The 10 rational processes (which include recalling and imagining, classifying and generalizing, comparing and evaluating, analyzing and synthesizing, and deducting and inferring) are examined from a cultural and historical perspective, with particular emphasis on the suprarational aspects of creative thinking. A three stage model for facilitating…

An interactionist model of creative behavior is proposed, combining elements of the personality, cognitive, and social psychology perspectives on creativity. The model considers the interplay of factors including antecedent conditions, creative behavior, consequences, the individual, cognitive style/ability, personality traits, contextual…

Uses a case-study approach to examine the role of belief as a catalytic quality in the artistic making and the thinking processes used by children. Describes the processes encountered by children when presented with artistic tasks. Discusses the relationship between belief and the three other main dimensions of artistic thinking and making: social…

Seven principles are presented for improving creative thinking, based on assumptions of creativity as a perceptual shift resulting from a metamorphic mental image. Principles include (1) the future initiates and pulls creative thought; (2) initial fact finding is best postponed; (3) problem redefinition is often retrospective; and (4) metaphors…

In this essay teaching science to both cerebral hemispheres is advocated. Some of the literature supporting this point of view is discussed and a fantasy imagination exercise is also included. (MR)

To enable college students to grapple with their own process of creating, students complete a project that involves collecting a variety of small objects, dividing the objects into two categories, telling a story using all the objects, describing their feelings about the categorization and story-telling activities, and writing about their creative…

Proposes that teachers use their own writing as a teaching tool. Discusses both the left-brain logical, rational approach and the right-brain intuitive approach to invention and states that in composing their own methods and materials, instructors can stress both patterns of creativity by illustrating how each complements the other. (EL)

Reviews the place of creativity in the two major orientations of art education: (1) creative self-expression; and (2) discipline-based art education (DBAE). Asserts that critics of DBAE argue that it is dry and does not allow for creative expression. Rejects this notion and claims that properly implemented DBAE produces intellectual and emotional…