phil+dixon

philipdixon6@gmail.com Philip Dixon May 19, 2012

PUSHING THE LIMITS OF HUMAN CREATIVITY IN SPACE:

http://www.dailymail.co.uk/sciencetech/article-2159359/Humanity-escapes-solar-Voyager-1-signals-reached-edge-interstellar-space.html

PRE ASSIGNMENT FOR CRS 560: Module One: The Creativity Crisis "Creativity has always been prized in American society, but it’s never really been understood. While our creativity scores decline unchecked, the current national strategy for creativity consists of little more than praying for a Greek muse to drop by our houses. The problems we face now, and in the future, simply demand that we do more than just hope for inspiration to strike. Fortunately, the science can help: we know the steps to lead that elusive muse right to our doors."

The final paragraph of //The Creativity Crisis// struck me. As in many fields, brain science is facilitating new studies and leading to new conclusions about creativity. I am reminded of one of my favorite economists and NYT columnist, Thomas Friedman. In his book, //Hot, Flat and Crowded//, Friedman explains the necessity for a Green Revolution in the United States. He claims that North America needs to take its place again on the world stage for innovation through developing "green" sustainable technological soltuions to our power needs. His call to action is similar to Bronson's; basically North America needs to focus on education again rather than over indulgence in the military industrial complex.

After reading his blog, I was drawn to an excerpt from Scott Berkun’s //Mindfire// on how to detect bullshit and how to be a free thinker. I like his informative direct style and I was thinking about how I could use his writing in the classroom. It will be interesting to discuss the motivations for lying as a class as I enjoy doing any type of reflection or meta-cognitive activities with the kids. As far as creativity, I think simply reading this excerpt aloud as a class could generate some serious personal analysis as well as interesting discussion and some divergent and convergent thinking as we evaluate Scott’s claims and then apply them to our personal lives. Also, my IB Diploma program Language and Literature class is supposed to make connections with the TOK (Theory of Knowledge) class, so this would also work because in the section on How to be a free thinker, we would read and analyze with my class, in order to understand the nature of desire. Also, we will certainly discuss the nature of doubt and how it is ok, in fact required to be/ prepared to be wrong. In my classroom, I facilitate creativity through vocabulary semantic maps, IB written tasks, student-generated questioning, dialectic journals, and this article will be a welcome addition to next year's curriculum. THIS IS A GREAT IDEA. I DO THINK USING THE QUESTION WHAT PIECES OF LITERATURE WOULD GIVE EVIDENCE TO THE AUTHOR'S ABILITY TO BE A FREE THINKER ESPECIALLY FOR HIS OR HER TIME.

Ken Robinson’s talk is much more general in its application to my classes; however, most students have already seen this talk, so they are at least aware of the topic of creativity. One of his final points is about intelligence. He says intelligence is: diverse, interactive, and distinct. He claims we must redefine “human ecology and grow human capacity” to allow our children to make something of this unknowable future. Another one of his main points is that you have to be prepared to be wrong in order to come up with an original idea. This certainly reminds me of a few of my students. Many are truly afraid of being wrong and making mistakes. Yesterday, while talking to a colleague, he mentioned that the group of students I have is one of the most coddled in the school. Apparently, from a group of over 100 students, their median academic grade is a 90%. I think that in this case, grades can stifle creativity. The students are so concerned with being correct, mimicking the teacher, so many of them just repeat what I say and try to give me what they think I want instead of coming up with their own interpretation. They are afraid to make mistakes because it could lead to lower grades. So, to apply this concept to my class and my teaching practice, I will have to look at my grading procedures, but I do try to reward creative, new approaches with higher grades. IT IS INTERESTING THAT WE FIND I MANY PROGRAMS FOR GIFTED STUDENTS, THE KIDS SELECTED ARE GREAT LESSON LEARNERS AND TEACHER PLEASERS RATHER THAN THE KIDS WHO ARE CREATIVE PROBLEM SOLVERS AND RISK TAKERS. THIS LED MY MENTOR, JOSEPH RENZULLI TO CLASSIFY KIDS AS SCHOOL HOUSE GIFTED OR CREATIVE PRODUCTIVE GIFTED. THE WORLD REALLY NEEDS THE CREATIVE PRODUCTIVE TYPE.

Finally, in this course, I would like to have some time to design my curriculum for next year and include some more project based learning to foster creativity.

HOPE THE ACTIVITIES IN THE CLASS GAVE YOU LOTS OF IDEAS FOR THE INFUSION OF CREATIVE THINKING INTO YOUR CLASSROOM!!!

ASSIGNMENT 1: Scavenger Hunt
//Reflection//: When I arrived to Tammy's apartment, my group had already begun to tackle the scavenger hunt assignment without leaving the apartment. The abundance of creative inspiration just in their living space made me feel as though I need to do some more interior decorating in my own place! But a few of the examples of flexibility were found in the apartment; for example, the baboo lamp and the bicycle tube used as insulation. When we moved outside, the vibrant Guapulo neighborhood presented endless possibilities to fulfill the assignment. Having a group of 5 made the project interesting because a bigger group made it more difficult for me to express my opinion. EXACTLY!!!

Before I met the group, I imagined my personal contribution as a photographer. I enjoy taking photos, and the light was perfect that afternoon, so I was immediately hooked on this project. I thought that we (me) could really just take a bunch of photos that evening and then later decide how to use them for our project. From a technical standpoint, I approached the assignment as a photography assignment focusing on light and composition of our subjects (in this case, various forms of creativity).

Our group interviewed the owner of a new artesianal restaurant in Guapulo. Talent and practice are essential components for our subjects creative process. In the restaurant world, you have to be new different or creative in order to be successful. The Warmi restaurant is certainly going for an upper class audience, and they deliver. The ingredients are all local, but are combined in delicious ways. The chef is certainly talented in order to create "new" dishes, like avocado covered cerviche dish. Many of their ingredients are grown in the jungle on the owners land and then transported to Quito. I LIKE YOUR INSIGHTS BUT WOULD HAVE LIKED YOU TO COMMENT A BIT ON BARRON AND EISNER AS WELL.

ASSIGNMENT 2: Application of Creative Strategies
Philip Dixon Creativity Application Lessons


 * Lesson #1**


 * Discipline:** IB Language and Literature


 * Strategy:** Morphological Matrix


 * Objectives:**
 * **Understand the requirements of a personal statement written for the common application**
 * Select from the morphological matrix an option from each category in order to create a personal statement
 * Brainstorm ideas and situations to be included in a personal statement
 * Plan, Write, Edit a personal statement appropriate for college admissions
 * Introduce Tim O’Brien’s concept of “story-telling truth” vs. “happening truth”

A morphological matrix is a tool that can be used to combine ideas, situations, and other attributes that might not otherwise be paired together. Steps:
 * Description of the Strategy:**
 * 1) Introduce students to the use of a morphological matrix. “Morphological Matrix” PowerPoint with //The Big Bang Theory// - could be used for this.
 * 2) Start by listing the ideas that might fall into a certain category, **goals** for example. Brainstorming could be used for this step.
 * 3) Identify additional categories that are to be combined with the first (**format, crazy events, influential people, character traits, interests**…) Students, will then begin listing the ideas that fall into these categories.
 * 4) Organize the categorical lists along a matrix. (see table below for an example)


 * Format || Crazy Events || Influential people || Goals || Skills || Character traits ||


 * Implementing the Activity:**

The morphological matrix will be used to let my students plan their personal statements in September. I will work with the college counseling center at my school to have the students plan, edit, and write personal statements that would be appropriate for college applications. The students will use the matrix to generate several (at least 10) options to write their essay.

Also involved in this lesson would be reading sample essays – time in the library to write Peer edit and writing center to Eliminate language usage errors

Students should have at least 5 entries for each category to complete this planning tool. I would assess the use of this strategy by the students though discussions about the ideas they brainstormed for each category and about the combinations they created using the matrix.
 * Assessment/Follow-up:**

This lesson will also be used to transition into Tim O’Brien’s //The Things They Carried// unit. The concept of storytelling and the power of storytelling will be refer to throughout the year

I will use this lesson in the first month of school, next year, September, 2012. After using this strategy, I will personally reflect on its effectiveness and decide how to use the strategy again with other writing assignments


 * Lesson #2 **


 * TITLE: Summer Reading Assignment - preparation for the Individual Oral Commentary**


 * Discipline:** IB Language and Literature


 * Strategy:** Attribute Listing


 * Objectives:**
 * **Understand the requirements of an Individual Oral Commentary on Literature**
 * Plan, practice and record a 10-15 minute oral commentary based on a 40 line passage from //The Crucible//
 * Respond to a Voicethread on //The Great Gatsby//
 * Understand the explicit and implicit meanings in a text
 * Identify a literary passage in the context of a larger work
 * Respond to language, characterization, and structure in a passage
 * Understand and Analyze the use of literary terms such as: symbolism, imagery, tone, metaphor


 * Description of the Strategy:** Attribute Listing requires you to list the various attributes of anything in order to examine the parts. Knowing the nature of things allows you have many opportunities to change elements in order to create new and different ideas.

Speech writing novel plays style voice structure symbolism imagery
 * 1) Introduce students to the use of attribute listing. Sample activity in "Creativity Strategy Handout" - could be used for this.
 * 2) In class, have the students list the attributes of:

And then answer these questions:
 * how is a play and a novel alike? how are they different?
 * which attributes of a novel or a play would be essential for you IOCs?
 * how are symbolism and imagery related?
 * what are the components of style and which ones have you commented on in your outline
 * what are the essential features of a text that you should mention in your IOC?


 * Implementing the Activity:**

Attribute listing will be an essential strategy for us in class in September as we review the three literary works we have read and prepare for the IB Individual Oral Commentary activity. This oral assement that I have planed for October, 2012, requires the students to generate an outline and speak for 10-15 minutes about the literary aspects of a chosen 40 line passage.

Students should have at least 5 attributes for each category and answer the discussion questions to recieve full credit. I will assess the use of this strategy by observing, recording, and grading the student's IOCs.
 * Assessment/Follow-up:**

I will use this lesson in the first month of school, next year, September, 2012. After using this strategy, I will personally reflect on its effectiveness and decide how to use the strategy again with other speaking and writing assignments

BOTH THESE ASSIGNMENTS WILL PROVIDE YOUR STUDENTS WITH WAYS TO LOOK AT AND COMBINE FEATURES THAT WILL RESULT IN NEW AND ORIGINAL IDEAS. DO MAKE SURE THAT YOU STRESS THAT YOU WOULD LIKE TO SEE UNIQUENESS OF THOUGHT IN BOTH CASES.

ASSIGNMENT 3: Class Participation and reflections
3. Upon considering my perceptual, environmental, emotional, cultural, intellectual blocks to creativity; I think my personal blocks are mainly perceptual and emotional. I feel as though I do an OK job with the environmental aspect, I try to ride my bike or take a walk or do some sort of physical exercise mostly everyday. For me, exercise is the best way for me to clear my mind and attempt to look at a problem in a new way or think divergently. Even if I just need to recharge and take a break after working for a few hours on one topic (masters class work for example!!) a short walk with the dog or a jog or something always seems to refresh me. I am a hyperactive person, so I have learned that taking short breaks, every hour at the most, is essential for me to be productive or creative in any way. I consider myself a creative writer as well, as long as I can dedicate the time and find the place, I feel like I can create. **However **, I think I create emotional blocks of creativity for myself when teaching sometimes. As we were discussing in our final Socratic Seminar activity, teaching is relationship based. The primary connection is that between teacher and student. The students need to like the class or the teacher enough to feel confident and comfortable and ready to fail or take risks in class and unfortunately I feel as though I somehow have set up emotional barriers between myself and my students to block their and my creativity and I need to work to resolve that. FINE INSIGHT. TEACHERS NEED TO BE ABLE TO RELATE TO THE STUDENTS ON SO MANY LEVELS AND ALSO KEEP THAT LINE DRAWN BETWEEN YOUR ROLE AS THE AUTHORITY FIGURE AND THEIRS AS STUDENTS. 4. My group watched Ross Lovegrove’s TED talk on //Organic Designs//. I was struck by his complete disregard for convention and his confidence. His creative vision - to use nature to inspire industrial design – was articulated in a direct and convincing way. When he mentioned “too bad for SONY” when they didn’t accept his idea in such a nonchalant and confident way, his sense of purpose and direction was obvious. He considers himself to be a genius in his field and his studio reflects his creative and inspirational character. I thought it was interesting that he doesn’t pay overtime. It reminded me of a theme that has been running throughout the course - that of working in a project based way in order to solve a problem rather than using traditional work hours. Although you certainly have to create a time for work and a time for creativity, work should be inspirational and you should teach with inspiration and passion.

5. ** Thomas and Rusesabegina were hunting antelope in a field. Rusesabegina tripped and speared himself. Thomas called an ambulance. The ambulance left the hospital located 200 miles from Thomas and Rusesabegina’s location and traveled at 60 MPH. At the exact moment the ambulance left the hospital, an antelope began charging in a straight line towards Thomas from 100 miles away at a speed of 35 MPH. **


 * If along the way, the antelope stops at a watering hole during the length of time it takes the ambulance to travel 20 miles, which will arrive first and how much sooner will it arrive? **

= = = ASSIGNMENT 4: Creativity Socratic Seminar =

My Questions:

How is the power of storytelling related to creativity? Do grades stifle creativity?

THIS WAS TO BE YOUR ENTRY CARD AND NEEDED YOU TO INCORPORATE YOUR READINGS AND TED TALK INTO YOUR QUESTIONS. THESE QUESTIONS ARE GREAT TO STIMULATE DISCUSSION BUT DON'T SEEM CONNECTED TO SOME ONE'S WORK. = MAKE-UP ASSIGNMENT =

//Breakaway Minds//
 * Interesting Concepts:**

Gruber’s **concept of bracketing** is interesting to be because he says in order to have a creative breakthrough, you have to bracket it, it is a process, you have to jump over certain obstacles and make a cognitive leap over part of a problem that you don’t undertand yet – Like Darwin and the Theory of Evolution – he had to make assumptions about genetics and to arrive at his theory of natural selection.

The most important element in developing the theory of evolution turned out to be an image of a tree. This is interesting to me that Darwin’s critical diagram was found in nature.


 * According to the article, Creative people:**
 * use bracketing
 * have a sense of purpose."
 * are different
 * " favor a course of daring, of challenging the world. Though Darwin is often depicted as a cautious and sickly [his travels in //The Beagle// were quite adventurous]"
 * "use their skills to devise environments that foster their work. They must invent new peer groups appropriate to their projects"
 * **strike out in new directions** and do not accept ready-made relationships, which takes stamina and a **willingness to be alone** for a while.
 * have a clear element of **courage**
 * do intense theoretical work
 * use Bisociation – bringing together 2 concepts that have not been joined before

Since this article was published 30 years ago, I have questions about how Gruber’s studies have been updated and followed in recent years. Specifically, I wonder what (if much) has been determined about how people work together? As Gruber mentions near the end, we have many historical examples of two minds working together to transcend problems that would not be solved with one mind FINE POINTS AND INTERESTING QUESTION. I LIKE HOW YOU IDENTIFIED SPECIFIC POINTS BUT YOUR OPINION ABOUT THESE POINTS WOULD ENHANCE YOUR UNDERSTANDINGS OF THE ISSUES PRESENTED BY GRUBER.
 * Lingering questions:**

//The Value of Play// The corporate structure is adopting a model of play and recognizing the value of fun in the workplace // [|9 Lessons Richard Feynman Taught Us About Creativity] // furthers the argument about leaving convention and taking risks
 * Interesting Concepts:**

How can I walk the tightrope (between dictator and facilitator, friend and teacher) in class with more confidence?
 * Lingering questions:**

CAN YOU ELABORATE MORE ON FEYNMAN? HE HAS A LOT TO SAY AND YOU REALLY SAID NOTHING.