Strategies of creative activities
|Kod Erasmus / ISCED:||
(0229) Nauki humanistyczne (inne)
|Nazwa przedmiotu:||Strategies of creative activities|
|Jednostka:||Wydział Sztuk Pięknych|
|Punkty ECTS i inne:||
|Całkowity nakład pracy studenta:||
(tylko po angielsku) Hours processed with teachers' participation:
15 hours and 0,5 ECTS pts – contact hours, practice, individual and group consultation with academic teacher
Time spent on student's individual work (hours):
15 hours and 0,5 ECTS pts – time for student's individual work, performance of the tasks, e-learning and preparation to the classes, preparation to the credit
Altogether:30 hrs (1 ECTS)
|Efekty uczenia się - wiedza:||
(tylko po angielsku) W1: Posseses knowledge within a range of art in psychological, sociological and educational aspect (
W2: Disposes a knowledge about mechanisms responsible for formation of new and creative solutions and strategies developing creative dispositions of people having different potential and in different age, explains a synectic method, recognizes stimulators and art inhibitors, explains the meaning of metaphorical thinking in terms of art
|Efekty uczenia się - umiejętności:||
(tylko po angielsku) U1: Uses heuristic strategies, developing creative dispositions in their own artistic operations in a range of visual and audiovisual art and also in designing educational work
U2: Manages strategies of creative activities enabling a constant progress because of taking art activity
U3: Is enabled to co-work with other people in group activities
|Efekty uczenia się - kompetencje społeczne:||
(tylko po angielsku) K1: Feels a need of searching and solving new problems, creative tasks, coming from an inner motivation
K2: Is capable of using imagination, ability of creative thinking and creative work in a time of solving their problems, adapting to new and changing circumstances and ability to control their own behaviour and preventing fears and stress as well as facing circumstances connected with public speeches or presentations
K3: Is able to work individually and in group, taking different roles, negotiate
(tylko po angielsku) Exposing didactic methods (display, presentation)
- Activating didactic methods (description, conversation)
- Searching didactic methods (practice method, classic problem method, observation method, project method), activating methods, heuristic methods
(tylko po angielsku)
Class includes issues related to psychological conditioning of art with a special consideration of art work.
(tylko po angielsku)
Within the class, issues of psychology of creativity with a special focus on art creativity, are carried out. Students get to know strategies and heuristics leading to new solutions in art and science. Students also become familiar with issues of creativity in terms of individual progress, with self-realization, creativity analyzed within the context of art and arts education. They also get to know meaning of metaphorical thinking with a special consideration of visual metaphor for solving the issues in art and visual communication.
Subjects processed within the class:
• Concept and definition of creativity (psychological, sociological, educational)
• Theory of creativity
• Stimulators and inhibitors of creativity
• Metaphorical thinking in creativity, synesthesia as a basic mechanism in metaphorical thinking
• Cognitive, creative and artistic functions of a metaphor
• Imagination – kinds of imagination, characteristic of creative imagination, imagination in visual arts
• Visual language, sign, metaphor and symbol
• Synectics, its mechanisms. Usage of metaphorical thinking in artistic creativity. Relation with subconsciousness (surrealism)
• Visual metaphorical thinking in art, design and education towards creativity
• Transformation of visual ideas as a basic mechanism in a creative process
• Polymodal metaphors in art, advertising, graphic design
(tylko po angielsku)
Amabile, T. M. (1983a). The social psychology of creativity: A componential conteptualization. Journal of Personality and Social Psychology, 45, 357–376.
Amabile, T. M. (1983b). The social psychology of creativity. New York: Springer.
Amabile, T. M. (1989a). Growing up creative. Nurturing a lifetime of creativity. Buffalo: The Creative Educational Foundation.
Amabile, T. M. (1996). Creativity in context. Update to the social psychology of creativity. Boulder, CO: Westview Press, Inc.
Amabile, T. M. (2012). Componential theory of creativity. Harvard Buisness School Working Paper, No. 12-096, http://www.hbs.edu/research/pdf/12-096.pdf,
Bear, J. (1993). Creativity and divergent thinking: A taks-specyfic approach. Hillsdale: Lawrence Eribaum Associates.
Bear, J., Kaufman, J. C. (2005). Whence creativity? Overlapping and dual-aspect skills and traits. W: J. C. Kaufman, J. Bear (red.), Creativity across domains (313–330). Mahwah: New Jersey: Lawrence Erlbaum Associates, Publishers.
Beghetto, R. A., Kaufman, J. C. (2007). Toward a broader conception of creativity:
a case for „mini c“ creativity, Psychology of Aesthetics, Creativity and the Arts, 1, 2, 73–79.
Beghetto, R. A., Kaufman, J. C. (2009). Do we all have multicreative potential? Mathematics Education, 41, 39–44.
Boden, M. (1996). Dimensions of creativity. Cambridge-London: MIT Press.
Brown, R. T. (1989). Creativity: What are we to measure? W: J. A. Glover,
R. R. Ronning, C. R. Reynolds (red.), Handbook of creativity (3–32). New York: Plenum.
Clark, G., Zimmerman, E. A. (1978). A walk in the right direction: A model for visual arts education. Studies in Art Education, 19(2), 34–47.
Craft, A. (2001). “Little c” creativity. W: A. Craft, B. Jeffrey, M. Leibling (red.), Creativity in education (45–61). London-New York: Continuum.
Cropley, A. J. (2001). Creativity in education and learning. A guide for teachers and educators. London: Kogan Page.
Cropley, A. J. (2006). Creativity: A social approach. Roeper Review, 28(3), 125–130.
Dugas, L. (1903). L’imagination. Paris: Doin.
Guilford, J. P. (1968). Intelligence, creativity and their educational implications. San Diego: R. R. Knapp.
Koestler, A. (1965). The act of creation. London: Hutchinson.
Lubart, T. I., Georgsdottir, A. (2004). Creativity: Developmental and cross-cultural issues. W: S. Lau, A. N., Hui, G. Y. Ng (red.), Creativity: When East meets West (1–32). Singapore: World Scientific.
Paivio, A. (1971). Imagery and verbal processes. New York: Holt.
Roukes, N. (1984). Art. Synectics. Worcester, Mass: Davis Publications.
Rhodes, M. (1961). An analysis of creativity. Phi Delta Kappan, 42, 305–310.
Runco, M. A. (2005). Creative Giftedness. W: R. J. Sternberg, J. E. Davidson (red.), Conceptions of giftedness (53−92). New York: Cambridge University Press.
Sawyer, R. K. (2006). Explaining creativity. The science of human innovation. New York: Oxford University Press.
Shepard, R. N. (1978). The mental image. American Psychologist, 33, 125–137.
Shepard, R. N., Cooper, L. A. (1982). Mental images and their transformation. Cambridge: A Bradford Book, The MIT Press.
Stein, M. (1953). Creativity and culture. Journal of Psychology, 36, 311–322.
Torrance, E. P. (1964). Education and creativity. W: C. W. Taylor (red.), Creativity: Progress and potential (50–128). New York - San Francisco – Toronto - London.
Weisberg, R. W. (1986). Creativity. Genius and other myths. New York: Freeman.
Weisberg, R. W. (1999). Creativity and knowledge: A challenge to theories.
W: R. J. Sternberg (red.), Handbook of creativity (226–250). Cambridge: Cambridge University Press.
|Metody i kryteria oceniania:||
(tylko po angielsku)
• active participation in both individual and group activities
• engagement, orderliness of executing mid-term tasks
Classes: Credit based on mid-term writing assignment:
• grade for mid-term practical tasks: level of understanding the issues, quality and originality of processed tasks, quality and technical profficiency, manual skills, right usage of materials and techniques, diligence of creation, esthetic quality of graphic realisations.
F – 0-50 pts (under 50 %)
C - 51-60 pts (51-60 %)
C+ - 61-70 pts (61-70 %)
B - 71-80 pkt (71-80 %)
B+ - 81-90 pts (81-90 %)
A - 91-100 pts (91-100 %)
Zajęcia w cyklu "Semestr letni 2021/22" (zakończony)
Zajęcia w cyklu "Semestr letni 2022/23" (zakończony)
Zajęcia w cyklu "Semestr letni 2023/24" (jeszcze nie rozpoczęty)
Właścicielem praw autorskich jest Uniwersytet Mikołaja Kopernika w Toruniu.