These works may be assessed on various dimensions – e.g., technique, expression, realism, composition, etc. In a product-based view, the artwork is paramount in assessing a student. We focus here on the discipline of arts education and argue for a process-based rather than product-based approach to examining creative thinking in the arts. Educators must balance teaching and assessing concrete technical skills, which often lead to polished products, versus teaching and assessing creative thinking potentials, which are often exhibited through exploratory, messy processes, as discussed by Sawyer (2017). The dichotomy between process and product is a familiar one in the field of education ( Bruner, 1960 Lachman, 1997 Runco, 2003), and particularly in visual art education ( Sullivan, 2001 Gude, 2010 McLennan, 2010). Our view is shaped by conceptions developed by researchers in the field of education, and specifically in the field of primary and secondary school visual art education. In short, we should be analyzing processes of creative thinking and activity, alongside ongoing work in assessing created products. Here, we argue that creative behavior can and should be examined through a rigorous and systematic qualitative lens during the act of authentic creation. But creativity is a complex, multi-sensory, and situation-dependent phenomenon, not easily captured in a numerical value. 22) – the overwhelming proportion of creativity assessment is measured through quantitative psychometrics. The current emphasis in creativity research is on what Glãveanu (2014) calls the “quantification of creativity” (p. Qualitatively created frameworks, like those of the Studio Habits of Mind, can be used to inform our understanding of creative behavior in various disciplines. We argue that the creative thinking occurring during fashion design bears strong resemblances to that which occurs in the art studio-classroom. We found abundant evidence of all eight of these thinking dispositions in all portions of the show. An entire season of the show (14 episodes) was transcribed and coded for the presence of eight Studio Habits of Mind. Our source of data was footage from a popular reality television show, Project Runway, in which nascent fashion designers are given garment design challenges. Our focus is on “habits of mind” (thinking dispositions) used during the creative process, and the categories we used were those of the eight Studio Habits of Mind observed in visual arts classrooms ( Hetland et al., 2007, 2013). We examine creativity from a qualitative process rather than a quantitative product perspective.
2Department of Psychology, Northeastern University, Boston, MA, United States.1Department of Psychology, Boston College, Chestnut Hill, MA, United States.Driving reflective practice in the classroom, these videos will be used to stimulate new directions for student thinking and anchor the studio habits of mind for both teachers and students.Įach studio habit of mind link connects to a page with the video, reflections prompts, artist bio, and the advice they wished they would give their middle-school selves.Jillian Hogan 1*, Kara Murdock 1, Morgan Hamill 2, Anastasia Lanzara 3 and Ellen Winner 1 These video vignettes profile diverse creative community members modeling studio habits of mind and discussing the beauty of mistakes, the need to struggle, and the satisfaction of making their unique contributions to the world through their art form.`ĪrtCore teaching and learning modules will incorporate these videos and connect students to new voices from the community. Researchers and educators Lois Hetland, Ellen Winner, Shirley Veenema, Kimberly Sheridan, Diane Jacquith, and Jill Hogan have published extensive resources for educators since 2007 (see bottom of the page for resources). The Studio Habits of Mind framework was developed through the insightful research of Harvard Project Zero.
HOW DO ARTISTS USE THE studio HABITS OF MIND?
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