Creativity Assessment in Higher Education
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This chapter discusses creativity assessment as a means for evaluating skills required in higher education. Creativity is assessed in the context of the creative person, process, product and press or environment. Creativity is also measured differently in various domains, which we illustrate using divergent thinking tests. A historical view of creativity assessment is addressed with a substantive approach to understanding the construct of creativity, its measurement and evaluation, and the broader implications for use in higher education settings. The authors provide a comprehensive overview of the different ways creativity is assessed and hope to inform researchers concerned about finding ways to better individualize instruction and to evaluate the effectiveness of educational programs.Keywords:
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This chapter defines creativity as a temporal system with three levels: creativity's content, creativity's outcome, and creativity's process. Creativity's content includes innovation and purpose to add more than individual value. Transforming contexts and redefining problems are part of creativity's outcomes. The creative process requires us to connect together unfamiliar frames of reference and utilize different types of thinking; it might also require us to connect with different types of people. The chapter also presents definitional framework of creativity, which highlights the link between content, outcomes, and process. Creativity contains innovation and value, which transforms the context in which it occurs, and which results from a process of paradoxical bisociative thinking.
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This article (a) draws from various theories of creativity (e.g., 4P and 6P theories) and (b) uses several concepts from the creativity literature (e.g., self-actualization, emergence) to evaluate the claim that AI can be creative. This approach suggests that, at most, the output of AI represents products which, although lacking, may be attributed with creativity. Such attributions are often mistaken, and, significantly, products say little about the underlying process. Indeed, criticisms previously leveled at the view that the social recognition of products is required of creativity also apply to AI output. Several examples of products and overt actions that have been mistakenly attributed with creativity are discussed. The most telling of these is the ostensible emergence by a machine. The conclusion is that it makes no sense to refer to “creative AI.” One alternative is to extend the concept of "artificial intelligence" to creativity, which gives us "artificial creativity" as the label for what computers can do. Artificial creativity may be original and effective but it lacks several things that characterize human creativity. Thus it may be the most accurate to recognize that the output of AI is a kind of pseudo-creativity.
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Computational Creativity
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Creativity is not just a random occurrence. For creativity to occur, ability, intrinsic motivation and certain cognitive activities are needed. Following a consideration of the definition and assessment of creativity, a framework for understanding what occurs during the creative thinking process, how the caregiver, educator or helping professional can develop his or her creativity and find appropriate solutions to thorny or amorphous caregiving or managerial problems is presented here. Including distinctive attributes of creative individuals, ability, nature of creativity and the framework describes the way in which one's thinking as an explorer, artist, judge, and lawyer might contribute to improving creativity. The discussion emphasizes that the creative process occurs when people are properly motivated and highlights a set of guidelines for creative growth. Creativity must be put into practice before it can help either the individual or the organization.
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Artificial intelligence (AI) has breached creativity research. The advancements of creative AI systems dispute the common definitions of creativity that have traditionally focused on five elements: actor, process, outcome, domain, and space. Moreover, creative workers, such as scientists and artists, increasingly use AI in their creative processes, and the concept of co-creativity has emerged to describe blended human–AI creativity. These issues evoke the question of whether creativity requires redefinition in the era of AI. Currently, co-creativity is mostly studied within the framework of computer science in pre-organized laboratory settings. This study contributes from a human scientific perspective with 52 interviews of Finland-based computer scientists and new media artists who use AI in their work. The results suggest scientists and artists use similar elements to define creativity. However, the role of AI differs between the scientific and artistic creative processes. Scientists need AI to produce accurate and trustworthy outcomes, whereas artists use AI to explore and play. Unlike the scientists, some artists also considered their work with AI co-creative. We suggest that co-creativity can explain the contemporary creative processes in the era of AI and should be the focal point of future creativity research.
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The purpose of this article is to introduce an action-oriented framework aimed at clarifying and promoting a principled approach to creativity in education. A principled approach to creativity refers to the design and implementation of positive creative educational endeavors, which are guided by a set of agreed-upon commitments aimed at making a positive contribution to the learning and lives of others. We open by discussing how our conception of a principled approach to creativity connects to positive creativity and how this approach can guide creative educational endeavors. More specifically, we discuss the opportunities and responsibilities associated with a principled approach to creativity, including how educators, students, and researchers can re-conceptualize creative opportunities, creative risk-taking, creative action, and the intended and unintended outcomes that result from promoting creative thought and action in and beyond the walls of schools and classrooms.
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What is creativity? creative thinking personal properties and creativity the social setting and creativity defining creative thinking fostering creativity - what must be fostered? creativity and education teaching and learning methods and approaches diagnosing creativity using and applying creativity in education in practice.
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The purpose of this study is to clarify the meaning of creativity as the aim of education. The first step in this study is examines the tendency of the understanding that what is creativity and how can be educated that. The concept of creativity is understood in various ways by the researches of psychologists. This variety of perspectives has enhanced our understanding as regard to creativity on the one hand but caused confusions to those who are concerned about educating creativity. The second step is analyze the concept of creativity. The main argument in this step could be summarize as follows: Creativity should not be conceived as creative process but creative end product- for it is only in so far as there is an created end product that we can identify a process as creative. The end product should to satisfy three criteria，if it is to earn the lable
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This chapter focuses on the meaning of creativity and ways that "being creative" and "creative products" have been approached and valued. We begin by exploring some understandings of what it means to be creative. This includes how creativity and creative products have been evaluated and measured, specifically the degree to which they demonstrate creativity and the cultural, economic and global needs that they cater to. We then turn to the evolution of approaches to creativity that have seen creativity go from a quality and characteristic of a gifted minority to, more recently, something that can be learned, developed and harnessed. We then examine creativity through Mel Rhodes' 4 Ps of creativity: person, product, process and press. The 4 Ps offer a way of focusing in on different aspects of creativity to reveal how creativity happens, to who, with which environmental influences and to what end. To conclude the chapter, we consider recent developments in the theory and practice of creativity, specifically in terms of dynamism, paradox and affect. As we argue in this chapter, creativity can be learned and developed; however, there are considerations and factors that can hasten the process and make creativity accessible to a broader range of people.
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The aim of this article was to review the definitions of creativity on which many previous studies have been based. Prior literature has merged creativity and creation into its understanding of the construct. By describing creativity with reference to its end result, that is, a creative outcome, theorists have not been able to pay attention to the dynamic process of creativity that may or may not lead to creation. This article reviews critical literature in creativity and departs from accepted definitions of creativity. Considering the various elements that are involved in creative acts, a dynamic definition is proposed; it emphasizes providing insights into the creative act itself, a factor that has been neglected in earlier definitions of creativity.
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