Graphics Reference
In-Depth Information
on mathematical formulas or programming. We
still do not know what 'talent' means, especially
'talent' in a specific area. We do not know what
cognitive processes make a mathematician or
an artist a talented individual, for example, how
some painters possess a sense of color. Maybe
talent is needed to convey messages in essential,
synthetic way.
Three factors that determine the development
of creative potential are domain-relevant skills
(something new, new combination of ideas),
creativity-relevant skills (something extra, new
cognitive pathways, working style), and intrinsic
task motivation (trained in groups). Several factors
may damage students' creativity; for example, hav-
ing children focus on expected evaluation, using
plenty of surveillance, and setting up restricted-
choice situations. Dawson and Baller found a
relationship between creative activity and the
health of an elderly person (Hoffman, Greenberg,
& Fitzner, Eds.,1980); a large amount of clinical
and experimental results have confirmed this
statement.
Figure 2 presents student's personal perception
of the forces driving one at making a success. The
choice of a chess game emphasizes the creativity
and intellect components as crucial for going on
to victory and the resulting elation.
an indirect role when they influence language,
concepts, values, and ideals by making associa-
tions. Imagery constructed this way truly or falsely
claims to be images of reality. In deconstruction-
ist terms, viewers interpret those images. In his
paper entitled “The Role of Imagery in Learn-
ing” Broudy (1987) introduced a notion of the
allusionary base - those concepts, images, and
memories that are available to provide meaning
for the viewer. The allusionary base is a stock
of meanings with which we think and feel. Im-
ages build the allusionary base: direct (concrete)
perceptions of shapes, colors, and motions that
convey meaning, and indirect (abstract) imagery
that may influence the learning of languages, skills,
concepts, and attitudes. The selection of images,
words, and feelings from the associative store of
the listener or the viewer is decisive in shaping
the figurative language or visual representation.
Selection of words in a non-educated language
results from a lack of associative resources and a
small power to make the cognitive uses of language
and generate connotations in response to linguis-
tic signals. Everybody is building an allusionary
base during lifetime. While appreciating art, we
are building it in our minds through associations
and interpretations of images and works of art
(Broudy, 1987, 1991).
The Allusionary Base
INTUITION
Is the imagined a clue to reality? Emancipation
of the mind from the constraints of actuality may
result in creating some things or ideas. For art and
poetry, artistic creativity relates to our imagery.
Many authors, for example Lakoff (1990) stressed
the importance of images and accepted that the
use of visual elements in teaching and learning
yields positive results. A Polish/American special-
ist in aesthetic education Harry S. Broudy (1987,
1991) refers to imagination as the image-making
function of the mind. Imagery plays a direct role
in our perception because sounds, shapes, colors
and motions convey meaning. Images play also
Developing imagination seems to be an impor-
tant task for teachers and instructional designers
because problem-solving and intuitive decision-
making abilities hinge to some degree on imagi-
native thinking. When the teachers and instruc-
tional designers work on creating new strategies
for learning, they take into account not only the
rules and formulas but they also envisage how the
learners feel these rules out and can figure the best
way to imagine, understand, and learn. Analyses
of images, forms, and motions in interactive evo-
lutionary design and art lead to new approaches
