The document discusses creativity and innovation in education. It begins by exploring definitions of creativity and innovation, noting creativity involves transforming latent ideas into recognized forms over time. Innovation then transforms creativity into new practices. It then contrasts the "school" system, which can be seen as prioritizing standardized learning and career selection, with more open-ended creative practices. The school system is caught between modern demands for the sublime/aesthetic versus norms of standardization. The document proposes taking what schools are good at - like idea development and collaboration - and focusing on sustaining creative practices and entrepreneurship. It explores how workshops can foster hybrid experiences through bringing together diverse actors in collaborative problem-solving. Mediating artifacts also play

1. Kreativitet
- Som et
problem i
uddannelse?

2. Dear Jørgen

3. Dear Lars

5. Five ..
• Leth must remake the film in Cuba (but with no set) with no shot longer than 12 frames, and
he must answer the questions posed in the original film; Leth successfully completes this
task.
• Leth must remake the film in the worst place in the world but not show that place onscreen;
additionally, Leth must play the role of "the man". The meal must be included but the
woman is not to be included. Leth remakes the film in the red light district of Bombay, only
partially hiding it behind a translucent screen.
• Because Leth failed to complete task 2 perfectly, von Trier punishes him, telling him to either
remake the film in any way he chooses, or redo obstruction 2 in Bombay again. Leth chooses
the first option and remakes it in Brussels using split-screen effects.
• Leth must remake the film as a cartoon. He does so with the aid of Bob Sabiston, a specialist
in rotoscoping, who creates animated versions of shots from the previous films. As such the
final product is technically an animation but not a cartoon. Nevertheless von Trier considers
the task to be completed successfully.
• The fifth obstruction is that von Trier has already made the fifth version, but it must be
credited as Leth's, and Leth must read a voice-over narration ostensibly from his own
perspective but in fact written by von Trier.

6. Her er det så ikke Lars og Jørgen
• Først en intro
• Så en intro med illustration
• Så en afrunding – og en re-perspektivering
Slide 6

7. Det er blevet meget populært
med..

8. Se:
http://www.youtube.com/watch?
v=zDZFcDGpL4U
Slide 8

9. Kreativitet og innovation som et problem i
uddannelse
Kreativitet som en bregrebslig flyder

10. Udenfor forståelse
“Any reaction to stimulus may be causally explained; but the
creative act, which is the absolute antithesis of mere reaction,
will forever elude the human
understanding.(Jung 1933, p. 23)

11. Definition:
Tentativt kunne det være:
Transformation af det latente til former, der
underkastes anerkendelse over tid…

12. Så..
• Innovation er transformation af nye former til
ny praksis. – Eller transformation af kreativitet
til ny praksis

13. The Creative Set-Up
• A kind of practice
• How do we understand practice and learing
• How do we understand practice and
creativity/innovation

14. Vs skolen…….
Slide 14

15. ”Skolen” - Uddannelsessystemet
• Uddannelsesesystemet kan læses på flere
måder
• Det kan læses som en særlig uddifferentiering
som har en kode
• Koden er barnets læring
• Og så som noget særligt karriereselektion

16. Hvorfor begrænset
• Fordi denne diskurs konflikter med
skolekulturen
• Inkluderende og med fokus på
udviklingspotentiale –
• Praksissens rekursivitet konstitueres af en
normativ kanon. Det vi gør, gør vi fordi vi gør
det – det generelle (evalueringskriterium
”godt nok”)
• Vs en æstetisk – det sublime

17. Tesen kunne derfor være:
• At skolen fanges i et krydspres mellem det
moderne projekts krav om det sublime –den
æstetiske kanon og skolekulturens krav om
normativitet
• Projektet kunne så være at tage afsæt i, hvad
denne skole er god til

18. Den danske skole laver elever, der er:
• Gode til idéudvikling og samarbejde
• Gode til at lave temporære praksisser
• Dårlige til at lave bæredygtige praksisser
• Oversat: De er kreative og innovative, men
ikke særligt gode til entreprenørskab
• Eller da ”ostejapanerne” faldt i vandet, den
gang de holdt op med at stjæle og i stedet
begyndte at kopiere

19. Kreativitetstræning
• Virker det?
• Kilgour, Mark, Scott Koslow. 2009: “Why and how do creative thinking
techniques work?: Trading off originality and appropriateness to make
more creative advertising”, in Journal of the Academy of Marketing
Science, 37 (3) : 298-309.
• Scott, Ginamarie, Leritz, Lyle E. and Mumford, Michael D. (2004)The
Effectiveness of Creativity Training: A Quantitative Review, in Creativity
Research Journal 2004, Vol. 16, No. 4, 361–388

20. Autenticitet
• Skabes gennem læreprocessen, hvor der er
fokus på, at det har mening
• Anerkendelse gennem feedback og
feedforward
• Distinktionsindskrivelser – temporære
koblinger
• Fordybelse
• Refleksionsfrie zoner

21. Den hylomorfiske model
• Fortolkningens reversibilitet – læringens emplotment
• Fra værk til proces til proces/værk
• Udvikling af iterationer og initirationer
• Altså differencerne indenfor repetition – eller den
kontinuerlige variation af variabler frem for
uddragelse af konstanten
• Og overskridelsen

22. Overskridelse-Communities of Interest
• Kreative produktioner sker gennem projekter
• Ofte konstitueret af temporære samlinger fx
workshops, som påkalder sig en særlig
interesse, fordi:

23. Workshops kan:
• Kan alt efter, hvordan de tilrettelægges,
generere hybride oplevelser og erfaringer.
Disse oplevelser finder sted i et COI, der
består af forskellige aktører, der
repræsenterer forskellige praksisfællesskaber
(COP’s).
• Workshoppen samler de forskellige
praksisfællesskaber om et fælles arbejde for
at producere fælles resultater og for at udvikle
en kollektiv handlingsplan.

24. Medierende artefakter
• Deltagerne må samarbejde for at definere
deres nye omstændigheder og forhold.
Kombinationen af heterogene aktører og
erfaringer medfører synteser i perspektiv og i
viden.
• I forbindelse med at opnå disse synteser
spiller de medierende artefakter en central
rolle.

25. En udfordring..
• ”..findes i at opbygge en kollektiv forståelse af
opgaven, der skal udføres, en forståelse der
ofte ikke eksisterer i udgangspunktet, men
som udvikles kollaborativt og trinvist og siden
vokser frem i de deltagendes tanker og i
eksterne artefakter.”
• (Fischer, 2001: 4.)

26. Udfordringen er videre :
• …, at de forskellige aktører skal udvikle en praksis og opbygge
et fælles vokabular samt forståelse af den opgave,
projektteamet søger at løse, og metoderne, der kan tages i
brug for at nå i mål. Dette er en kompleks form for
fællesskab, hvor artikuleringer har en essentiel plads i og
med, at disse samler, medierer mellem og transformerer
erfaringer og viden.

27. Forskellige læringskontekster
• Forskellige praksisformer – tydeliggørelse af
spilleregler, værdier og vurderingskriterier

28. En skole er en skole er en skole
• Altså at skolens rationalitet er
læring/selektion vs andre systemers
rationaliteter
• Fordybelse og møder
• Sprog og begreber

29. Skolen er en skole er en skole –
• distintionsindskrivelse i forhold til andre
sammenhænge
• Elev – ”hæves” – grad af ”hævelse”
• Deltager –deltagelse – grad af? Kvalitet af
deltagelse?
• Lærende – læring? Omlæring? Ny-læring?
Selvkonstruktion.

30. Innovation og kreativitet læres ved
Deltagelse
Autenticitet
Begrænsninger– The Design
Outcome:
A product or response will judged as creative to the extent that
(a) it is both anovel or valuable response to the task at hand,
and (b) the task is heuristic rather than algortimic (Amabile p.
35)

31. “ Den kreative organisation - ”
ORIGIN mid 16th cent.: from
Latin innovat- ‘renewed,
altered,’ from the verb
innovare, from in- ‘into’ +
novare ‘make new’ (from
novus ‘new’).

32. . . Creativity is our limitations
(Picture Credit;) http://blogs.indiewire.com/theplaylist/magnolia_gets_apocalyptic_picks_up_lars_von_triers_melancholia
”In my opinion, creativity is completely involved
with limitations.
For instance, even in our childhood,
when we want to draw something, there is a
limitation concerning the paper.
All sorts of creativity are concerned with the
specification of our limitation.
Drawing, writing or whatever..
. . Creativity is our limitations.” (Ozcan 2004)

33. Historie – tilbage fra antikken....
• Den romantiske – eller
• Den rationelle tilgang..

34. • The concept of creativity is difficult to grasp. The etymology of the word
refers to the act of divine creation – that is creating something out of
nothing (creatio ex nihilo). Often, creativity has been associated with the
“divine inspiration” that artists in particular are gifted with. Such use of
the concept is a construction of 19th Century romanticism. However, it
remains a part of our everyday understanding of what creativity means.
Typically, creativity is seen as something special; deriving from inspiration,
and constrained by rationality.

35. • In the years following World War Two, there was an increasing interest, especially within
American psychology, in identifying creativity traits and to developing measurements for
individual creativity. Growing criticism from the fields of psychology, management theory,
and also learning theory of this notion of measurability has opened up for a number of
alternative understandings.
• Firstly, they tell us that creativity is a term that is used to describe how novelty is generated.
• Secondly, that the understanding and hence the definition of the term is a product of history
and culture. In consequence, it is difficult to define creativity in a general sense. Rather it has
to be understood in the particular socio-cultural context where it is debated and/or where it
occurs (Saywer 2006).

36. • In a slightly different but also more operational model the generative
socio cultural model suggested by Sawyer with references to Amabile and
Csikszentmihalayi defines three elements: Person, Field and domain. The
creator develops new ideas. The field then again decide whether this is
first of all appropriate and then whether it is “new”. These gatekeepers
then allow for the product to enter the domain – or it is rejected (Sawyer
2006).

37. The interesting part would then be to observe – how
this is happening
• How does creativity take place?
• ”A Micro-Case Study”
• We will move back to the sixties

38. 1969

39. Imposed Contraints
• Four Steps
• Role setting
• Objects
• Reality
• Viewer
• (No post manipulation)

40. Result
• Rubbish
• Lack of Competence
• Mastering

41. Tentative Components
• Mastery (ANDERS K ERICSSON)
• Estrangement (Koestler)
• Programme (Idiosyncrasy vs. isomorphic
pressure)
• Double double competence (Helms)

42. Four Micro Cases
• Ålen and von Trier Dogme/Zentropa
• René Redzepi and Claus Meyer :NOMA
• Mark Elliot Zuckerberg and Sean Parker :Face
Book
• Olafur Eliasson and Einar Thorsteinn : Eliasson
Studio

43. • Ålen and von Trier
Dogme/Zentropa
• René Redzepi and Claus Meyer
:NOMA
• Mark Elliot Zuckerberg and
Sean Parker :Face Book
• Olafur Eliasson and Einar
Thorsteinn : Eliasson Studio
• Mastering
• The estrangement
• The programme
• The organisation
• Double competencies

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45. References 2
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