scholarly journals Fostering Creativity in the Horticulture Classroom

2016 ◽  
Vol 26 (3) ◽  
pp. 358-364
Author(s):  
Marvin Pritts ◽  
Marcia Eames-Sheavly

Creativity is considered important for success in most disciplines. Research has shown career accomplishment to be more correlated with scores of creativity than with standard measures of intelligence. Creativity is positively correlated with one’s ability to adapt to new situations and succeed in today’s world. Horticulture provides a rich context for creative expression, given that it lies at the intersection of science, art, and the humanities. Yet, fostering creativity is often not emphasized in plant science curricula nor identified as a central learning objective. The goals of this paper are to help instructors identify practices that promote creative expression in their classrooms, offer examples of classroom exercises that allow students to express creativity within a plant science context, and provide direction for assessment. From the literature, we identified 10 criteria that characterize behaviors, practices, and attitudes that are considered components of creativity. Then, we shared these criteria with the horticulture faculty at Cornell University, asking for examples of classroom exercises in which these creativity criteria are reflected. Through our observations of submitted examples and comments from instructors, it is clear that class activities that promote creative thought are prevalent, but often not recognized as such by instructors. Classroom norms emphasize scientific knowledge and vocational skills, but it is not the norm to openly promote, encourage, and enhance creative skill use and development. Assessing creativity in students is challenging because there are no widely accepted criteria for evaluating it, and defining exactly what to measure can be subjective. We provide suggestions for how to think about assessing creativity in the classroom.

2019 ◽  
pp. 220-236
Author(s):  
Liane Gabora

Creativity is usefully viewed from the perspective of personal “worldviews.” which describe the mind as experienced subjectively, from the inside. The worldview of an uncreative person reflects what they’ve been told, while the worldview of a creative person reflects what they’ve done with what they’ve been told to create a self-made worldview. The capacity to generate such a self-made worldview arose first with development of the capacity for one thought to trigger another thought. This chaining allows free-association, critical reflection, or complex behavioural thought sequences to be created and recalled for material with high psychological entropy to be restructured to form a new idea or perspective. However, a second capacity important for creative thought also is needed: contextual focus, the ability to adaptively shift between convergent and divergent modes of thought. Whereas chaining allows the connecting of closely related items in memory, contextual focus enables the forging of distant connections for sophisticated creative expression. Chaining is sufficient for “little-c”, everyday creative ideas, but contextual focus is need for the generation of those “big-C” creative ideas that define major conceptual shifts. These phenomena of mind arise at the level of the brain with coordinated activity of groups of collectively co-spiking neurons (neural cliques). Those that respond to more general or abstract aspects of a situation offer a straightforward mechanism for contextual focus, for example; with associative thought, as more aspects of a situation are taken into account, more neural cliques are recruited. Gabora’s global mind perspective highlights the evolutionary significance of creativity: cultural evolution became possible with the emergence of a creative worldviews that are self-organizing, self-mending, communally interacting, and self-propagating.


2020 ◽  
pp. 147402222092428
Author(s):  
Steven Thurlow

This paper investigates how eight academic research supervisors working in a Faculty of Arts at a research-intensive Australian university understand the notion of creativity in doctoral writing; both in relation to what it is and where it is found. This question was investigated qualitatively through interviews focusing on reader reception to three, short doctoral texts. A framework of indexicality and orientation ( Lillis, 2008 ) was then used to move beyond the text-level and focus on the contextual influences surrounding the writing as it was exposed to its critical readership. The findings reflect varying levels of awareness and receptivity to the presence of creativity in written doctoral work. The paper also explores the perceived location of creativity in these texts for academic readers; namely, whether it resides in the ideas (i.e., the creative thought/content) or whether it was more textually-based (i.e., the creative expression/form of the idea).


Author(s):  
Alice Morris

Creativity: a word often associated with fun, colour and play, a sentiment reflected in companies attempting to recreate it for profit. Exhibitions like the Wondr Experience litter their spaces with similar childlike aesthetics, with the superficial goal of fostering creativity, but resulting in the true aim of an endless stream of identical Instagram posts and more ticket sales. This paper reveals a darker and more authentic side to creativity, proposing that discomfort is an essential ingredient. Juxtaposing the cute spaces for 'plandids' and the bean bags and beer fridges of office spaces jumping on the hype, the study reveals that to engage in creative thought you have to be in a state of apprehension. Graphic designers often follow the security of grids designed by the likes of Josef Müller-Brockman, however the piece suggests that this kind of work is within the realms of comfort. This tendency for playing it safe is possibly because of the consumerist society we live in – not many designers can afford to take risks because failure means no paycheck. In this way, the paper ends with the suggestion that due to the culture we are in, creativity is observed as an act of rebellion.


2017 ◽  
Vol 27 (5) ◽  
pp. 704-709
Author(s):  
Marvin P. Pritts

A course was developed at Cornell University for the purpose of attracting nonmajors from across the university, instilling in them an appreciation for horticulture and then encouraging them to take additional horticulture and plant science courses. The course incorporates many engaging and interesting horticultural activities, with scientific concepts and horticultural techniques conveyed almost exclusively through hands-on instruction using the campus as a laboratory. Experiential learning and culinary experiences are key components of the course. Student evaluations are very high (5-year average of 4.94/5.00 with five representing “excellent”), and the class fills to capacity each spring semester with diverse students from across campus. Enrollment in other horticulture classes has increased since the course has been offered. Forty-three percent of students who took Hands-On Horticulture as a freshman, sophomore, or junior subsequently enrolled in at least one other plant science course. Participating horticulture faculty also find the class to be fertile ground for recruiting research and field assistants. Students report an increase in well-being and reduction in stress while taking the course, and write about how their worldview has changed after the course experience. This class has allowed students to discover or rediscover their role and connection to nature while simultaneously providing them horticultural skills and understanding of scientific principles.


Author(s):  
L. S. Chumbley ◽  
M. Meyer ◽  
K. Fredrickson ◽  
F.C. Laabs

The development of a scanning electron microscope (SEM) suitable for instructional purposes has created a large number of outreach opportunities for the Materials Science and Engineering (MSE) Department at Iowa State University. Several collaborative efforts are presently underway with local schools and the Department of Curriculum and Instruction (C&I) at ISU to bring SEM technology into the classroom in a near live-time, interactive manner. The SEM laboratory is shown in Figure 1.Interactions between the laboratory and the classroom use inexpensive digital cameras and shareware called CU-SeeMe, Figure 2. Developed by Cornell University and available over the internet, CUSeeMe provides inexpensive video conferencing capabilities. The software allows video and audio signals from Quikcam™ cameras to be sent and received between computers. A reflector site has been established in the MSE department that allows eight different computers to be interconnected simultaneously. This arrangement allows us to demonstrate SEM principles in the classroom. An Apple Macintosh has been configured to allow the SEM image to be seen using CU-SeeMe.


2001 ◽  
Vol 95 (4) ◽  
pp. 983-983
Author(s):  
Eloise A. Buker
Keyword(s):  

The book is composed of nine essays; all but one have appeared in earlier publications. They have a timeless quality, however, and even readers familiar with them may find a rereading productive, especially in the context of examining them as a body of work.


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