Готові списки джерел за темами / Creative pedagogies

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Добірка наукової літератури з теми "Creative pedagogies"

Автор: Grafiati
Опубліковано: 10 січня 2023
Оновлено: 28 січня 2023

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Статті в журналах з теми "Creative pedagogies"

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Southern, Alex, Jenny Elliott, and Colin Morley. "Third Space Creative Pedagogies: Developing a Model of Shared CPDL for Teachers and Artists to Support Reading and Writing in the Primary Curricula of England and Wales." International Journal of Education and Literacy Studies 8, no. 1 (January 31, 2020): 24. http://dx.doi.org/10.7575/aiac.ijels.v.8n.1p.24.

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Zip Zap is a Creative Social Enterprise, which offers an author/illustrator- led Continuing Professional Development and Learning (CPDL) programme to develop teacher knowledge, confidence and skills in delivering creative writing and illustration activities, and a Festival of artist-led activities for school pupils. It is one of a number of initiatives that UK schools can buy into. This paper draws on an evaluation of Zip Zap’s CPDL programme and Festival across two UK sites, with two quite different creative learning contexts – Wales and England, to explore issues affecting the pedagogies at work in the space where teachers and creative practitioners elide. An analysis of findings from teacher/pupil/parent/creative practitioner interviews and observations of classroom teaching and CPDL sessions highlighted a number of key issues in relation to pedagogies of creative writing. These are: the teachers’ lack of confidence in creative writing pedagogies, a lack of shared approaches to teaching creative writing, and the potential for shared creative pedagogies. We propose a theoretical framework based on Homi K. Bhabha’s theory of the third space that offers a framework for professional learning that enables collaboration between teachers and creative practitioners, and the emergence of shared, creative pedagogies that would nurture pupils’ creative writing.
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Chamorro-Koc, Marianella, and Anoma Kurimasuriyar. "Insights from studio teaching practices in a Creative Industries Faculty in Australia." Arts and Humanities in Higher Education 19, no. 2 (September 25, 2018): 172–85. http://dx.doi.org/10.1177/1474022218802529.

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Studio teaching is a long standing tradition and a signature pedagogy across a broad range of art and creative disciplines, from arts to architecture and design. However, the practice of studio teaching varies across disciplines and practitioners. Do these variances indicate different signature pedagogies in the creative disciplines? An exploratory study was conducted to examine how studio teaching is practised at a Faculty of Creative Industries in Australia, and whether those studio practices suggest distinctive signature pedagogies and creative transfer. In this article, we describe the study and offer insights into studio teaching practices in the creative industries disciplines. We argue that nuances and differences among studio practices in creative industries reveal different signature pedagogies. Our findings offer a unique lens on current approaches to creative disciplines education, where interdisciplinary and transdisciplinary approaches to teaching are encouraged in order to support and prepare a highly educated and flexible future workforce.
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Jones, Colin, Kathryn Penaluna, and Andy Penaluna. "Value creation in entrepreneurial education: towards a unified approach." Education + Training 63, no. 1 (October 27, 2020): 101–13. http://dx.doi.org/10.1108/et-06-2020-0165.

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PurposeThis paper aims to propose a unified framework for understanding the development and distribution of value within and from enterprise and entrepreneurship education. In doing so, the authors trace the origins of value creation pedagogy back 100 years and reconnect this lost literature to contemporary thinking as to what constitutes value creation pedagogy.Design/methodology/approachThis conceptual paper identifies specific temporal-specific problems with current thinking in enterprise and entrepreneurship education vis-à-vis who gains the value from value creation pedagogies. To address this identified anomaly, the authors seek to develop a spectrum of value-creating activities/processes applicable to enterprise and entrepreneurship education. The underlying aim of this approach is to provide clarity around who specifically benefits from value creation pedagogies, how and when.FindingsIn developing a spectrum of value-creating activities/processes applicable to enterprise and entrepreneurship education, the authors have successfully located all major forms of value creation pedagogies in an iterative manner that caters to the authentic development of value for oneself and others. The proposed model assumes that the creation of authentic value for others should be preceded by the development of specific capabilities in the value creators.Practical implicationsThere are important implications that arise for all enterprise and entrepreneurship educators in the discussions presented here. Most importantly, value creation pedagogies should be fueled by the ongoing development of purpose, agency and capability via cultivated reflection.Originality/valueThis paper broadens the notion of what constitutes value creation pedagogy in enterprise and entrepreneurship education. In doing so, the authors elevate the importance of student creative competency development over value creation.
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Cochrane, Thomas, and Joshua Munn. "Integrating Educational Design Research and Design Thinking to Enable Creative Pedagogies." Pacific Journal of Technology Enhanced Learning 2, no. 2 (May 12, 2020): 1–14. http://dx.doi.org/10.24135/pjtel.v2i2.58.

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This paper explores the interrelationship between educational design research, and design thinking that guides the design stage, enabling the design of authentic collaborative mobile learning environments. As an example the article outlines the design thinking principles and processes that informed the development of wireless mobile presentation systems (MOAs) designed to create a flexible infrastructure to enable the exploration of new pedagogies in different educational contexts. The project used design thinking within an educational design research methodology to provide an in house solution to creating a supporting infrastructure to enable the implementation of a new framework for creative pedagogies and curriculum redesign. The article reflects upon example implementations of using mobile social media and MOAs as a catalyst for implementing our framework for creative pedagogies, and propose collaborative curriculum design principles for integrating the use of mobile social media within new pedagogical paradigms.
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Howard, Frances. "“It’s Like Being Back in GCSE Art”—Engaging with Music, Film-Making and Boardgames. Creative Pedagogies within Youth Work Education." Education Sciences 11, no. 8 (July 22, 2021): 374. http://dx.doi.org/10.3390/educsci11080374.

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Анотація:
Creative pedagogies within youth work practice are well established. Practitioners working with young people are often called upon to utilise their own personal and professional ‘toolboxes’, as a way of supporting ‘Creative Arts Youth Work’. However, within Higher Education (HE), creative methods for teaching and learning within the university context are often overlooked. The problem posed by this article is: how can HE ‘catch-up’ with more advanced pedagogies in the field of practice? Despite a recent focus on the personalisation of learning within HE, how can arts-based pedagogies, including digital storytelling, be drawn upon to enhance the learning experience? This article reports on three areas of pedagogical innovation engaged with by students undertaking the Youth Studies degree at Nottingham Trent University. Three experimental initiatives are explored, which assisted in educating informal educators, through creative learning techniques. Engaging with music, film-making and boardgames are given as examples of creative pedagogy, reporting on both my own practical experience in organising these activities and student feedback. Results showed that the symbiosis of creative pedagogies with relational and experiential learning, key tenets of youth work practice, offered expressive and authentic conditions for learning that are based upon student’s experiences. Therefore, there is much to learn from youth work courses within HE, not only in terms of engaging and encouraging students through creativity, but also setting the scene for the future of creative youth work practice.
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Naiditch, Fernando, and Bettina Steren Dos Santos. "Critical Thinking and Creative Pedagogies in the Classroom." INTERFACES DA EDUCAÇÃO 11, no. 32 (September 8, 2020): 711–34. http://dx.doi.org/10.26514/inter.v11i32.4968.

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The article discusses the meanings and the roles of critical thinking in the classroom. We start by placing the concept within the progressive pedagogical movement, which is rooted in the idea of learning by doing. Experiential learning is at the core of this kind of pedagogy and the belief is that students can only truly learn by engaging with the curriculum in an active and meaningful manner. Developing critical thinking is the goal of any educational system, particularly in democratic nations that understand schooling as a way of socializing children into the life of society as productive citizens. Although there seems to be an agreement in the importance of critical thinking in schools, teachers still find it difficult to develop practical classroom lessons and instructional strategies that develop higher order thinking skills. We discuss inquiry and project-based learning as well as Freire’s problem-posing approach as pedagogical instructional tools that can be used in the classroom to help students develop critical thinking. What do you want to do ?New mailCopy What do you want to do ?New mailCopy
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Kuntz, Aaron M., Marni M. Presnall, Maria Priola, Amy Tilford, and Rhiannon Ward. "Creative pedagogies and collaboration: an action research project." Educational Action Research 21, no. 1 (March 2013): 42–58. http://dx.doi.org/10.1080/09650792.2013.761925.

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Barajas, Mario, and Frédérique Frossard. "Mapping creative pedagogies in open wiki learning environments." Education and Information Technologies 23, no. 3 (November 25, 2017): 1403–19. http://dx.doi.org/10.1007/s10639-017-9674-2.

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Holdhus, Kari. "When Students Teach Creativities: Exploring Student Reports on Creative Teaching." Qualitative Inquiry 25, no. 7 (October 12, 2018): 690–99. http://dx.doi.org/10.1177/1077800418801377.

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Анотація:
In this article, I share a journey of research on student teacher reports regarding creativity pedagogies. The empirical material comprises student reports on teaching for creativity. The text draws on the literatures of creativities, creativity pedagogies, and professional improvisation, inspired by a backdrop of literature on narrativity and narrative writing. The text aims to discuss how creativity pedagogies can take place in different practical surroundings and to provide an example of how teaching in higher education can both contribute to research and be research-based. My research question is What characterizes student teachers’ reports on designs and choices when facilitating creative learning processes, and which interpretations and reflections do these reports evoke within their teacher? In comparing student papers, I have conceptualized their common features into the following concepts: context, skills, design, and trust. Within the text, each of these concepts is addressed through example narratives extracted from the student reports. I conclude that a combination of aspects from each of the four concepts can be said to construct a liminal room of immersion.
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Harris, Anne. "Ethnocinema and the Vulnerable Methods of Creative Public Pedagogies." Departures in Critical Qualitative Research 3, no. 3 (2014): 196–217. http://dx.doi.org/10.1525/dcqr.2014.3.3.196.

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Анотація:
In ethnocinematic collaboration, participants and researchers share what it means to be culturally-embedded and critical fellow-travelers, and explore their similarities and differences within evolving creative research and pedagogical approaches. Ethnocinema shares characteristics with autoethnography, drawing on culturally-embedded personal perspectives and expression, which are political and scholarly in their execution and scope. Creative methods like ethnocinema thrive in the emerging digital technological landscape, and are able to speak to global audiences through online dissemination strategies. Drawing on the principles of public pedagogy, this essay articulates in practical terms how to “do” ethnocinema and ethnovideo as a video-based creative and collaborative method.
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Дисертації з теми "Creative pedagogies"

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McCrary, Robin Micah. "Toward a Cultural Competence in Creative Writing Pedagogies." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1578408835816055.

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LaGrotteria, Angela. "Feminist Pedagogies in the Creative Writing Classroom: Possibilities and Reflections." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1498598135412239.

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Owen, Richard Nicholas York. "A search for 'creative' 'partnerships' : constructing pedagogies for artists and educators working together." Thesis, University of Hull, 2008. http://hydra.hull.ac.uk/resources/hull:5800.

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This thesis examines what constitutes a 'creative' 'partnership' and whether theoretical frameworks and models can be articulated which produce 'creative partnerships'. The thesis derives from an ethnographic study of Fichte Nursery School and artists and educators working within Creative Partnerships programmes in Hull, based upon qualitative research and narrative enquiry. The thesis presents an historical perspective of creativity and cultural education in English schools and suggests that, as a result of performativity discourses within education, contemporary discourses of creativity are determined by social relationships based in Gesellschaft as opposed to Gemeinschaft, and are heavily prescribed by political agendas which strive for economic growth and thus become supersaturated with meaning and desire. A Deleuzian philosophy of creativity is proposed as a suitable philosophical basis for this research, as the concept of heterogenesis allows for the possibility of the development of an alternative discourse of creativity in which social relationships are more closely aligned to conditions of gemeinschaft. The thesis identifies discourses upon which pedagogies for artists and educators might be established and argues that pedagogies are ambiguous and contingent architextures which define learning spaces. The Nursery School is seen as an example of a complex, heterogenetic Deleuzian city and it is presented as the site for the empirical research. The thesis examines the manifestation of creativity in the school, the manifestation of creativity by artists in schools and the role of 'outsiders' in participating in creative relationships. Six structural features are presented which form the architexture of the pedagogies of artists and educators, conceived as six interconnected Zones: a Zone of Scrap, of Disguise, of Infectivity, of Intimacy, of Surprise and a Zone of Grace. A new methodological tool is proposed, to observe classroom practice: that of the Classroom Gaze. Implications for policy, practice and practitioners are discussed.
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Conor, Bridget Elizabeth. "Screenwriting as creative labour : pedagogies, practices and livelihoods in the new cultural economy." Thesis, Goldsmiths College (University of London), 2010. http://research.gold.ac.uk/2642/.

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This thesis analyses screenwriting as an exemplary and idiosyncratic form of creative labour in the ‘new cultural economy’ and specifically, in the contemporary UK screen production industry. Using a critical sociological framework combined with a neo-Foucauldian understanding of work and subjectivity, a series of explicit analytical connections are made in this project, between screenwriting, creative labour and the new cultural economy. I contend that screenwriting, as a form of creative labour which in many ways eschews the term ‘creative’, is an instructive, timely case study precisely because it agitates traditional dichotomies - between creativity and craft, art and commerce, individual and collaborative work - in pedagogy and practice. After tracing the dynamics of this form of creative work in theoretical, discursive and historical terms, I then analyse how screenwriting is constructed, taught and practiced as labour in three areas: ‘How-to’ screenwriting manuals, pedagogical locations for screenwriting in the UK and British screenwriters’ working lives. At each site, I focus on how craft and creativity are defined and experienced, how individual and collective forms of work are enacted at different locations and what implications these shifting designations have. Screenwriting within the mainstream Hollywood and British film industries in the contemporary moment demands particular and complex forms of worker subjectivity in order to distinguish it from other forms of filmmaking and writing, and to make the work knowable and do-able. I follow the voices of screenwriters and those who teach and instruct about screenwriting across the fieldwork sites and analyse the ways in which they calculate, navigate and make sense of the screen production labour market in which they are immersed. The theatrical, mythic and practical navigations of screenwriters in pedagogy and practice that are the centre of this thesis offer an antidote to impoverished, economistic readings of creativity, craft and creative labour in contemporary worlds of work.
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Berg, Danita. "Re-Composition: Considering the Intersections of Composition and Creative Writing Theories and Pedagogies." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1573.

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Анотація:
Maintaining composition studies and creative writing as discrete disciplines may not be in the best interests of either field. But so long as the majority of scholars and practitioners of either field remain largely uninformed about one another, it is unlikely that any progress toward conjoining the two fields will occur. Various important and constructive efforts have been made for more than thirty years to establish a scholarly, interdisciplinary community that dedicates itself to examining points of intersection between composition and creative writing. Initially, such efforts appear to attract the attention from the broader communities of each discipline. Before long, however, participation in such scholarly discussions diminishes, as do most prospects for integrating changes inspired by the collaborative exchange-let alone any prospects for merging composition studies and creative writing into a single discipline. Critical examinations of commonalities between composition studies and creative writing, while crucially important, cannot lead to a greater alliance between the two fields unless each field incorporates aspects of one another's disciplinary identity into its own. Chapter One introduces my study and considers the disciplinary histories of composition and creative writing, histories that reveal when and how they came to be separated even as they consistently were (and are) situated in the same department, the department of English. Chapter Two investigates how inventional techniques that have been conceptualized primarily in the field of composition studies can assist creative writing students in developing insights about their writing. Chapter Three extends this conversation by considering the social and collaborative techniques that can benefit the creative writing workshop. Chapter Four considers how a writing classroom can integrate genres traditionally associated with either composition or creative writing to allow students to develop a broader writing repertoire and, perhaps, an enhanced commitment to its continued development.
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Diri-Rieder, Youmna. "HOW MIGHT CREATIVE EXPRESSION & DRAMATIC PEDAGOGIES BE USED TO DEVELOP PERSPECTIVE-TAKING AND DEMOCRATIC PRACTICES AMONG STUDENTS IN K-12 CLASSROOMS." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366388854.

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Bellany, Jeanette Anne. "'Going live' : establishing the creative attributes of the live multi-camera television professional." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/57730/1/Jeanette_Bellany_Thesis.pdf.

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In my capacity as a television professional and teacher specialising in multi-camera live television production for over 40 years, I was drawn to the conclusion that opaque or inadequately formed understandings of how creativity applies to the field of live television, have impeded the development of pedagogies suitable to the teaching of live television in universities. In the pursuit of this hypothesis, the thesis shows that television degrees were born out of film studies degrees, where intellectual creativity was aligned to single camera production, and the 'creative roles' of producers, directors and scriptwriters. At the same time, multi-camera live television production was subsumed under the 'mass communication' banner, leading to an understanding that roles other than producer and director are simply technical, and bereft of creative intent or acumen. The thesis goes on to show that this attitude to other television production personnel, for example, the vision mixer, videotape operator and camera operator, relegates their roles to that of 'button pusher'. This has resulted in university teaching models with inappropriate resources and unsuitable teaching practices. As a result, the industry is struggling to find people with the skills to fill the demands of the multi-camera live television sector. In specific terms the central hypothesis is pursued through the following sequenced approach. Firstly, the thesis sets out to outline the problems, and traces the origins of the misconceptions that hold with the notion that intellectual creativity does not exist in live multi-camera television. Secondly, this more adequately conceptualised rendition, of the origins particular to the misconceptions of live television and creativity, is then anchored to the field of examination by presentation of the foundations of the roles involved in making live television programs, using multicamera production techniques. Thirdly, this more nuanced rendition of the field sets the stage for a thorough analysis of education and training in the industry, and teaching models at Australian universities. The findings clearly establish that the pedagogical models are aimed at single camera production, a position that deemphasises the creative aspects of multi-camera live television production. Informed by an examination of theories of learning, qualitative interviews, professional reflective practice and observations, the roles of four multi-camera live production crewmembers (camera operator, vision mixer, EVS/videotape operator and director's assistant), demonstrate the existence of intellectual creativity during live production. Finally, supported by the theories of learning, and the development and explication of a successful teaching model, a new approach to teaching students how to work in live television is proposed and substantiated.
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Beaudoin, Andrea. "Las raices de la luz/ Escritura creativa en español: trayectoria, pedagogia y proyecciones en programas de posgrado en Estados Unidos." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1583853794470005.

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Kaufmanė, Elena. "Valdorfo pedagogikos reikšmė II-IV klasių moksleivių kūrybiškumo ugdymui." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20060517_104213-43973.

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Анотація:
Children education in Lithuania is undergoing a period of intense changes. Along with changes, many innovations are being introduced. Waldorf pedagogic is one of most successful innovations introduced past few years. According to the creator of Waldorf pedagogic, Rudolph Steiner, education should be considered as a kind of art, based on knowledge of human psychology. According to him, any kind of education or schooling should be based on stimulation of creativity and artistic taste, ability to feel and understand the inner self as well as people and surroundings around, also on the knowledge of surrounding nature. In the system of Waldorf pedagogic ideal pupil becomes the one that is able of thinking and creating, at the same time improving his or her knowledge of surroundings and inner self and adjusting to quickly changing circumstances. That means a person able to adopt innovations and to use them in everyday professional activities. Object of survey Peculiarities of the second – fourth forms pupils’ creativity at Waldorf School and traditional school. There have only been few researches conducted in Lithuania to investigate influence of Waldorf pedagogic on creativity of children. Most of researches just mention this pedagogic system along with few facts of how it works or stimulates pupils’ creativity. Conventionally there are only two ways of education considered – either constant schooling or free exploring of surroundings, thus gaining necessary experience on your... [to full text]
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Thomson, Andrew. "The creation and use of video-for-learning in higher education: Pedagogies and capabilities." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/130743/1/Andrew_Thomson_Thesis.pdf.

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This research highlights the educational affordances of video-for-learning, and video production models, in a Higher Education context. Theories of screen media were combined with theories of learning and teaching to assist University staff to develop their professional practice through the design, production and use of video. This challenged a number of normalised processes for creating video in Higher Education settings. The findings deepen understandings of the effectiveness of video for learning, and of the support structures required for video production and use in Higher Education.
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Книги з теми "Creative pedagogies"

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Disrupting pedagogies in the knowledge society: Countering conservative norms with creative approaches. Hershey PA: Information Science Reference, 2012.

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Experimental writing in composition: Aesthetics and pedagogies. Pittsburgh: University of Pittsburgh Press, 2012.

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Smak, Ewa, and Stanisława Włoch. Pedagogika kreatywna wyzwaniem edukacji XXI wieku. Opole: Wydawn. Uniwersytetu Opolskiego, 2010.

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Ignatova, V. V. Pedagogika dukhovno-tvorcheskogo razvitii︠a︡ lichnosti. Krasnoi︠a︡rsk: Ministerstvo obshchego i professionalʹnogo obrazovanii︠a︡, Rossiĭskoĭ Federat︠s︡ii, 1996.

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Taraeva, G. R., and T. F. Shak. Muzyka v informat︠s︡ionnom mire: Nauka, tvorchestvo, pedagogika : sbornik nauchnykh stateĭ = Music in the world of information : science, creative work, pedagogics : collection of articles. Rostov-na-Donu: [Izd-vo Rostovskoĭ gos. konservatorii], 2004.

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Russia) Mezhdunarodnai︠a︡ konferent︠s︡ii︠a︡ "Rebenok v sovremennom mire" (7th 2000 Saint Petersburg. Pedagogika tvorchestva: Tezisy dokladov i soobshcheniĭ VII mezhdunarodnoĭ konferent︠s︡ii "Rebenok v sovremennom mire--detstvo i tvorchestvo," Sankt-Peterburg, 19-21 apreli︠a︡ 2000 goda. Sankt-Peterburg: Peterburgskiĭ gos. tekhnicheskiĭ universitet, 2000.

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Ryndak, V. G. Nauchnyĭ potent︠s︡ial XXI veka: Materialy nauchnoĭ konferent︠s︡ii molodykh issledovateleĭ problem pedagogiki i shkoly. Orenburg: Izd-vo OGPU, 2001.

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n, Juan Damia. Las palabras son de nosotros: Guia pedagogica de ejercicios criticos creativos a partir de mensajes masivos. [Montevideo: Consejo Latinoamericano de Iglesias, 1988.

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Ulivieri, Simonetta, Franco Cambi, and Paolo Orefice, eds. Cultura e professionalità educative nella società complessa. Florence: Firenze University Press, 2010. http://dx.doi.org/10.36253/978-88-8453-698-3.

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Анотація:
The keynote of the recent history of the faculty of educational science of Florence University is change. This has emerged in response to the demands for education expressed by a new knowledge society, spawned by the processes of globalisation, and the social need to foster interculturalism and the dialogue between diversities. In this new dimension of change, education becomes the framework for preparation, but also for re-integrating and updating life itineraries that are swift and precarious, veined with insecurity and disillusionment. Even in the new approach, the scientific and cultural benchmark continues to be a consistent adherence to the secular, historic-pedagogic and educational tradition represented by the masters of the "Florence School". Since its creation in 1996, the new faculty has staked forcefully on the centrality of training in relation to the traditional focus on the professionalism of primary and secondary school teachers, and on the new extra-scholastic training issues: the educational professions; pedagogic care; the social education of adults; the technologies of education and instruction; the philosophic, sociological, psychological and anthropological dimension of education; the broad sphere of hardship and marginalisation and the different faces of diversity.
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When women ask the questions: Creating women's studies in America. Baltimore: Johns Hopkins University Press, 1998.

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Частини книг з теми "Creative pedagogies"

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Iyer, Sreedhevi. "Cosmopolitan Creative Writing pedagogies." In Teaching Creative Writing in Asia, 188–206. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003133018-16.

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Leask, Marilyn, and Sarah Younie. "Crisis-resilient creative pedagogies." In Education for All in Times of Crisis, 118–44. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003155591-12.

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Gil, Isabel. "Cultural and Creative Institutions as Interventions." In Transformative Media Pedagogies, 139–45. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003031246-20.

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Spruce, Gary. "The pedagogies of the creative classroom." In Creative and Critical Projects in Classroom Music, 108–18. Abingdon, Oxon; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780367816179-11.

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DeWitt, Dorothy, and Norlidah Alias. "Creative Digital Pedagogies for Student Engagement." In Digitalization and Development, 112–32. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003367093-7.

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Zink, Rod. "10. Lending the Muse a Hand: Expanding the Role of Social Constructivism and Collaborative Writing in Creative Writing Pedagogies." In Creative Composition, edited by Danita Berg and Lori A. May, 87–108. Bristol, Blue Ridge Summit: Multilingual Matters, 2015. http://dx.doi.org/10.21832/9781783093649-013.

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Rogers, Matthew. "Conceptualizing and Implementing Critical Filmmaking Pedagogies." In Creative Dimensions of Teaching and Learning in the 21st Century, 229–37. Rotterdam: SensePublishers, 2017. http://dx.doi.org/10.1007/978-94-6351-047-9_22.

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van den Berg, Marguerite. "Cities’ Hope Labour in Insecure Times: On Aspiring Creative Industries, Travelling Expectations and Aesthetic Pedagogies." In Pathways into Creative Working Lives, 249–64. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-38246-9_14.

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Hetherington, Lindsay. "Teacher Education in Creative Pedagogies for STE(A)M Disciplines." In Encyclopedia of Teacher Education, 1807–12. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-16-8679-5_446.

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Hetherington, Lindsay. "Teacher Education in Creative Pedagogies for STE(A)M Disciplines." In Encyclopedia of Teacher Education, 1–6. Singapore: Springer Singapore, 2022. http://dx.doi.org/10.1007/978-981-13-1179-6_446-1.

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Тези доповідей конференцій з теми "Creative pedagogies"

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Cataldi, Zulma, and Claudio Dominighini. "Teaching Millennials with Creative Pedagogies Based on Their Emodemands." In 2018 IEEE World Engineering Education Conference (EDUNINE). IEEE, 2018. http://dx.doi.org/10.1109/edunine.2018.8451007.

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Sosa, Ricardo. "I am a Creative Loop: Towards Integrative Studios in Design and Creative Technologies." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.153.

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“I am a strange loop” is a thought-provoking statement by polymath Douglas Hofstadter who uses it as the title of his 2007 book to integrate ideas from Philosophy, Neuroscience, Computer Science, and his personal life to analyse concepts of the “I” (self) and consciousness. Standing on the shoulders of this “giant idea” (paraphrasing Newton), I attempt here to examine my work across design and research including my identity as a researcher-designer using the phrase “I am a strange creative loop”. My aim is to trigger reflection and propose a new type of studio pedagogies that bring together theory and practice. This is in response to tensions and opportunities I observe between design and research activities and between theory and practice in design education and design research.To clarify, the “I” in the phrase “I am a strange creative loop” only partially refers to the author -following Hofstadter, my primary intention is to reflect upon everyone who inhabits the worlds of design and research. Therefore, the sentence could have been “All design researchers are strange creative loops”. Thinkers across epistemologies and geo-historical eras have been preoccupied with questions of “Who am I? Who are we?”. I found a similar puzzlement as an undergraduate three decades ago among designers wondering “What is design? Who is a designer?” -a question that continues to spark debates today. I use and extend here the concept of “sentipensante” as used by Orlando Falls Borda to reflect upon my personal experience feel-thinking and creating in design and the rather confusing (strange) “creative loop” that connects the research and design identities in myself and in our graduate students. To make these ideas more concrete, I share two specific recent experiences: one is a lesson learned from my teaching of Creative Technologies at AUT and one from my research work at an after-school maker space in a South Auckland school in Tāmaki Makaurau since 2016. These vignettes illustrate some of the deep chasms that divide design and research activities in modern academia, particularly the divorce between so-called theory and so-called practice. Design schools today have a paradoxical, largely arbitrary, and perverse division between these ways of knowing. I suggest that in design education, what we call theory is not really theory, and in design research what we call practice is not really practice. We have been doing both wrong, largely because of the chasm we have carved between them. I trouble here the ways in which curricula is planned in design education, the pedagogies and the timetabling practices we use, and the discourses among our students and lecturers.I close by adopting a constructive posture to generate concrete ideas for the future of design scholarship. To this end, I elaborate on the notion of “design praxis” to reformulate what studio can be in design: an integrative space where pluriversal ways of knowing can come together in “creative loops” to generate, apply, and evaluate design knowledges. Such studio spaces can be useful in pluriversal design schools that leave behind binary divides between research and teaching, practice and theory, teachers and students.
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Braithwaite, Naomi Joanna. "The Virtual Shoe Salon: A creative and active approach for teaching research and data analysis to fashion students." In Seventh International Conference on Higher Education Advances. Valencia: Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/head21.2021.13101.

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The push towards creative and active learning in higher education has gained momentum in recent years, creating opportunities for innovative, student focused approaches. The Covid-19 pandemic shifted the educational landscape to the online world, propelling the need to create compelling learning activities for students. While also fostering a sense of community and facilitating both peer relationships and peer learning. This paper presents the development and initial implementation of an innovative teaching tool, The Virtual Shoe Salon, which is based on creative pedagogies and experiential learning. The Virtual Shoe Salon has been implemented to embed stronger skills in research and data analysis within the curriculum of our fashion business courses. As a teaching method it can embrace both online and face to face environments. Drawing from a theoretical foundation of material culture, combined with an adaptation of the photovoice research approach, this salon takes the ordinary, but expressive objects of shoes to engage students in research and analysis through collaboration, conversation and peer to peer learning. The paper presents the rationale for the Virtual Shoe Salon, and findings from its implementation with 250 students. Subsequent evaluation and reflection with both students and staff have evidenced the positive role of the Virtual Shoe Salon in facilitating active and collaborative learning around research and data analysis. While it has actively encouraged a dynamic and collaborative learning environment, the Virtual Shoe Salon has initiated a shared space underpinned by the sense of community and belonging for students that Covid-19 had eroded .
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Rouser, Kurt P. "Oral Assessments of Student Learning in Undergraduate Aerospace Propulsion and Power Courses." In ASME Turbo Expo 2017: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/gt2017-64082.

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A purposeful approach has been taken to match teaching pedagogies (techniques), learning experiences and assessment methods to various types of student learning in undergraduate aerospace propulsion courses at junior-level at the United States Air Force Academy and at the senior-level at Oklahoma State University. Prior studies in the scholarship of teaching and learning have shown the benefits of matching assessment methods, as well as teaching pedagogies and learning experiences, to the types of student learning associated with desired educational outcomes. Literature suggests that the best method for teaching and assessing student cognitive learning is through explanation and presentation. Oral assessments have been implemented at the Air Force Academy and Oklahoma State University to evaluate student cognitive learning in undergraduate aerospace propulsion and power courses. An oral midterm exam was developed to assess student acquisition of subject matter knowledge and understanding of fundamental concepts, the type of learning occurring early in course lesson sequences. End-of-semester design project poster sessions and presentations were used as summative oral assessments of student creative thinking, decision making, and professional judgement. Conversely, two written midterm exams and a final exam primarily focused on assessing student problem solving skills and less on comprehensive knowledge. Oral assessments also served as reflective thinking experiences that reinforced student learning. Student feedback on oral assessment methods was collected through surveys conducted after each assessment. Survey results not only revealed the effectiveness of using oral assessments but also how to improve their design and implementation, including the use of information technology and broader curricular employment.
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Beshevec, L., and O. Kopylova. "Formation of the Creative Person of Teacher During Studying «Pedagogic» in Pedagogic University." In 2006 16th International Crimean Microwave and Telecommunication Technology. IEEE, 2006. http://dx.doi.org/10.1109/crmico.2006.256315.

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Dulchaeva, Irina L. "Development Of Creative Component During Training Pedagogues In Professional Education." In RPTSS 2017 International Conference on Research Paradigms Transformation in Social Sciences. Cognitive-Crcs, 2018. http://dx.doi.org/10.15405/epsbs.2018.02.33.

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Sosa, Ricardo. "Soy un bucle creativo: Hacia estudios integradores en diseño y tecnologías creativas." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.153.g288.

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“Soy un bucle extraño” es una profunda declaración del erudito Douglas Hofstadter, quien integra ideas de Filosofía, Neurociencia e Informática para analizar conceptos del “yo” y la conciencia (Hofstadter, 2007). Sobre los hombros de una idea tan gigantesca (parafraseando la máxima de Newton), intento examinar mi identidad como diseñador-investigador como una forma de desencadenar la reflexión y sintetizar propuestas para un nuevo tipo de pedagogías de estudio que unan la teoría y la práctica, que parecen haberse distanciado en la educación del diseño convencional y la investigación del diseño. Los pensadores de todas las epistemologías y épocas geohistóricas se han preocupado por las preguntas: “¿Quién soy? ¿Quiénes somos?”. Encontré una perplejidad similar a la de un estudiante hace tres décadas entre los diseñadores que se preguntaban: “¿Qué es el diseño? ¿Quién es diseñador?” (Roberts, 1982), preguntas que continúan provocando debates en la actualidad. Utilizo y amplío aquí el concepto de “sentipensante” (Borda y Moncayo, 2009) para reflexionar sobre mi experiencia personal de sentir-pensar-crear en el diseño y sobre el “bucle creativo” bastante confuso que conecta las identidades de investigación y diseño en mí y en nuestros estudiantes de posgrado (Yee, 2017). Para hacer estas ideas más concretas, me refiero a tres experiencias recientes específicas: dos son lecciones aprendidas de mi enseñanza en el programa de Tecnologías Creativas en AUT y una de mi trabajo de investigación en un espacio de creación después de la escuela en colegio del sur de Auckland en Tāmaki Makaurau entre 2016 y 2021. Estas viñetas ilustran algunos de los profundos abismos que dividen las actividades de diseño e investigación en la academia moderna, en particular, el divorcio entre la llamada teoría y la práctica. Las escuelas de diseño de hoy tienen una división paradójica, en gran parte arbitraria y perversa, entre estas formas de conocimiento. Sugiero que, en la educación del diseño, lo que llamamos teoría no es realmente teoría, y lo que llamamos práctica no es realmente práctica. Hemos estado ejerciendo mal ambas cosas, en gran parte debido al abismo que hemos abierto entre ellas. Me preocupo aquí por las formas en que se planifica la currícula en la educación del diseño, las pedagogías y las prácticas de horarios que usamos, y los discursos entre nuestros estudiantes y profesores. La última parte del artículo adopta una postura constructiva en un viaje que comenzó filosóficamente, se volvió crítico y se cierra generativamente con ideas concretas para el futuro de la erudición del diseño. Para ello, profundizo en la noción de “praxis del diseño” para reformular lo que Studio puede significar en la educación del diseño: un espacio integrador donde las formas pluriversales de conocimiento pueden unirse en “bucles creativos” para generar, aplicar y evaluar conocimientos de diseño.
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Berndt, Annette, and Carla Paterson. "Global Engineering, Humanitarian Case Studies, and Pedagogies of Transformation." In 2010 IEEE Transforming Engineering Education: Creating Interdisciplinary Skills for Complex Global Environments. IEEE, 2010. http://dx.doi.org/10.1109/tee.2010.5508956.

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Kashapov, M. M. "Comparative Analysis Of Creative Thinking Of Teachers And Students Of Pedagogics." In PCSF 2019 - 9th PCSF Professional Сulture of the Specialist of the Future. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.12.31.

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Mathew, Ditty, Dhivya Eswaran, and Sutanu Chakraborti. "Towards Creating Pedagogic Views from Encyclopedic Resources." In Proceedings of the Tenth Workshop on Innovative Use of NLP for Building Educational Applications. Stroudsburg, PA, USA: Association for Computational Linguistics, 2015. http://dx.doi.org/10.3115/v1/w15-0622.

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Звіти організацій з теми "Creative pedagogies"

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Білоус, О. С. Український фольклор як засіб морально-естетичного становлення особистості школяра. ПДПУ ім. К. Д. Ушинського, 2002. http://dx.doi.org/10.31812/123456789/3317.

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The article deals with the meaning of folklore as the means of a moral-aesthetic making of a pupil’s personality. The author’s conclusions are based on the opinions of famous pedagogues and musicians. The curriculum in Music analysis, the recommendations concerning the broadening of a used repertoire of a folk music creative work in the practice of a compulsory school at the expense of introduction of the material of an folk creative work are given.
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External linguistics, methods of health-creation, interpersonal interaction in the sphere of sports and adaptive pedagogics. Stanislav V. Dmitriev, Elena V. Bystritskaya, Irina Yu. Burkhanova, Sergey D. Neverkovich, December 2019. http://dx.doi.org/10.14526/2070-4798-2019-14-4-8-21.

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