This book explores the complex, yet critical, relationship between technology and creativity, specifically in educational contexts. Creativity is important for success in today’s rapidly changing, radically contingent and hyperconnected world. This is even more relevant in the context of teaching and learning―where the psychological, sociological and cultural aspects of human learning confront the challenges of a rapidly changing, technologically saturated world.
Written by some of the foremost thinkers and researchers in the area of creativity and/or technology, the chapters in this volume examine the impact of recent and future technologies on creativity, teaching and learning. Individually and collectively, they help us develop an understanding of this nexus of creativity and technology for education. They offer new perspectives on this rapidly evolving future―exploring issues, paradoxes, tensions, and points of interest for creativity and technology. They position these issues in ways that consider implications for thinking, learning, teaching, and education in general.
Author(s): Danah Henriksen, Punya Mishra
Series: Creativity Theory and Action in Education, 7
Publisher: Springer
Year: 2023
Language: English
Pages: 234
City: Cham
Preface
References
Acknowledgments
Contents
Chapter 1: Blueprints for a Creativity Curriculum
1.1 Introduction
1.2 What Is Creativity?
1.3 Creative Thinking in the Brain
1.4 Giftedness in Children
1.5 Proximal Development
1.6 Does Creativity Belong in School?
1.7 Designing a Creative Curriculum
1.7.1 Divergent Thinking 2.0
1.8 How Technology Can Help
1.9 Assessment
1.10 The Importance of Advocacy
1.11 Conclusion
References
Chapter 2: The Intersection of Human and Artificial Creativity
2.1 Introduction
2.2 The Psychological Foundations of Human Creativity
2.3 Why Are We Creative?
2.4 How Are We Creative?
2.5 Process & Artificial Systems
2.6 Case Studies in Artificial Creativity
2.6.1 The Catalysing Computer
2.6.2 The Android Author
2.7 AI and Humans in Partnership
2.8 Conclusions
References
Chapter 3: Conceiving Creativity and Learning in a World of Artificial Intelligence: A Thinking Model
3.1 Introduction
3.2 The Possibilities in AI
3.3 AI and Creativity: Contested Territory
3.4 Adopting a Posthuman Perspective
3.5 Intersections Between Creativity and AI
3.5.1 Concerns That Emerge from the Model
3.6 Teaching and Learning Implications
3.6.1 Implication One: Human-Machine (AI) Interactions and Creativity
3.6.2 Implication Two: Human-Machine Compatibility
3.7 Conclusion
References
Chapter 4: East Asian Creative Ecologies in Networked Educational Worlds
4.1 Posthuman School Networks
4.2 A Posthuman Ethics of Creative Education
4.3 Creative Ecologies in East Asia and Australia
4.4 Hong Kong
4.5 Education for the Creative Future
4.6 Singapore
4.7 Do We Still Think Technology Means Revolution for Education?
4.8 Conclusion
References
Chapter 5: Room to Run: Using Technology to Move Creativity into the Classroom
5.1 Creativity, Innovation, and Entrepreneurship (CIE) in the Classroom
5.1.1 Creativity
5.1.2 Innovation
5.1.3 Entrepreneurship
5.1.4 Combining Creativity, Innovation, and Entrepreneurship in Education
5.2 Integrating Technology into the Creative Process
5.3 Pursuing Excellence and Equity Through Technology-Enhanced CIE Learning
5.4 Reducing Excellence Gaps
5.5 Benefits of Technology-Enhanced CIE Curriculum
5.5.1 CIE Can Support School Accountabilityspiepr146 Goals
5.5.2 CIE Can Promote Equity and Excellence
5.5.3 CIE Can Prepare Students for the Future
5.6 Technology-Enhanced CIE Programs
5.6.1 Lemelson-MIT InvenTeams Program
5.6.2 Purdue EPICS High School Service-Learning
5.7 Conclusion
References
Chapter 6: Creativity, Embodiment and Ensembles Through Technological Interactions in Critical-Creative Higher Education
6.1 Society in Need of Critical Creativity
6.2 Technology as Disruption
6.3 Methodology
6.4 Pandemic Creativity
6.5 Individuals in Groups
6.6 Creativity in Education: The Collective Level
6.7 Paradigm Shift
6.8 Ensemble Creativity
6.9 Massive and Microscopic
6.10 Students´ Voices
6.11 Future Trajectories
References
Chapter 7: The Future of the Fine Arts
7.1 The Arts and Human Nature: Culture Versus Psychobiology
7.2 Insights into Human Nature from Art History and the Current `Crisis´ of the Arts
7.3 The Artwork of the Future?
7.4 The Popular Arts and Human Nature Revisited
7.5 The Wildcard of Technology
References
Chapter 8: Embodied Creativity and Technology: A Complex Relationship
8.1 Introduction
8.2 Embodiment
8.3 Embodiment in Elite Performers
8.4 Embodiment in Creativity
8.5 Creativity in Education and Technology
8.6 Technology and Elite Performance
8.7 Elite Athletes and Performers During a Pandemic
8.8 Conclusion
References
Chapter 9: What Else Can This Be?: Creativity as an Iterative Practice
9.1 Introduction
9.2 Open Studio Process
9.3 Beit Midrash
9.4 Chevrutah
9.5 Spiritual Grounding
9.6 Jewish Studio Process
9.7 Space
9.8 Digital Technology Adaptations
9.9 Digital Technology Learnings
9.10 Digital Technology Pragmatics
9.11 Transferring These Practices to Other Educational Settings
9.12 Conclusion
References
Chapter 10: Creative Pedagogies with Technology: Future Proofing Teaching Training in Music
10.1 Introduction
10.2 Creativity and Technology in Education
10.3 The Course and Context of the Study
10.4 2020 COVID Context
10.5 The Study
10.6 Findings
10.6.1 Confidence in Technology
10.6.2 Cohort Connectivity
10.6.3 Discussion and Conclusion
References
Chapter 11: Why We Should Take a Second Look at the Politics of Creativity: The Dangers of a Celebratory Mode
11.1 Introduction
11.2 Creativity, Technology and Lived Experience: Learning to Survive, Teaching to Resist
11.3 The Missing Rhetorics of Creativity?: From Military Strategy and Torture to Neoliberal Exploitation and Authoritarian Dis...
11.4 Conclusion
References
Chapter 12: Teaching (for) Experimental Creativity
References
Chapter 13: How Not to Kill Creativity?
13.1 Dangers of Teaching Creativity
13.2 Dangers of Large-Scale Assessments
13.3 Dangers of the PISA Creativity Assessment
13.4 Opportunities and Dangers of Technology
13.5 What We Need to Do?
13.6 Summary
References
Chapter 14: Engaging Uncertainty: Principles and Provocations for Promoting Creative Learning Futures
14.1 Creative Learning: Principles and Provocations
14.1.1 Individual Principles
14.1.2 Individual Technological Provocations
14.1.3 Social Principles
14.1.4 Social Technological Provocations
14.1.5 Continuous Principles
14.1.6 Continuous Technological Provocations
14.1.7 Experiential Principles
14.1.8 Experiential Technological Provocations
14.2 Concluding Thoughts
References
Chapter 15: Dialogical Provocations: A Creative Trialogue
References
