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Short background information and User Guide for the CSDS Rubrik creativity assessment App. To download the app, please go to: https://play.google.com/store/apps/details?id=com.csdsrubrik.id&hl=en
Educational Technology Magazine, 2016
Computer-assisted assessment (CAA) is problematic when it comes to fostering creativity, because in educational thinking the essence of creativity is not finding the correct answer but generating novelty. The idea of "functional" creativity provides rubrics that can serve as the basis for forms of CAA leading to either formative or summative assessment of the creativity of all kinds of classroom assignments, both by teachers and by students themselves. An electronic performance support system in the form of a smartphone App based on the principles of functional creativity is under development. This will provide feedback to users on the 4Ps of creativity: Product, Person, Process and Press.
in J. Chan and K. Thomas (Eds.), Handbook of Research on Creativity. Chapter 14 (pp. 196-211), Cheltenham: Edward Elgar Publishing., 2013
There is widespread agreement that creativity requires the ability to produce outcomes that are novel, high quality, and appropriate to the task. These outcomes may include products, services, and processes. A key to utilizing creativity is an ability to characterize the creativity of products.
Journal of Technology Management and Innovation, Vol. 6, No. 3, 2011
Identifying the extent and nature of the creativity of new products is a key for innovation management. The revised Creative Solution Diagnosis Scale (CSDS) is a 27-item scale based on a theoretical model of functional creativity, consisting of five main criteria: Relevance & Effectiveness, Problematization, Propulsion, Elegance and Genesis. The CSDS offers potential for differentiated assessments of product creativity as part of the larger process of innovation. Non-expert judges rated a series of mousetrap designs using a 30-item version of the CSDS. Confirmatory factor analysis revealed a simple structure that corresponded closely to the a priori theoretical model of functional creativity. The untrained judges were able to use the scale with a high degree of reliability and internal consistency. The scale offers a tool for managing innovation, especially for stimulating creativity and diagnosing the creativity of products.
This collection comprises 7 book chapters and 4 journal papers that address various aspects of creativity in the engineering domain. The publications range from more conceptual and theoretical concepts, through to examples of empirical studies, and span a period from 2000 – 2018. I hope that together, these chapters and papers give readers a single source that presents a reasonably unified picture of the nature of creativity in the engineering domain.
Journal of Creative Behavior, Vol. 46, Issue 2, 2012
The Creative Solution Diagnosis Scale (CSDS) is a 30-item scale based on a core of four criteria:
The Journal of Creative Behavior, 2012
The Creative Solution Diagnosis Scale (CSDS) is a 30-item scale based on a core of four criteria: Relevance & Effectiveness, Novelty, Elegance, and Genesis. The CSDS offers potential for the consensual assessment of functional product creativity. This article describes an empirical study in which non-expert judges rated a series of mousetrap designs using the 30-item CSDS. A confirmatory factor analysis revealed a simple structure that corresponded closely to the a priori theoretical model of functional creativity, resulting in a revised 24-item CSDS. Non-expert judges were able to use the scale with a high degree of reliability and internal consistency. The revised CSDS paves the way for further research into the use of non-expert judges as a possible replacement for more costly, harder-to-obtain experts when measuring product creativity using the Consensual Assessment Technique (CAT).
Creativity Research Journal, Vol. 23, Issue 2, 2011
While creativity has been specifically identified as a desired quality in the Engineer of 2020, creativity in and of itself is often " factored out " of most course activities since it is often perceived to run counter to traditional engineering pedagogy. Step-by-step methods that converge on a " right answer " , highly constrained class problems, and a rational aversion to risk not only limit opportunities for creative development, but also train students to eschew creative solutions or methods all together. This paper discusses where creativity – and specifically divergent thinking – is appropriate in design problems and describes design projects at various levels of the curriculum specifically developed to guide students from divergent idea generation to convergent final designs. These projects include a steel sculpture assignment from an Advanced Steel Design course used to review basic member design in an open-ended, creatively driven project.
In this chapter we argue that shifting between different modes of thought, termed ‘mode shifting’ for short, is a fundamental cognitive skill underlying human creative thinking across different domains. We introduce empirical evidence revealing a relationship between mode shifting and creativity. Findings also show a relationship between mode shifting, as assessed by the mode shifting index (MSI), and creativity across five different domains, as assessed by the Kaufman domains of creativity scale (K-DOCs), suggesting that mode shifting is important for creativity across different domains. However, findings demonstrate that the relationship between mode shifting and creativity hinges on the component of mode shifting (metacognitive awareness of shifting or shifting competence), with certain components more important in some domains than others. In sum, mode shifting has domain-specific in addition to domain-general elements. We conclude the chapter by discussing the implications of our findings for creativity training and educational practice.
International Journal of Technology and Design Education, 2010
The importance of creativity in technological design education is now clearly recognized, both in everyday understanding and also in formal curriculum guidelines. Design offers special opportunities for creativity because of the “openness” of problems (ill-defined problems, a variety of pathways to the solution, no pre-specified “correct” solutions). However, teachers are still confronted by the question of how to specify which designs are creative and why, how to identify where the creative strengths of designs lie so that students can build on these, and what advice to give on how to change designs to make them more creative. There are also still open questions concerning design pedagogy. A “functional” model of creativity offers guidelines for making plain to students what they are expected to achieve with their designs and for diagnosing the creativity of the designs they offer. These yield, in turn, guidelines for design pedagogy.
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