DynamiQueST is a showcase of the power of simulations and creative student projects that utilize critical thinking skills to analyze complex dynamic systems. The day-long event at WPI was a success, with a variety of student projects, lively conversation and learning.
We will create an academic home for advanced and creative learning, cultivate personal and standards-based excellence and leadership ability, and serve as a resource center for the gifted community of the Pikes Peak Region.
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The students learn the fundamentals of probability, but they also work together to come up with correct pricing and prizes. They make their displays colorful and engaging. Many students work hard to make the games sturdy yet portable. The learning extends well beyond mathematics - students are empowered by the experience of presenting their games and then manning the booth and running the fundraiser. When students come back to visit me after they have left middle school, this is the project they talk about and remember.
"We've partnered with over 800 public figures, media publishers, educational institutions, and real-world professional experts who've been affected by the effects of this global pandemic to bring learning material to TikTok. We've been humbled to be able to bring these grants to educators, professional experts, and nonprofits who have the power to offer us creative learning especially during this tough time."
Different fields and disciplines all seem to have their own unique definition of creativity. So even though we recognise a creative idea it can sometimes be more difficult to explain why it should be considered creative. Although individual experts may well choose to highlight a number of different aspects, Barnaby & Burghart (2017) identify four important characteristics of creativity which are generally considered essential: divergent thinking, innovation, original and flexible thought, and exploration of ideas (see Figure 1 below).
Whilst it is broadly accepted that digital technology offers a powerful and flexible means of enhancing creative learning, as with any other educational resource it can only perform this task when skilfully used to drive and support best early years practice. Once again, Barnaby & Burghart (2017) define the priorities for digital creativity:
Furthermore, as Figure 2 illustrates, this planning will need to go beyond, for example, simply keeping screen-based digital media separate from sand and water play. Play resources will also need to be flexible enough to allow for children at different stages of development, as well as those who may have their own individual needs, to take advantage of creative learning opportunities. Here in particular, well-differentiated resources can enable those of mixed abilities to participate fully in every curriculum activity.
Sometimes students are too scared to ask a question in front of their peers or celebrate a personal achievement, worried that it might make them look silly. A creative lesson closure that can help? Exit tickets.
I often find that tuning into a powerful TED talk or listening to an interview with someone fascinating is a great way to shift my perspective, quickly and without a lot of effort. There are so many inspiring people out there, and nothing makes me more excited about creative thinking than learning from someone who is truly innovating in their field. If you need extra inspo, check out our list of feel-good podcasts that are designed to give you an instant mood boost.
2. Value creativity and celebrate and reward it. Classroom example: Third-grade students are learning about polygons and to see if they know the concept, the teacher takes them outside and gives each student a sidewalk chalk. Each student is given the task of drawing several examples of polygons on the driveway.
Need advice or recommendations for fulfilling your creative vision? Hired specifically for their extensive knowledge in creative software, the Creative Maker Studio Student Assistants present workshops each semester on creative software and topics and are available for peer-to-peer software help on supported multimedia applications and hardware.
Designing creative learning spaces needs to be on the change agenda at both the macro and micro levels of a community. At the macro level, a collective concept of space needs to be envisioned for an entire organisation. People must abandon the notion of separated classrooms to a more fluid concept of highly flexible, agile, collaborative spaces. At the micro level, the wider spatial vision for a learning community needs translated by smaller teams into the required spaces for learning, suited to a range of experiences specific to groupings or activities.
A creative learning environment must be flexible to facilitate current and evolving pedagogies. This requires furniture and equipment to be easily moved around. The flexible space should be future-proof so it can be reconfigured when new learning styles emerge. It should also facilitate a strong network of collaboration and communication.
When we talk about new designed learning environments, we are not just referring to physical spaces; we must consider the pedagogic space as well. Learning environments should never dictate pedagogy but support it in ways that empowers all learners; pedagogy always comes first. It is not enough to have a beautiful space - it must be arranged and used appropriately to deliver and facilitate exceptional learning experiences.
Ultimately, for a designed learning space to be used to its full potential, it requires high collaboration between leaders and teachers who must begin to work together to facilitate and imagine a new paradigm for learning. Furthermore, learners should be included in the design-thinking process, as they are most affected by the change to the learning culture. Space should support pedagogy and not dictate it, so it is as equally important to be creative with the space available whilst iterating change in the long term.
Conversely, consider a biology teacher who invites students to identify their own scientific question or problem, which is unique and interesting to them. The teacher then asks them to design an inquiry-based project aimed at addressing the question or problem. Next, the teacher invites students to share their questions and project designs with each other. Although some of the questions students identify may have existing answers in the scientific literature, this type of task provides the openings necessary for creative learning to occur in the classroom. This is because students have an opportunity to identify their own questions to address, develop their own understanding of new and different ways of addressing those questions, and share and receive feedback on their unique ideas and insights. Providing students with semi-structured learning experiences that requires them to meet learning goals in new and different ways helps to ensure that students are developing personally and academically meaningful understandings and also provides them with an opportunity to potentially contribute to the understanding of their peers and teachers (see Ball, 1993; Beghetto, 2018b; Gajda et al., 2017; Niu & Zhou, 2017 for additional examples).
Creative learning can also extend beyond the walls of the classroom. When students have the opportunity and support to identify their own problems to solve and their own ways of solving them, they can make positive and lasting contributions in their schools, communities, and beyond. Legacy projects represent an example of such efforts. Legacy projects refer to creative learning endeavours that provide students with opportunities to engage with uncetainty and attempt to develop sustainable solutions to complex and ill-defined problems (Beghetto, 2017c, 2018b). Such projects involve a blend between learning and creative expression with the aim of making a creative contribution. A group of fourth graders who learned about an endangered freshwater shrimp and then worked to restore the habitat by launching a project that spanned across multiple years and multiple networks of teachers, students, and external partners is an example of a legacy project (see Stone & Barlow, 2010).
At the individual level, creative learning occurs when students encounter and engage with novel learning stimuli (e.g., a new concept, a new skill, a new idea, an ill-defined problem) and attempt to make sense of it in light of their own prior understanding (Beghetto & Schuh, 2020). Creative learning at the individual level involves a creative combinatorial process (Rothenberg, 2015), whereby new and personally meaningful understanding results from blending what is previously known with newly encountered learning stimuli. Creativity researchers have described this form of creativity as personal (Runco, 1996), subjective (Stein, 1953), or mini-c creativityFootnote 2 (Beghetto & Kaufman, 2007). This view of knowledge development also aligns with how some constructivist and cognitive learning theorists have conceptualized the process of learning (e.g., Alexander, Schallert, & Reynolds, 2009; Piaget, 1973; Schuh, 2017; Von Glasersfeld, 2013).
If students are able to develop a new and personally meaningful understanding, then it can be said that they have engaged in creative learning at the individual level. Of course, not all encounters with learning stimuli will result in creative learning. If learning stimuli are too discrepant or difficult, then students likely will not be able to make sense of the stimuli. Also, if students are able to accurately reproduce concepts or solve challenging tasks or problems using memorized algorithms (Beghetto & Plucker, 2006) without developing personally meaningful understanding of those concepts or algorithms, then they can be said to have successfully memorized concepts and techniques, but not to have engaged in creative learning. Similarly, if a student has already developed an understanding of some concept or idea and encounters it again, then they will be reinforcing their understanding, rather than developing a new or understanding (Von Glasersfeld, 2013). Consequently, in order for creative learning to occur at the individual level, students need to encounter optimally novel learning experiences and stimuli, such that they can make sense of those stimuli in light of their own prior learning trajectories (Beghetto & Schuh, in press; Schuh, 2017). be457b7860
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