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Similaire à 3. creatividad principal
Similaire à 3. creatividad principal (20)
Plus de elias melendrez
Plus de elias melendrez (20)
3. creatividad principal
- 1. ¡¡¡Que no se coman las frutas!!! En esta plantación frutal, los pájaros revolotean queriendo comer la fruta. Evitemos eso, enjaulándolos. Ayúda a separar los pájaros de las frutas, utilizando tres líneas rectas. Ejercita tu mente y tu creatividad, resolviendo las siguientes actividades de inicio.
- 2. SOLUCION
- 3. Vendo Casa con Jardín En este predio, se venderán cada una de las casas, con dos árboles en su jardín. ¿Cómo se puede dividir el terreno en partes y formas iguales, para que cada comprador adquiera su casa, con la misma superficie de jardín y dos árboles?
- 4. SOLUCION
- 5. SOLUCION
- 6. CREATIVIDAD
- 7. ¿Qué es la creatividad? Creatividad es La capacidad Soluciones Para generar Originales y novedosas Ver lo que todos ven Pensar lo que nadie más ha pensado Hacer lo que nadie se ha atrevido a hacer
- 9. PENSAMIENTO LINEAL CONVERGENTE PENSAMIENTO LATERAL DIVERGENTE
- 10. PENSAMIENTO LINEAL PENSAMIENTO LATERAL Se mueve solo si hay una dirección en que moverse Se mueve para crear nuevas direcciones Se basa en la secuencia de ideas Puede efectuar saltos Cada paso ha de ser correcto No es preciso que lo sea Se usa la negación para bloquear bifurcaciones y desviaciones No se rechaza ningún camino
- 11. PENSAMIENTO LINEAL PENSAMIENTO LATERAL Se excluye lo que no parece relacionado con el tema Se explora incluso lo que parece completamente ajeno al tema Las categorías, clasificaciones y etiquetas son fijas No lo son Sigue los caminos más evidentes Sigue los caminos menos evidentes Es un proceso finito Es infinito
- 13. Desacuerdo entre el pensamiento y los hechos Cuestión que se trata de aclarar Es algo que se interpone en el “ camino”entre la realidad actual de una persona y lo que desea Desacuerdo entre los hechos Situación que es nueva para el individuo a quien se le pide resolverla Problema
- 14. Espera pasiva Actitudes mágicas Aportan ciencia Audacia Miedo Aportan experincia Decisión Eternas deliberaciones Proceso sicológico
- 38. La cadena A un herrero le trajeron 5 trozos de cadena, de tres eslabones cada uno, y le encargaron que los uniera formando una cadena continua. ¿Será posible efectuar este trabajo abriendo y enlazando un número menor de anillos y cuanto costaría dicho trabajo si por cada acción que haga le pagan 5 soles?. a) S/. 15 b) S/. 20 c) S/. 30 d) S/. 40 RESUELVE CREATIVAMENTE
- 39. SOLUCION
- 40. Con cuatro de las siguientes cinco piezas se puede armar un cuadrado perfecto. Indica qué pieza no se debe utilizar. a) A b) B c) C d) D e) E
- 41. 4 5 8 7 8 4+5+8+8=25 SOLUCION C B A E
- 43. SOLUCION AZUL BLANCO AMARILLO ROJO VERDE ANARANJADO
- 45. OTRAS DIAPOSITIVAS SOBRE CREATIVIDAD CRP-2-Creatividad
- 46. Creatividad Creatividad y Resolución de problemas Magt. ELIAS MELENDREZ VELASCO Especialista Académico
- 47. Vamos a ver... CRP-2-Creatividad
- 53. El individuo creativo se acopla a un proceso creativo en un ambiente creativo generando productos creativos. CRP-2-Creatividad Creatividad innata Características individuales Ambiente Creativo Producto Proceso Creativo
- 60. CRP-2-Creatividad I. Preparación II. Imaginación III. Desarrollo IV. Acción Análisis Generación Cosecha Intensificación Evaluación Implementación Vivir con ello Observación
- 66. Continuo de la creatividad CRP-2-Creatividad REPLICA ORIGINAL FORMULACIÓN INNOVACIÓN Based on Fennell, E., (1993) Categorising Creativity in Competence & Assessment No. 23, Oct. 1993, Employment Dept.
- 73. Ideas y evaluación Acelerador y freno CRP-2-Creatividad
Notes de l'éditeur
- Some Informing Statements This lecture is informed by a number of thoughts and ideas: That’s one of them (SLIDE)…here are some others…. 1. We like the idea of creativity but we don't really understand it. 2. A lot of what we like to think is 'creative'…. isn't. 3. Creativity isn't a form of white (or black) magic, but is something real and tangible that we can understand and, through understanding it…we can enahnce our own creativity.
- Defining Creativity There are many aspects to creativity, and it has been explored by a number of theoretical approaches including philosophy, psychology and sociology. From an examination of some recent research reviews of creativity - both generally and in relation specifically to educational and organisational development (Dust 1999, King and Anderson 1995) - it is clear that there is no one definition of creativity that can be agreed upon. Also, not surprisingly, given the problems defining it, the measurement or assessment of creativity also poses many problems. That creativity exists and is a necessary and important part of human activity is generally recognised. It is neither the exclusive preserve of the genius, nor is it limited to specific fields and levels of work. Also creativity is not just a 'quality': it manifests itself at a number of points, and it informs and is part of a process which leads to an outcome. The time dimension of creativity is very important, as it emerges often after a period of mundane, hard, even repetitious work. Sapp 1992 is one of many researchers who point out that time is essential for creativity to flourish and for creative products to be produced. Creativity researchers, mostly from the field of psychology, usually claim that being creative means being novel and appropriate. Subsumed under the appropriateness criterion are qualities of fitness, utility, and value. Without the criterion of appropriateness (i.e. a recognition by others of its fitness/utility/value), novelty can be merely bizarre. Therefore, one way of defining creativity is as playing with the way things are interrelated and demonstrating the ability to generate novel and useful ideas and solutions to everyday problems and challenges . For example George de Mestral noticed how thistle burrs stuck to his trousers on a walk in the woods, and went on to invent Velcro. James Dyson noticed the centrifugal effects of cyclonic air and invented the highly successful bagless vacuum cleaner. Another definition of creativity is the action of combining previously uncombined elements . Gutenberg, for example, created the printing press by combining a winepress with a die-punch. This combining of items which previously were separate is part of the nature of being creative and can be discerned at all levels of activity:- from the eminent to the everyday.
- Whatever the disagreements about definitions, most researchers are in agreement that the essentials for high-level creativity are: motivation knowledge opportunity creative teaching style encouragement to be creative acceptance of one's own personality the courage to be different (Freeman 1998).
- THE 4P's There are three aspects of creativity which have drawn much attention: the person, the process, and the product. Barron (1988) defined creativity as 'a creative product produced by a creative person as a result of a creative process' .
- However the organisational climate and culture and environment plays such a vital role - particularly in education - that it deserves recognition. Therefore Barron's statement could be re-formulated as follows: 'a creative person engaged in a creative process within a creative environment producing a creative product'.
- Whatsoever the collection of characteristics a creative person possesses, according to Amabile's (1983) influential model of creativity, the creative act itself is critically dependent on the following three components working in combination: Skills in creative thinking Finding the problem (essential); choosing and using divergent and convergent reasoning ; understanding the nature of the problem and understanding the appropriateness (or not) of the approach, the ideas generated and the outcome. Is it appropriate? Does it work? Is it of utility? Can it be done? Skills in the task domain Knowledge of the area of the task; relevant technical skills; special talents etc. Intrinsic Motivation Amabile's 'Intrinsic Motivation Hypothesis' which states that people will perform more creatively if they are motivated by interest in the activity itself: intrinsic motivation rather than by the promise of rewards or threats of punishments extrinsic motivation. All three components of Amabile's model need to be present. For example an eminent creative thinker in one field e.g. physics, might lack the task-domain skills in a different area e.g. drawing, and therefore would fail to perform creatively notwithstanding high levels of skills in creative thinking and intrinsic motivation.
- The Creative Person There has been much research into the characteristics of creative people. A list of the most commonly described characteristics (see Table 1 below) reveals that they are a mixture of attributes and personality traits, 'givens' and things that are acquired. However, whilst they provide a good baseline against which to consider the creative individual, they are not easily measurable. Also the consequences of some of them e.g. unconventionality, challenging authority, originality etc. clearly have the potential to pose challenges to any organisational system that is based on those Classical standbys of order, structure, rules, harmony etc.etc.
- However, whilst they provide a good baseline against which to consider the creative individual, they are not easily measurable. Also the consequences of some of them e.g. unconventionality, challenging authority, originality etc. clearly have the potential to pose challenges to any organisational system that is based on those Classical standbys of order, structure, rules, harmony etc.etc.
- The Creative Process The creative process receives the most attention by far of writers and researchers. Most of the work focuses on the mechanisms and phases involved as one partakes in a creative act. As with the actual definition of creativity, there is a wide and divergent range of opinion. This has led to the development of dozens, if not hundreds of models of the creative process. However, many are adaptations, variations and developments of the influential four-stage model of the creative process developed in 1926 by Graham Wallas: 1.Preparation 2.Incubation 3.Illumination 4.Verification In the preparation stage, the problem or challenge is defined; any data or resources the solution or response needs to account for is gathered; and criteria for verifying the solution's acceptability are set up. In the incubation stage, we step back from the problem and let our minds contemplate and work it through. Like preparation, incubation can last minutes, weeks, even years. In the illumination stage, ideas arise from the mind to provide the basis of a creative response. These ideas can be pieces of the whole or the whole itself, i.e. seeing the entire concept or entity all at once. Unlike the other stages, illumination is often very brief, involving a tremendous rush of insights within a few minutes or hours. In verification , the final stage, one carries out activities to demonstrate whether or not what emerged in illumination satisfies the need and the criteria defined in the preparation stage.
- Based on Plsek’s Directed Creativity Cycle
- Several clear themes emerge from the various models of the creative process:- that the total creative process involves purposeful analysis, imaginative idea generation, and critical evaluation. that the total creative process is a balance of imagination and analysis, divergent and convergent thinking, that the total creative process requires a drive to action and the implementation of ideas. The act of imagining new things must be combined with the ability to make them concrete realities.
- The creative environment A great deal of creativity research concentrates on the '3P's': people, process and product. However, the organisational climate and culture deserves some attention of its own. Unless one is working in, or is able to create a climate and culture that is conducive for innovation, (which includes democratic and participatory structures; openness to change and challenge; encouragement of risk taking; a playful approach to new ideas; and a tolerance of vigorous debate) then one is on a hiding to nothing. According to Amabile (1983) the following enhance organisational creativity: Freedom (especially operational autonomy) Good project management Sufficient resources A climate that prizes innovation (and allows for failure) Pressure (within limits)
- Whilst the following act as inhibitors or blocks to organisational activity Evaluation Constraint Formal rules Respect for traditional ways of doing things Indifference Competition Time Pressure (when too high) Amabile makes the point that many of the organisational factors considered to be inhibitors of creativity operate by restricting people's freedom to work in the way that best suits them.
- The creative product The criteria or characteristics of creative products are of particular importance because it is the basis of any performance assessment of real world creativity and may provide a window on the other aspects of creativity. Of course the creative product - whether it be an actual, physical object or an expressed idea - is the proof or evidence that creativity has occurred. And because it is a product and therefore tangible - is also the easiest element to assess. We use product-based assessment in selection and recruitment - portfolios of work, audition tapes, recent papers, full list of publications etc.