2. What we typically teach in art courses elements and principles disciplinary studio skills problem solving creativity work ethic studio citizenship perception/acuity critical self reflection social production/collaboration aesthetic theory communication skills art historical context social context/ visual culture
3. What we typically teach in art courses As important as all of these knowledges and skills may be, this long list can be reduced to 4 traits that predict whether or not a student will be successful in their art/ design degree elements and principles disciplinary studio skills problem solving creativity work ethic studio citizenship perception/acuity critical self reflection social production/collaboration aesthetic theory communication skills art historical context social context/ visual culture 2 1 3 4
7. predictors of student success work ethic curiosity 1 2 3 critical self reflection creativity 4
8. predictors of student success curiosity work ethic critical self reflection creativity Any one of these is not sufficient. While not causally dependant, these traits are entailed & entangled with each other.
9. predictors of student success We will address them as a single complex we will call Creativity
10. creativity is a complex Creativity is studied in several fields using numerous perspectives. No less than eleven creativity perspectives identified by Runco, 2006
17. can creativity be learned? yes no The degree to which an individual believes that creativity is learnable depends upon their perspective and understanding of creativity.
18. two primary approaches creativity In order to make students more creative, instructors can use two approaches: Teach cognitive Use adaptive strategies strategies permission safety encouragement modeling expectations behaviors techniques tactics strategies mental habits
19. Adaptive strategies creativity I will provide & you should take advantage of a learning environment that promotes creative thinking. Adaptive strategies: permission values experimentation & a variety of solutions safety freedom to fumble & fail & look “stupid” along the way encouragement supportive of real effort and accomplishment modeling instructor demonstrates creative values and techniques expectations sets & communicates clear and constant goals
22. conventional thinking mental habits creativity unconventionality age Numerous studies over the years have established a strong correlation between age and conventional thinking. Your cohort is currently near the bottom of the “creative valley”. Your thinking tends to be highly conventional. based on Piaget, 1970,1976; Kohlberg,1987; Johnson 1985
23. conventional thinking mental habits creativity but take heart: the studies were randomized. as art students you have already “skewed” the sample” so this is less predictive for this group. also, there are, of course, individual variations. your results may vary. this is not meant to impugn your creativity, rather it is meant as a challenge and a check: suspecting that your thinking is not as original as it may at first seem to you is key to unlocking your creativity. based on Piaget, 1970,1976; Kohlberg,1987; Johnson 1985
24. creativity blocks mental habits creativity stress Stress is not only a distraction which drains energy which could otherwise be used creatively. It is bad for one's health. Creativity is Play!routines Routines or set ways of performing tasks have their uses, but they can limit the range of responses available and can lead to the development of the anathema of creativity, the "bureaucratic mind”. "The will to a system is a lack of integrity." –Nietzsche goal directed behavior Overly focusing on goals rather than process limits perception and blinds us to possibility. A straight line is the scalpel with which we excise opportunity. beliefs Having a strong belief in something not only limits our response options, but causes us to limit the way in which we perceive and process information from the outside world. We may "filter out" information which contradicts our belief, and end up in our own "reality tunnel", blissfully unaware of much that occurs in front of our very eyes. ego One must be humble before one's subject. Having a strong ego identity with a particular belief exacerbates the realty tunnel. This is not to imply that one must have no beliefs, merely that one needs to be very aware of one's beliefs and consequent limitations. fear Fear of self expression and of the judgment of others can severely limit one's creativity. self criticism Negative thinking and self criticism are also limiting factors of an individual's creativity.
26. I hear: I forget.I see: I remember.I do: I understand. Chinese proverb think with process behaviors creativity i hear: i forget.i see: i remember.i do: i understand. chinese proverb
27. I hear: I forget.I see: I remember.I do: I understand. Chinese proverb think with process the 500ms. delay even for simple volitional acts consciousness lags half of a second behind readiness potential. we have made our decisions and have initiated our actions before we consciously decide to act. behaviors creativity readiness potential 2 -0.5 s. act conscious wish -0.2 s. readiness potential 1 -1 s. "the role of consciousness in our decisions is greatly overestimated" -tor norretranders based on Libet, 1979; Keller and Heckhausen, 1990
28. I hear: I forget.I see: I remember.I do: I understand. Chinese proverb think with process rapid cognition malcolm gladwell's blink, (2005) makes the case for "thinking without thinking" citing numerous studies and examples that reveal how subconscious processes that he calls "thin slicing" allow us to make better decisions and more accurate predictions for problems involving several variables or multiple dimensions with little conscious decision making. behaviors creativity
29. think with process behaviors creativity rapid cognition 500 ms. delay preconscious perceptivity & creativity are reactive. try to put put consciousness in charge of planning the strategy and allow the preconscious to evaluate progress, readjust tactics and resolve the problem. thinking with process = preconscious "thinking" = visual thinking
30. I hear: I forget.I see: I remember.I do: I understand. Chinese proverb think with process behaviors rapid cognition 500 ms. delay creativity when in doubt do something the point is not to think less, rather to think differently. avoid a "plan and execute" division of process the journey is the destination. in creative works problem finding is more critical than problem solving. process is a collaborator– "our actions think louder than words"
35. communication model machine model catalyst model diagnostic model shift paradigms strategies creativity mapping model force/field model pointing model
36. communication model shift paradigms strategies creativity what does the artwork say? what do I want to say? standard model artwork meaning meaning artist viewer encode decode transmission medium
37. communication model shift paradigms strategies creativity what does the artwork say? what do I want to say? corrected communication model artwork meaning meaning meaning artist viewer meaning encode decode transmission medium “noise”
38. communication model shift paradigms strategies creativity what does the artwork say? what do I want to say? deconstruction/feminist communication model artwork meaning meaning meaning artist viewer meaning transmission medium “noise” “noise” “noise”
39. shift paradigms strategies creativity machine model what does the artwork do? what do I want it to do? In this model artworks do not create meaning, they create effects artwork artist viewer machine consumer inventor effects
40. shift paradigms strategies creativity machine model what does the artwork do? what do I want it to do? applied arts such as advertising, interior & product design most often use a machine model– the machine is a “tool” used to alter the viewer artwork artist viewer “tool”
41. shift paradigms strategies creativity What relationships does the artwork show? what do I want to show? mapping model key artwork territory & terrain mode of Investi- gation filter artist viewer scale important features level of detail style representation
42. shift paradigms strategies creativity What is the territory? How do I know what to look for? What are the landmarks? How are they related? mapping model key artwork territory & terrain mode of Investi- gation filter artist viewer scale important features level of detail style representation
43. shift paradigms strategies creativity What style of representation is appropriate? At what level of detail (resolution)? Have I provided a key? mapping model key artwork territory & terrain mode of Investi- gation filter artist viewer scale important features level of detail style representation
44. shift paradigms strategies creativity catalyst model What reactions does the artwork create? What reactions do I want? viewer viewer artwork viewer viewer artist effect
45. shift paradigms strategies creativity catalyst model focus on creating social change or interaction rather than communicating meaning viewer viewer artwork viewer viewer artist effect
46. shift paradigms strategies creativity catalyst model The artwork can be an object or design but often it is performative or an event viewer viewer artwork viewer viewer artist effect
47. shift paradigms strategies creativity What forces & fields are displayed? Upon what influences, powers & spheres should I draw? What agencies, authorities & domains are in play? force/field model artwork forces filter perception analysis viewer domain scope important features level of complexity style “flow chart”
48. shift paradigms strategies creativity In the “weak” force/field model the artist perceives, processes and encodes domains for display to the viewer force/field model artwork forces filter perception analysis viewer domain scope important features level of complexity style “flow chart”
49. shift paradigms strategies creativity In the “strong” force/field model the artist is not an observer, The artwork is an effect of forces at work on the artist. The reception of the artwork is an effect of the forces at work on the viewers. forces force/field model artwork forces forces forces forces forces forces domain
50. shift paradigms strategies creativity diagnostic model What is the artwork a symptom of? Whatdoes the artwork indicate or reveal? artwork meanings intended meaning viewer artist decode symptoms unintended meanings symptoms
51. shift paradigms strategies creativity diagnostic model in this model the artist’s intended meanings are the primary focus during creation, but are only of secondary importance In the reception artwork meanings intended meaning viewer artist decode symptoms unintended meanings symptoms
52. shift paradigms strategies creativity diagnostic model artworks are” read” for clues or evidence of of underlying forces or conditions at work in the the artist or in society artwork meanings intended meaning viewer artist decode symptoms unintended meanings symptoms
53. shift paradigms strategies creativity pointing model what discovery, experience or concept does the artwork share? how do I present my interest so that the viewer shares my experience? artist viewer artwork
54. shift paradigms strategies creativity pointing model this model represents the fundamental function of all artworks: to redirect the attention of viewers. It is not so concerned with communication per say, rather it is an attempt toreplicate the artist’s experience, curiosity, or enthusiasm in the viewer artist viewer artwork
55. shift paradigms strategies creativity pointing model Although all artworks “point” in this way, by focusing on the pointing model artists make an important shift from making work that is “about” a concept or experience to work that participates in the concept or experience as much as possible artist viewer artwork
56. synaesthesia strategies creativity medically: involuntary linking of 2 or more senses artistically: translation of one sense into another
57. synaesthesia strategies creativity smell There are the “traditional” 5 senses, but also other bodily sensations such as balance, tension, arousal, hunger, etc. becoming consciously aware of our physical responses & tapping into sense memories provide important resources for generating creative solutions to visual problems that are less prone to be based on cliché symbols... hearing taste balance tension touch arousal
58. synaesthesia teach: strategies creativity Symbolic approaches to depict “death” black coffin skeleton grim reaper blood ghost black rose cliché
59. synaesthesia strategies creativity synaesthetic approaches to depict “death” acrid, sweet stench of moldering flesh; the smooth, or serene aroma of lilies. what does death smell like? does death have the tension of rigor mortis or the repose of release? what does death feel like? is death as solid and weighty as packed earth, as open and airy as a picked carcass, or as ephemeral as a cold breath on your cheek? What is the tactile quality of death? does it sound like a hushed and empty silence or have the stretched, rounded sonority of a funeral dirge? What does death sound like?
during a recent retreat the faculty identified those learning outcomes were the best predictors of student success
we teach facts concepts and attitudes facts are easyso why is creativity so difficult?
we teach facts concepts and attitudes facts are easyso why is creativity so difficult?
GENETIC!
ALSO GENETIC!
STIMULTATION, CONTACT TIME W/ ADULTS, BIRTH ORDER, CHILD HOOD TRAUMA
in general, instructors do a great job of dealing with creativity from an adaptive perspective creating environments that are permissive
in general, instructors do a great job of dealing with creativity from an adaptive perspective creating environments that are permissive
so I will focus on a cognitive perspective which focuses on teaching directly to the outcome
U GRAPH OF CONVENTIONALITY UNCANNY VALLEY
U GRAPH OF CONVENTIONALITY UNCANNY VALLEY
the chinese philosophers stone is a great example of how process shape the mundane into the extraordinaryrather than tap your pencil on your forehead, get up and do something
Johnathan Schooler verbal overshadowing visual recognition and insight problems the bandwidth of preconscious is large the bandwidth of language small