10 Matching Annotations
  1. Feb 2021
    1. Becoming familiar with principles of group creativity in order to maximize the capability of design teams.

      This is so important in any type of collaborative effort.

    2. That is, designers should be willing to question accepted disciplinary practices in an effort to innovate what is needed in a given situation; their personal innovative learning and practical wisdom will, at least at times, overturn textbook formalisms; and they should be willing to violate principles in an effort to create what is needed, within contextual constraints.

      This is often frowned upon in so many professional arenas.

    3. Encounters with unfamiliar aspects of the situation, then, propel the work forward as they invite exploration and learning that leads to the formulation of more possibilities, working toward a progressively refined product (e.g., a design document or a finished learning environment).

      For me this is a challenge. I often want to shy away from the unfamiliar things and focus on what I know.

    4. This metaphor could not only offer a unique sense of identity for practitioners—as sojourners into the unfamiliar and innovative learners who drive the design process—but also an opportunity for self-reflection that leads to professional growth,

      I love this! If as professionals, we took these types of opportunities to be self-reflective, we couldn't help but continue to improve.

    5. Based on existing views of narrative as a metaphor for learning and aesthetics (Parrish, 2009), the design journey can be thought of as having a beginning, a middle, and an ending.

      My limited experience has shown the process to have a beginning. middle, begin again, middle, and then end.

    6. In this sense, it can be said that the artifact, as it is used (and possibly studied; e.g., Howard, Boling, Rowland, & Smith, 2012) in various ways, will reveal something about the designer; and the learning that occurred in the design process—for example, that the designer had a particular perspective, used certain techniques, made certain assumptions, and so on.

      As I read this, I wonder though, should the artifact not be more reflective of the client than the designer?

    1. we soon recognized that there was a great deal of overlap in the skills required to be critical and creative thinkers

      I have always had a difficult time separating the two clearly. They seem to go hand in hand.

    2. But how do we develop students who are critical and creative thinkers, able to   Figure 1. Conceptual model of critical and creative thinking processes.   meet the challenges of 21st century thinking, learning, and doing?

      As an educator, this is a question I ask myself every day.

    1. While this may not be unique to the design of creative instruction, the importance of knowing the characteristics of the target population and the instructors will be critical for creating engaging instruction.

      Often I think this may be the struggle in our public school system. Many people making decisions about instruction are far removed from the classroom and the students in it.

    2. Formative evaluation

      I never realized how important continued formative evaluation was until I entered a classroom. It is so important to continue to evaluate through out a process rather than waiting until the end.