References Beghetto, R. A. (2010). <strong>Creativity</strong> in the classroom. In Kaufman, J.C. & Sternberg, R. J. (Eds.), The Cambridge handbook of creativity (pp. 447-463). New York, NY: Cambridge University Press. Craft, A., Cremin, T., Burnard, P., & Chappell, K. (2007). Teacher stance in creative learning: A study of progression. Thinking Skills and <strong>Creativity</strong>, 2(2), 136-147. Davies, D., Jindal-Snape, D., Collier, C., Digby, R., Hay, P., & Howe, A. (2013). Creative learning environments in education—A systematic literature review. Thinking Skills and <strong>Creativity</strong>, 8, 80-91. Haydon, K. P. (2015). What if we view our education system as an ecosystem? In Culpepper, M. K., & Burnett, C. (Eds.), Big questions in creativity 2015. Buffalo, NY: ICSC Press. IBM. (2010, May 18). IBM 2010 global CEO study: <strong>Creativity</strong> selected as most crucial factor <strong>for</strong> future success. IBM News Room. Retrieved from https://www-03.ibm.com/press/us/en/ pressrelease/31670.wss Jeffrey, B. (2006). Creative teaching and learning: Towards a common discourse and practice. Cambridge <strong>Journal</strong> of Education, 36(3), 399-414. Jeffrey, B. & Craft, A. (2004). Teaching creatively and teaching <strong>for</strong> creativity: Distinctions and Relationships. Educational Studies, 30(1), 77-87. Krathwohl, D. (2002). A revision of Bloom’s Taxonomy: An overview. Theory into Practice 41(4), 212¬218. Mayer, R. E. (2002). Rote versus meaningful learning. Theory into Practice, 41(4), 226-232. Miller, B., Vehar, J., Firestien, R., Thurber, S., & Nielsen, D. (2011). <strong>Creativity</strong> unbound: An introduction to creative process. Evanston, IL: Four- Sight, LLC. Osborn, A. F. (1953). <strong>Applied</strong> imagination (1st ed.). New York, NY: Charles Scribner’s Sons. Partnership <strong>for</strong> 21st Century Skills. (2015, February 7). Framework <strong>for</strong> 21st century learning. Retrieved from http://www.p21.org/about-us/ p21-framework Richards, R. (2010). Everyday creativity: Process and way of life -- four key issues. In Kaufman, J.C. & Sternberg, R. J. (Eds.), The Cambridge handbook of creativity (pp. 189-215). New York, NY: Cambridge University Press. Sawyer, R. K. (2006). Educating <strong>for</strong> innovation. Thinking Skills and <strong>Creativity</strong>, 1, 41-48. <strong>Torrance</strong>, E. P. (1959). Current research on the nature of creative talent. <strong>Journal</strong> of Counseling Psychology, 6(4), 309-316. <strong>Torrance</strong>, E. P. (1979). An instructional model <strong>for</strong> enhancing incubation. The <strong>Journal</strong> of Creative Behavior, 13(1), 23-35. <strong>Torrance</strong>, E. P. (1988). The nature of creativity as manifest in its testing. In R.G. Sternberg (Ed.), The nature of creativity: Contemporary perspectives. NY: Cambridge University Press. <strong>Torrance</strong>, E. P., & Goff, K. (1990). Fostering academic creativity in gifted students. (ERIC Digest No. E484). Retrieved from ERIC database. (ED321489) <strong>Torrance</strong>, E. P., & Safter, H. T. (1990). The incubation model of teaching. Buffalo, NY: Bearly Limited. Wallach, M. A., & Kogan, N. (1965). A new look at the creativity-intelligence distinction. <strong>Journal</strong> of Personality, 33(3), 348-369. Kathryn P. Haydon, founder of Sparkitivity, writes, speaks, and consults to support an educational paradigm based on student strengths and creative thinking. She is a keynote speaker and consultant <strong>for</strong> schools and families nationwide. Kathryn holds a M.Sc. in <strong>Creativity</strong>, Creative Problem Solving, and Change Leadership, and a B.A. from Northwestern University. Learn more and find resources at www.sparkitivity.com or @sparkitivity Kathy Goff is the Co-founder and Chief Creative Officer of Vast Learning Systems, a cloud-based edtech software company that focuses on creativity assessments and brain trainings. She collaborated with Dr. E. Paul <strong>Torrance</strong> <strong>for</strong> more than 16 years and serves as the Director of the Oklahoma <strong>Torrance</strong> Center <strong>for</strong> <strong>Creativity</strong>. Jane Harvey is a freelance designer, graphic recorder, artist, and creativity consultant. She holds a M.Sc. in <strong>Creativity</strong>, Creative Problem Solving, and Change Leadership and a B.F.A. in Communication Design. Jane is valued <strong>for</strong> her openness, empathy, and humor, and <strong>for</strong> visual ‘sensemaking’ of in<strong>for</strong>mation. Learn more at visualtranslating.com. https://twitter.com/ art_jhg Ellie Casey 31
II. Creative Intelligence: Fostering Its Growth and Development Min Seo Kwak design originate
- Page 1 and 2: Torrance Journal for Applied Creati
- Page 3 and 4: Table of Contents Preface Joan Fran
- Page 5 and 6: Torrance Journal Advisory Board Cyn
- Page 7 and 8: Bonnie Cramond E. Paul Torrance, th
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- Page 15 and 16: The Man So much of Torrance the man
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- Page 21 and 22: 1. What kind of paper money are you
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- Page 27 and 28: References Content: Emancipation Pr
- Page 29 and 30: Creativity Although almost universa
- Page 31 and 32: The Levels of Service approach focu
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- Page 35 and 36: Over the years, a body of literatur
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- Page 43 and 44: These tools provide guidelines to f
- Page 45 and 46: • Journals There are many types o
- Page 47 and 48: The Importance of IQ, MIQ, EQ, HQ &
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- Page 57 and 58: childhood state‐of‐mind—being
- Page 59 and 60: Walt Whitman (1819-92), Master of P
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- Page 63 and 64: Stuart Little by E.B. White: A Tale
- Page 65 and 66: Red Skelton. Great satirist, pantom
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- Page 69 and 70: Concept of Synergy as a Major Facto
- Page 71 and 72: Fisher, Maurice D. (2000). Multiple
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- Page 77 and 78: Curious about the degree to which s
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Lessons with No Conclusions: Using
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Table 1: Stage II Information Proce
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Allowing the lesson to trickle over
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Breaking Boundaries When my family
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Stage One: Heightening Anticipation
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TIM (Torrance Incubation Model) in
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nity elders in learning basic horti
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TIM and the Creative Coach: Using t
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Yet, the directive style is so perv
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Table 9:Deepening Expectations Stra
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Table 9: (Continued) Deepening Expe
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Table 10: (Continued) Extending Lea
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The KJ-Ho and The W-shaped Problem
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sentences. This is called the nega-
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References Kawakita J. (1966). Hass
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Connie Phelps Cornerstones in Appli
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dren and adults through games, stor
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References Boyd, N. (n. d.). The th
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precise use of words. Moreover, muc
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Creative Student Catalogs Expect fi
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The following vocabulary represents
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Predicting Adult Innovation Adult c
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creative young men and women who ca
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How can the Maker movement help dev
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Drawing While Talking and Thinking:
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one’s thinking about school chang
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aspects of Thomas and Brown’s (20
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Significance In these two studies,
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Relevance in the Gifted Classroom-
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ideas and conducting a mock public
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It’s called the car; and we certa
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five creative strengths] are valuab
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Creativity and Innovation in an Int
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spices, textures, flavors, and sund
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Schmid, T. (2005a). Promoting healt
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Sylvia B. Rimm The Fashion of Passi
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pressures. Now adults have added a
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Too High Expectations Lead to Under
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Graduation Message I have heard man
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Foundation of Psychology The theori
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students makes moral dilemmas a use
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Seven Ways to Develop or Raise Spir
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Studies in Psychology: Promoting Aw
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Purpose of the Study This study sou
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Excessive Worry. Numerous students
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One boy described how both his fath
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A Glimpse Into My Clinic: The “As
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TV characters just like other child
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Thus, Guy was willing not just to c
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References Bailey, C.L. (2011). An
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Midwest Torrance Center for Creativ