نبذة مختصرة : Assessing creativity in industrial design tends to focus on artifactual outcomes rather than the cognitive skills that support it, reducing the evaluative approach to an instrumental dimension. This can happen because cognition is a discrete process, which ccurs in the subject's mind without being directly observable, unlike the final artifactual result. Hence the question of how to evaluate creative cognition skills in design teaching-learning processes framed in evaluation for learning. In order to respond, an assessment model was formulated to favor the teaching of creative cognition skills in project processes in industrial design, not only from a psychometric approach, but as an input to manage the teaching-learning processes. The model measured four variables characteristic of divergent thinking: fluidity, flexibility, originality and elaboration in the two phases of the design project process: problematization and ideation. This exercise made some creative cognitive skills visible by designing measurement instruments and interpreting the variables, allowing students and teachers to know their level of development, raising awareness of these skills applied to the industrial design project. ; Evaluar la creatividad en diseño industrial suele centrarse en los resultados artefactuales más que en las habilidades cognitivas que la soportan, reduciendo el enfoque evaluativo a una dimensión instrumental. Esto puede suceder porque la cognición es un proceso discreto, que ocurre en la mente del sujeto sin ser observable de manera directa, a diferencia del resultado artefactual final. De ahí la pregunta por cómo evaluar las habilidades de la cognición creativa en los procesos de enseñanza-aprendizaje del diseño enmarcada en la evaluación para el aprendizaje. Para dar respuesta a ello se formuló un modelo de evaluación para favorecer la enseñanza de las habilidades de la cognición creativa en los procesos proyectuales en diseño industrial, no solo desde un enfoque psicométrico, sino como insumo para gestionar los ...
Relation: https://revistas.unal.edu.co/index.php/bitacora/article/view/81797/pdf; https://revistas.unal.edu.co/index.php/bitacora/article/view/81797/html; AMBROSE, S., et al. (2010). How learning works. San Francisco: Jossey-Bass.; ARNELLOS, A., SPYROU, T. y DARZENTAS, J. (2007). “Exploring creativity in the design process: a systems-semiotic perspective”. Cybernetics and Human Knowing, 14 (1): 37-64.; BAER, J. (2016). Domain specificity of creativity. Lawrenceville: Elsevier.; BAER, J. y MCKOOL, S. (2009). “Assessing creativity using the consensual assessment technique”. En: C. Schreiner (ed.), Handbook of research on assessment technologies, methods, and applications in higher education. Hershey: IGI Global, pp. 1-13.; BJÖRKLUND, T. (2013). “Initial mental representations of design problems: differences between expert and novices”. Design Studies, 34 (2): 135-160. https://doi.org/10.1016/j.destud.2012.08.005; BODEN, M. (1994). La mente creativa: mitos y mecanismos. Barcelona: Gedisa.; BOUTINET, J.-P. (1990). Anthropologie du projet. Paris: Quadrige.; BUCHANAN, R. (1992). “Wicked problems in design thinking”. Design Issues, 8 (2): 5-21. Consultado en: https://web.mit.edu/jrankin/www/engin_as_lib_art/Design_thinking.pdf; BURNETTE, C. (2013). Creativity in design thinking. Consultado en: https://www.academia.edu/3737301/Creativity_in_Design_Thinking; BURNETTE, C. (2015). Evaluative thought in a theory of design thinking. Consultado en: https://www.academia.edu/11057974/Evaluative_Thought_in_A_Theory_of_Design_Thinking; CROSS, N. (2001). “Designerly ways of knowing. Design discipline versus design science”. Design Issues, 17 (3): 49-55.; CROSS, N. (2006). Designerly ways of knowing. London: Springer.; DORST, K. (2011). “The core of “design thinking” and its application”. Design Studies, 32 (6): 521-532. https://doi.org/10.1016/j.destud.2011.07.006; DORST, K. y CROSS, N. (2001). “Creativity in the design process: co-evolution of problem–solution”. Design Studies, 22 (5): 425-437. https://doi.org/10.1016/S0142-694X(01)00009-6; FINKE, R., WARD, T. y SMITH, S. (1996). Creative cognition: theory, research and applications. Cambridge: The MIT Press.; FRIEDMAN, K. (2010). “Heuristic reflections on assessing creativity in the design disciplines”. En: A. Williams, M. Ostwald y H. H. Askland, Creativity, design and education: theories, positions and challenges. Swinburne: Australian Learning and Teaching Council, pp. 171-180.; GONZÁLEZ, G. (1994). Estudio de diseño. Sobre la construcción de ideas y su aplicación a la realidad. Buenos Aires: Emecé.; JIMÉNEZ, J., et al. (2007). Adaptación y barenación del test de pensamiento creativo de Torrence: expresión figurada. Canarias: Consejería De Educación, Cultura y Deportes del Gobierno de Canarias.; MINSKY, M. (2010). La máquina de las emociones: sentido común, inteligencia artificial y el futuro de la mente humana. Bogotá: Random House.; OSGOOD, C., TANNENBAUM, P. y SUCI, G. (1975). The measurement of meaning. Champaign: University of Illinois Press.; PARRA, J. (2003). Artificios de la mente: perspectivas en cognición y educación. Bogotá: Círculo de Lectura Alternativa.; PARRA, J., et al. (2005). Tendencias de estudio en cognición, creatividad y aprendizaje. Bogotá: Pontificia Universidad Javeriana.; ROWE, P. (1991). Design thinking. Cambridge: The MIT Press; SARKAR, P. y CHAKRABARTI, A. (2011). “Assessing design creativity”. Design Studies, 32 (4): 348-383. https://doi.org/10.1016/j.destud.2011.01.002; SIMON, H. (1979). The sciences of the artificial. Cambridge: The MIT Press. SMITH, S. y LINSAY, J. (2011). “A three-pronged approach for overcoming design fixation”. Journal of Creative Behavior, 45 (2): 83-91. https://doi.org/10.1002/j.2162-6057.2011.tb01087.x; TENG, P.-S., CAI, D. y FAN, Y.-J. (2009). “A study of cognitive style on design performance”. Seoul, actas de la Conference of International Association of Societies of Design Research, Rigor and relevance in design, pp. 2411-2415. Consultado en: http://www.iasdr2009.or.kr/Papers/Orally%20Presented%20Papers/Design%20Theory/A%20Study%20Of%20Cognitive%20Style%20On%20Design%20Performance.pdf; THAGARD, P. (2008). La mente. Introducción a las ciencias cognitivas. Buenos Aires: Katz.; XENAKIS, I. y ARNELLOS, A. (2012). “Reducing uncertainty in the design process. The role of aesthetics”. En: J. Brassett, et al. (eds). Out of control. Proceedings of the 8 th International Design and Emotion Conference. Londres: Central Saint Martins College of Arts & Design, pp. 1-9. https://doi.org/10.5281/zenodo.2596875; YILMAZ, S., y SEIFERT, C. (2018). Cognitive heuristics employed by designers. Consultado en: https://www.academia.edu/3273664/Cognitive_Heuristics_Employed_by_Design_Experts_A_Case_Study; https://revistas.unal.edu.co/index.php/bitacora/article/view/81797
Processing Request
No Comments.