage deep thinking, academic excellence, and great creativity in my students. This paper expresses the voice of the researcher, and the voice of the passionate educator. This paper suggests it is possible to establish creativity-enhancing learning environments. It offers an understanding of creativity and its inherent connection to learning. Teresa Amabile’s highly regarded workplace assessment inventory, KEYS, is presented and explored as a classroom management style that encourages creativity and achievement. Her theory suggests we, as educators, have the power to enhance our students’ creativity by positively impacting our classroom environment. I map her approach onto two highly successful creative learning approaches—El Sistema and Reggio Emilia, and then interrogate and reflect upon the presence of KEYS in my own practice. Finally I offer suggestions for pre-service and in-service professional development to support educators as we work to empower our students to grow their creativity now and in the future.
Creativity in Education: Teaching for Creativity Development  [PDF]
Danielle E. Kaplan
Psychology (PSYCH) , 2019, DOI: 10.4236/psych.2019.102012
Abstract: Creativity is essential to innovation, novelty, and sustenance. This research involves the study of creativity in education, specifically through the training of teachers and future teachers to apply theories of creativity in instructional design. Teacher Education students were exposed to creativity theory and conditioned to apply theory in developing learner creativity in lesson and project design. Creativity theories were included in an online course in cognition and critical thinking in education as foundational psychological frameworks to apply in educational practice and in the design of creative activity in the course. Participants studied and applied creativity frameworks in instruction and learning design in the form of lessons and projects. Lesson Designs were full-length lessons with applications of creativity theory. Project Designs were group projects incorporating creativity theory into an educational resource. Uses of creativity theory in lessons and projects were analyzed for understanding and application of theory.
The Value of Teaching Creativity in Adult Education
Kuan Chen Tsai
International Journal of Higher Education , 2012, DOI: 10.5430/ijhe.v1n2p84
Abstract: In today’s postmodern world, change is the only thing for sure. As a result, creative capacity is the key. Learning creative thinking in fact is a useful vehicle for adult learners to polish their abilities and orientate the world around them. This article attempts to review creativity-related literature and to provide some salient considerations for adult educators with the desire to promote creativity in the classrooms. To begin, the definition of creativity was disclosed. Then the process of creativity was reviewed. Following this line, several factors, including personality traits, knowledge and expertise, motivation and self-efficacy, learning style and thinking style, teaching approaches, assessment and reward, and environment, that might facilitate or stifle creativity were discussed. Finally, some suggestions for adult educators were provided.
When Translating Becomes a Ludic Ativity  [cached]
Elise Aru
Opticon1826 , 2010, DOI: 10.5334/opt.081002
Abstract: Suggesting that translating is ludic can come as a surprise, as for most of us translating involves finding a corresponding word in another language – hardly a ludic process. This article focuses on the translation of works by the OuLiPo, a group of French writers who experiment with the use of constraints in writing. My approach to translation consists of identifying the Oulipian constraints inherent in the source text and adapting them to the target text. This approach implies finding a way, in the translation process itself, of overcoming the constraint without transgressing it, which in turn engages with the imaginative content of translation. I will suggest that the ludic aspect of translation is dual. It consists of the ludic elements derived from the use of constraints effective in the source text and the ludic elements in the act of translating. Translating a work by the OuLiPo indicates this double-edged interaction between constraint and play.
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