ABSTRACT. Since 2006, the year in which Jeannette Wing published her well-known seminal article, interest in developing programs of Computational Thinking in primary school has progressively grown. This concept does not rely exclusively on coding activities; it rather deals with problem solving activities, and therefore regarding creative thought processes. Furthermore, it can also be seen as a way to express oneself creatively. As computational thinking and creativity overlap in several ways, this paper aims to highlight teaching practices and learning frameworks used to support the development of both computational and creative thinking skills in primary level education students, by analyzing four scientific papers coming from a larger systematic review about computational thinking in primary school. Though to a different extent, depending of the specific methodology adopted, the papers show how the development of computational thinking enhances creativity as well, providing indications for integrated activities in primary school curricula.
ABSTRACT. As highlighted in the recent Symbola Report, the contribution of an effective policy system must not be limited to the classic financial support of the sector, but rather to structure governance actions of the interdependencies and positive externalities of the sector, repositioning the strategic role of the same to the internal of the Lisbon Agenda, enhancing investment in creativity, encouraging the production, distribution and consumption of cultural and creative activities, promoting training activities for cultural and creative practice. In this context, the central and strategic role of the AFAM Institutions (High artistic musical and dance training) is placed, as a central context for training in this sector and for the development of increasingly useful and spendable skills in the labor market and in the field of the creative professions. Only study paths constantly linked to the continuous emergence of new creative professions will be able to create added value for the internal productive and economic system of the country. The present contribution presents the features and evolution of the AFAM system, analyzed with particular reference to courses in the field of creative and performing professions: design, fashion, artistic design for the company.
ABSTRACT. This article took its cue from the centrality obtained by the concept of creativity found in the great German classical philosophy, from Kant to Hegel. After appropriate references regarding the tradition of Bertrando Spaventa and Francesco De Sanctis, the article focused on some aspects of the influence exerted by Giovanni Gentile’s actualism and Benedetto Croce’s aesthetics with regard to the theme of creativity, understood as spontaneity and freedom of expression, in the educational reflection of Giuseppe Lombardo Radice.
ABSTRACT. In the present paper, I shall argue about the relationship among creativity, empathy, and recognition. To this aim, I will provide with an analysis of two contemporary work of art as case studies: the interactive portrait This Is Not Private by Alberto Daniele (2016) and the project Material Speculation: ISIS (2015-2016) by Morehshin Allahyari (2016). Through a phenomenological framework, my contention is to show how the engagement between the artist and the user is crucial to develop the meaning of the work of art itself, determining a creative process in which they both are involved.
ABSTRACT. This essay analyses the notion of creativity in Garroni’s 1978 writing. In this work Garroni outlines the notion of creativity in relation to its opposite, regularity, legality. This is done by referring to Kant. In this sense, creativity represents a transcendental principle. At the basis of creativity there is therefore an innate faculty of the human animal that acts both in the application of a rule as in its subversion.
ABSTRACT. The article discusses issues related to creativity in a phenomenological perspective. It suggests the need to recognize the link between technology and creativity, but also to experience, define and think creativity beyond innovation and efficiency. Such a phenomenology of creativity moves on two fronts. On the one hand, it seeks to grasp the specificity of our age with respect to past eras. On the other hand, it raises questions about which paradigm is most suitable for this era. The answer goes through a thought of creativity as a collection.
Since psychotherapy is an activity aimed at change, here we consider it as an example of interpersonal creative process. In this context, creativity consists in identifying new and adaptive solutions to common problems, a skill that can be learned and exercised within a “proximal development zone”. Secondly, it is proposed that the evolutionary social mentality of play is the elective context for the development and the exercise of creativity. Finally, we argue that therapeutic change is the result of a recursive interpersonal process of security seeking and joint advance towards novelty, characterized by an alternation of comfort and enjoyment that leads to increasing levels of intersubjectivity. Play informs and nurtures the thriving instances of this process; therefore, it is proposed that the social play is the engine of creative processes of change in psychotherapy. Finally, some critical issues are discussed which have probably hindered a more playful conception of therapy, and some possible lines of development are sketched for a future operational definition of playfulness as a clinical method.
The paper argues a network of interconnected hypotheses about creativity on the basis of available evidence. This evidence is largely derived from cognitive sciences, in particular from some of the most relevant lines of research concerning creativity. The main issues concern the forms of creativity, the processes involved in creativity, the stimulation of creativity, and recognition and evaluation of creativity.
We are used to think of creativity as a positive and luminous peak experience, yet if we analyze the testimonies of creative individuals we will find that the origin of the creative process often has its roots in destruction and despair experiences.
Carl Gustav Jung, a psychoanalysis pioneer, recognized in the contact with this dark side of the creative experience, the so called Shadow, a key to develop new abilities and transforming mental illness.
The aim of this speech is to illustrate how the jungian concept of Shadow can be used in clinical work to favor a fruitful and conscious contact with one’s own creative dimension.
ABSTRACT. In recent years we are witnessing the increasingly widespread presence of creative works. As this happens, the situations in which work is increasingly less protected and increasingly poor and precarious increase. The concept of creativity applied to work and public policies therefore seems to bring into play social dynamics linked to the different distribution of power between social parties, between new forms of capital and work.
Public policies on their part also promote forms of activation outside a broader dynamic of social emancipation. This type of intervention does not act on the reduction of inequalities and seems to benefit only the strongest. Reference will be made to a case study conducted in the Puglia region in 2016 to analyze the impact of creative policies on the autonomy and welfare paths of young Apulian adults. This typological sample gives the possibility to hypothesize a sociological inference on the rest of the Italian population.
ABSTRACT. This paper aims to describe the uses of over-compound tenses in the dialects of Sardinia. As we knew (Pittau 1972, p. 112 and 156-157 and Jones 1993, p. 308) over-compound tenses are used especially in counterfactual clauses. My data (Pisano, 2010; 2016; 2018) showed that these structures can be also used in the generic expression of unreality in optative clauses. Even if previous descriptions were based on data from the Nuorese area dialects, my fieldworks (Pisano, 2010; 2016) have shown that over-compound tenses are also present in some dialects of the north of Logudoro. A paradigm of an over-compound past tense is attested also in the south of Sardinia (Pisano, 2016). In this group of varieties, however, this structure displays only an experiential value. As a matter of fact, the insertion of the extra past participle is not possible in the expression of punctual action.
ABSTRACT. Creativity is the art, the ability and the cognitive faculty of the mind to create and invent: to represent a forma mentis that takes on a particularly significant function in relation to our cognitive processes, such as intuition, perception, analogical thinking, the simulation, the integration of ideas, research in the context of a structured problem, reflection, personal reworking, critical thinking. Creativity involves not only the cognitive and meta-cognitive profile, but also the affective-motivational horizon of our subjectivity, represented by feelings, needs, emotions, impulses, interests, passions, desires. Everyone is a universe in which “unknown inner strengths sleep in the shadow like kings never born”. It is fundamental to think and express the innate creativity in our interiority in order to give meaning to our life: that means to externalize the deepest motivations that mark the “colors” of our soul. Our first duty is towards our own conscience and inner time: “being oneself” with respect for authentic life.
ABSTRACT. Nowadays, computational thinking (CT) and creativity are concerned as core competences in the 21st century for everyone who wants to take a career and work in the ever-evolving digital society. This study presents a systematic literature review (2006-2018) aiming to highlight teaching practices and learning frameworks used to support the development of both computational and creative thinking skills of primary level education students. Over the last years, there is a trend for these competences to be conceived as complementary and synergetic abilities and approaches which should be delivered and promoted together in order to train students to be problem solvers and critical thinkers, by understanding and using the digital technology provided creatively. Since only four solid empirical studies have been found relevant to K‐6 education, the efforts made to combine these two thinking skills into teaching practice are still in infancy. The learning frameworks involved students mainly in game programming activities, as well as in programming activities related to art education where students should make use of technological resources, sensor cards and minicomputers. Limitations and recommendations for future research are also provided.
Internet and the telecommunication technologies are precious tools in the field of Education. They allow students benefiting and sharing from thousands of source of information in real time and almost freely. Unfortunately, students have not a critic approach towards content or author; the rank in the search engines is often considered a synonymous for accuracy and reliability. GENIUS project aimed at fighting against the phenomenon of Plagiarism providing distance learning pathways focused on supporting creativity and students transversal skills. Over 357 teachers and 381 students gained understanding of different types of plagiarism, copyright, methodologies to enhance creativity, and a new phenomenon, the cyber-bullism.
Received 3 March 2013
Revised 2 May 2013