Learning to be creative

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Método para un trabajo transdisciplinario de innovación pedagógica en la escuela

Isidora Mena Edwards Psicóloga y Dra. en Ciencias de la Educación
Universidad Católica de Chile

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  • Good morning. I'm glad to be here, in Portugal, with you, al people interesting in creativity I'm from Chile and I will tell you a strategy for increase creativity in children, trough teaching the regular contents.
  • Student come into the school, and they learn many stuffs. Not only in the class, but also in all the school experience. From the entrance to the classroom, including all the play areas, they learn about how to think, what to do, how to decide, what is well, what is bad.
  • A school can teach all be the same
  • But also school can teach to be diferent. Each in their own identity, and creative freedom
  • School’s Managment: towards a comunity of learning and creativity School in their classes: little comunities of learning an creativity
  • I will tell you, about our work and research, for teaching in the classroom
  • In year two thousands Marina wrote: Stuff have real properties, departing from which, we, the human, invent and develop new free properties For ejample: To be highly explosive is a real property of Oil. But the human saw on that the possibility of designing an engine that can help people move and even fly…
  • Lo azul me gustarìa ponerlo en inglès en el PTT
  • idem
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  • ¿Por qué el agua en el mar tiene olas y en los lagos no? ¿Porqué a veces estamos contentos y otras no, sin mediar eventos identificables? ¿Còmo crece una planta, si no la veo comer (como a los humanos, animales, peces?)
  • Esa pregunta es la que produce la emoción/motivación por la acción de investigar/explorar/aprender Produce disonancia cognitiva Propone una meta, un sueño: saber por què … y eso es el inicio y motor de la creatividad: las tensiones, los conflictos, lo desconocido
  • Learning to be creative

    1. 1. a pren der para crearMétodo para un trabajo transdisciplinario de innovaciónpedagógica en la escuela L earning to be cr eative A method for pedagogic innovation in the school.Isidora Mena EdwardsPsicóloga y Dra. en Ciencias de la EducaciónUniversidad Católica de Chile
    2. 2. LSchool earning to be crMethoda. Develop creativity by understand knowledgeb. As a collaborative planificationResearch eative • •
    3. 3. 1. School
    4. 4. Inhibiting creativity
    5. 5. Fostering creativity
    6. 6. Transform in to a creative school Enseñanza en 2 sala de clases Teaching in the classroom Gestión escolar: organización como comunidad 1 de aprendizaje y creatividad School’s Managment: towards a comunity of learning and creativity
    7. 7. Teaching in the classroomI will show you work and research aimed to transform everyclassroom into a strong community that fosters creativityand continuous learning.
    8. 8. 2. Método / Method c) Desarrollar la creatividad a travès de entender el conocimiento Develop creativity by understand knowledge
    9. 9. José Antonio Marina, Teorìa de la inteligencia creadora, 2000 “Things have real properties, departing from which, we, the human, invent and develop new free properties” (Marina, 2000, unofficial translation)For ejample:To be highly explosive is a real property of Oil. But we saw on that the possibility ofdesigning an engine that can help people move and even fly… Propiedad real del petróleo: alta El hombre desarrolla la tecnología explosividad para usarlo para volar
    10. 10. Assumption:Assumpltion: Real properties of things(our set of ideas about them) are alreadya human construction… Learning to ‘deconstruct’ our knowledge about things, allows us to set free our creative intelligence
    11. 11. Properties of a tower:TALL and STYLIZED
    12. 12. (Free) properties of atower:A SET OF STACKED,CHUBBY CUBES
    13. 13. (Free) properties of a tower:A SET OF CHUBBY CUBES THAT CANBE STACKED INTO DIFFERENTCONFIGURATIONS
    14. 14. Free properties of a tower:A SET OF CHUBBY CUBES THAT CAN BEARRANGED INTO DIFFERENTCONFIGURATIONS AND THREE DIMENSIONS
    15. 15. (Free) properties of a tower:A SET OF CHUBBY CUBES THAT CAN BEARRANGED INTO DIFFERENTCONFIGURATIONS WITHIN A GIVEN SPATIALSETTING…
    16. 16. The classroom as the space for learningThe free properties of the knowledge: • Deep understanding is the base for inventions • Understand components and their relationships • Experience how creative action operates within a group
    17. 17. a pren der para crear4 principles for effective knowledge transfer 1. Unveil tensions 2. Consider multiple perspectives 3. Reveal essential links and interdependences 4. Apply knowledge in other distant fields
    18. 18. 1 : develar tensiones // unveil tensions• Recognize the tensions that caused (or could have caused) a given initial query i.e Why oceans has big waves and lakes do not? Why are we sometimes happy and sometimes not, without any identifiable events? How a plant can grow, if I can´t see it eating like humans or animals do?
    19. 19. That question is what produces the emotion / motivation for the action to investigate / explore / learn – Produces cognitive dissonance – Proposes a goal, a dream to know why... And that is the engine for creativity: the tensions, conflicts, the unknown…(autores….)
    20. 20. 2: e.i Considerar múltiples perspectivas Consider multiple perspectives Observe from different perspectives i.e Why the oceans have big waves and lakes not? 1st Perspective: Elements around the sea / lake can make a difference ... The wind, the moon
    21. 21. • 2s Perspectivas: otros fenómenos con olas 2s outlook: other wave phenomena
    22. 22. 3 : Develar relaciones esenciales y cercanas Reveal essential links and interdependences 1. Show primary relationships that allow the comprehension of the main tensions that lie beneath a given phenomenon 2. Select some close, easy to understand tension/relatioinship, useful to illustrate and comprehend the phenomenon
    23. 23. i.eRelaciones primarias Relaciones secundariasPrimary relationships Secondary relationships• Wind / Surface of • Moon’s effect on tides • Tectonic movements have thewater / gravity• Conflicted energies in an effect on waves • Given geographical tension (Eolic-Gravity)• Sea/Lake bed depth settings that increase the• Positive or negative effect of wind in the feedback loops that surface of water bodies • Effects of waves in the increase or neutralize wave’s energy shoreline
    24. 24. 4 : Establish far fetched, not directly correlated relationships establecer relaciones lejanas i.e Write a romantic sentence using your knowledge about waves,. compare waves and curly hair…(Without seeking nformation about hair)
    25. 25. Olas en el mar
    26. 26. a pren der para crear1. Learning useful things about reality2. Learning to be creative: •Identifying tensions •Dealing with multiple perspectives •Making relationships between things •Making distant relationships between things• Aprender cosas relevantes sobre la realidad• Aprender a ser creativo – Reconocer tensiones – Perspectivas multiples – Relacionar – Relaciones lejanas
    27. 27. Método b)Planificación colaborativa de profesores Method b) A Teachers collaborative planification
    28. 28. Teachers create collaborativement 2. Designs classroom1. Breaks down lessons and activities knowledge into essential components, identifying key questions and relationships 3. Implements the class/lesson
    29. 29. School L earning to be crMethod a. Develop creativity by understandknowledge b. As a collaborative planificationResearch eative • •
    30. 30. A cuasi experimental study, which objective was to analyze the impact in the student’s learning once they where taught by teachers trained in creativity liberation and promotion methodology (learning for creating).The study compared pre – post three experimental institutions and three control, in second grade of high school.
    31. 31. Research Pre Post Post Post (profesores+ Teachers (profesores + Teachers estudiantes) estudiantes) Student Student Estudio cualitativo Grupo experimental 3 secundary schools/ 2 grade: 15 teachers Capacitación Evaluación cualitativa (Bitácoras) Grupo control 2 escuelas sec/ 2 nivel : 15 profesores c/uIsidora Mena Edwards; Ruby Vizcarra Rebolledo; Gastón Sepúlveda Espinosa
    32. 32. Instrumentos y análisis cuantitativoInstrumentos Alumnos – Prueba de conocimientos relevantes – TAC: Test de apropiación creativa (conocimientos) – Test de habilidades cognitivas Profesores – TAC: Test de apropiación creativa (Conocimientos) – Test de habilidades cognitivasAnálisisCuanti: simples de varianza, ANOVA y multivariado de la covarianza, MANCOVA.Cuali: categorizaciones abiertas, selectivas y axiales (Flick, 2008)
    33. 33. Resultados prueba de conocimientosDiferencias significativas (al 0,01) en todas las dimensiones: – Uso del conocimiento específico de la unidad – Uso del lenguaje – Razonamiento y capacidad de abstraer – Tomar perspectiva y hacer metacognición. 16 14 12 10 8 experimental control Grafico 1: 6 Resultados ANOVA Grupo 4 experimental/Control 2 en prueba de conocimientos 0 conoc leng razonam perspectiva
    34. 34. grupo experimental3. Increased use of all teaching units2. Perception of usefulness of acquired knowledge for answering relevant tests3. Better use of language, increased sentence structure, more and better technical words4. Better reasoning process: – Increased comprehension of what is being asked to do, – Better deductions, – Ability to establish more relevant relationships.
    35. 35. 5. Increased ability to make abstractions and pick up essential factors, looking from diversified perspectives7. Increased creative constructions emerging from contents themselves rather than replacing or blighting them8. No difficulties when group was asked to think based on a metaphor or fictitious relationship –a significant subset from within the control group did refuse to do it-9. The only case in which one student’s result stood out from the control group, he was still under the average ability to use knowedge compared with the experimental group
    36. 36. Qualitative conclusions Teachers 1. Regained interest in acquiring new knowledge 2. Re-enchantment with proffession and teaching vocation Students 3. Openness to and increased pursuit of amazement (once experimental phase finished) “My teacher stopped teaching in the new (experimental) way and now it is boring…but I already learnt that things are really a lot more entertaining so I always try to think about what really hides inside and beyond what she teaches us” (Interview to a student,. Müller, 2004)

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