A dialogic understanding of the relationship between CSCL and teaching thinking skills

How to teach flexible thinking and learning skills, particularly creativity and the skill of “learning to learn,” is a key concern for CSCL in the context of the emerging Networked Society. The currently dominant paradigms for supporting pedagogical design within CSCL, including socio-cultural theory, are limited in the support that they can offer to the project of teaching general thinking skills. This paper uses critical literature review, conceptual analysis, and evidence from case studies to argue for the value of a dialogic interpretative framework that links the goal of teaching thinking with the method of CSCL. The evidence reviewed suggests that dialogue is itself the primary thinking skill from which all others are derived. It is argued from this that dialogic theory offers a possible solution to the problem of how to conceptualize general thinking skills for CSCL: this is that teaching dialogue as an end in itself promotes the learning of general thinking skills. Implications of the proposed framework for pedagogical design are brought out through case studies illustrating the use of CSCL to broaden and deepen dialogic spaces of reflection.     

Creative cognition: A multidisciplinary and integrative framework of creative thinking

Extant research provides vast information on antecedents to creativity. However, creative thinking is oftentimes treated as a black box, requiring input and producing creative output. Cognitive processes occurring during creative thinking tend to be neglected, although they can provide a bridge between the inputs to creativity and the resulting outputs. Literature offers different perspectives on creative thinking processes, such as the separation of divergent and convergent thinking, different stages of creativity or the concept of creative cognition. This variety of concepts underlying creativity has led to confusion and misinterpretations of some concepts. Moreover, the overemphasis on creative outcomes and divergent thinking has resulted in a neglect of a more comprehensive view on cognitive dimensions of creativity. Through reviewing and synthesizing multidisciplinary literature on creativity, an integrative framework is developed positioning cognitive elements of creativity within a system including organizational antecedents to creativity and creative outcomes. The framework seeks to offer pathways to increasingly incorporate the concept of creative cognition into future research. Suggesting different forms of creative cognition that individuals engage in during creative thought, this theoretical work further offers a theoretical development of creativity concepts that intends to inspire future research designs and facilitates cross-disciplinary knowledge transfer.     

Designing and Evaluating an Adaptive Spoken Dialogue System

Spoken dialogue system performance can vary widely for different users, as well for the same user during different dialogues. This paper presents the design and evaluation of an adaptive version of TOOT, a spoken dialogue system for retrieving online train schedules. Based on rules learned from a set of training dialogues, adaptive TOOT constructs a user model representing whether the user is having speech recognition problems as a particular dialogue progresses. Adaptive TOOT then automatically adapts its dialogue strategies based on this dynamically changing user model. An empirical evaluation of the system demonstrates the utility of the approach.     

Understanding design fundamentals: how synthesis and analysis drive creativity,resulting in emergence

This paper presents results of an ongoing interdisciplinary study to develop a computational theory of creativity for engineering design. Human design activities are surveyed, and popular computer-aided design methodologies are examined. It is argued that semiotics has the potential to merge and unite various design approaches into one fundamental theory that is naturally interpretable and so comprehensible in terms of computer use. Reviewing related work in philosophy, psychology, and cognitive science provides a general and encompassing vision of the creativity phenomenon. Basic notions of algebraic semiotics are given and explained in terms of design. This is to define a model of the design creative process, which is seen as a process of semiosis, where concepts and their attributes represented as signs organized into systems are evolved, blended, and analyzed, resulting in the development of new concepts. The model allows us to formally describe and investigate essential properties of the design process, namely its dynamics and non-determinism inherent in creative thinking. A stable pattern of creative thought — analogical and metaphorical reasoning — is specified to demonstrate the expressive power of the modeling approach; illustrative examples are given. The developed theory is applied to clarify the nature of emergence in design: it is shown that while emergent properties of a product may influence its creative value, emergence can simply be seen as a by-product of the creative process. Concluding remarks summarize the research, point to some unresolved issues, and outline directions for future work.     

The importance of interface complexity and entropy for online information sharing

In this paper, we describe two experiments that show the powerful influence of interface complexity and entropy on online information-sharing behaviour. One hundred and thirty-four participants were asked to do a creativity test and answer six open questions against three different screen backgrounds of increasing complexity. Our data show that, as an interface becomes more complex and has more entropy users refer less to themselves and show less information-sharing breadth. However, their verbal creativity and information-sharing depth do not suffer in the same way. Instead, an inverse U-shaped relationship between interface complexity and creativity as well as information-sharing depth can be observed: users become more creative and thoughtful until a certain tipping point of interface complexity is reached. At that point, creativity and thinking suffer, leading to significantly less disclosure. This result challenges the general HCI assumption that simplicity is always best for computers’ interface design, as users’ creativity and information-sharing depth initially increases with more interface complexity. Our results suggest that the Yerkes–Dodson Law may be a key theory underlying online creativity and depth of online disclosures.     

The role of digital artefacts on the interactive whiteboard in supporting classroom dialogue

This paper explores how the interactive whiteboard (IWB) might be harnessed to support student learning through classroom dialogue. This powerful and increasingly prevalent technology opens up opportunities for learners to generate, modify, and evaluate new ideas, through multimodal interaction along with talk. Its use can thereby support rich new forms of dialogue that highlight differences between perspectives, and make ideas and reasoning processes more explicit. The emerging account builds upon Bahktin's conception of dialogue and Wegerif's notion of technology ‘opening up a dialogic space for reflection’, but foregrounds the role of mediating artefacts. Classroom dialogue in the context of IWB use is construed as being facilitated by teachers and learners constructing digitally represented knowledge artefacts together. These visible, dynamic, and constantly evolving resources constitute interim records of activity and act as supportive devices for learners' emerging thinking, rather than finished products of dialogue. This primarily theoretical account is illustrated with examples from case studies of UK classroom practice. Analysing lessons in sequence has illuminated how teachers can exploit the IWB through cumulative interaction with a succession of linked digital resources, and through archiving and revisiting earlier artefacts. The tool thereby helps to support the progression of dialogue over time, across settings and even across learner groups. In sum, the article reframes the notion of dialogue for this new context in which students are actively creating and directly manipulating digital artefacts, and offers some practical examples.     

Persuasion Dialogue in Online Dispute Resolution

In this paper we show how dialogue-based theories of argumentation can contribute to the construction of effective systems of dispute resolution. Specifically we consider the role of persuasion in online dispute resolution by showing how persuasion dialogues can be functionally embedded in negotiation dialogues, and how negotiation dialogues can shift to persuasion dialogues. We conclude with some remarks on how persuasion dialogues might be modelled is such a way as to allow them to be implemented in a mechanical or computerized system of dialogue or dialogue management.     

The dialogic dimensions of using a hypermedia learning package

The dialogic dimensions of a hypermedia learning package are often perceived as the interactivity of its design. However, it is not feasible for hypermedia to embody all dimensions of a human conversational dialogue. Instead, we should explore the opportunities for the dialogic dimensions of learning mediated by these packages. Based on a case study of the use of WinEcon (a hypermedia package) in an economics department, this paper shows how the human participants in the learning environment employ WinEcon to mediate the one-to-one dialogues between teachers and students, and the dialogues among students. Four processes are present in these dialogues: discussion, interaction, reflection and feedback to enhance students’ access to the economics discipline.     

综合推理与智能书法创作

In this paper, we address the demanding task of developing intelligent systems equipped with machine creativity that can perform design tasks automatically. The main challenge is how to model human beings' creativity mathematically and mimic such creativity computationally. We propose a ``synthesis reasoning model" as the underlying mechanism to simulate human beings' creative thinking when they are handling design tasks. We present the theory of the synthesis reasoning model, and the detailed procedure of designing an intelligent system based on the model. We offer a case study of an intelligent Chinese calligraphy generation system which we have developed. Based on implementation experiences of the calligraphy generation system as well as a few other systems for solving real-world problems, we suggest a generic methodology for constructing intelligent systems using the synthesis reasoning model.     

Automatic coding of dialogue acts in collaboration protocols

Although protocol analysis can be an important tool for researchers to investigate the process of collaboration and communication, the use of this method of analysis can be time consuming. Hence, an automatic coding procedure for coding dialogue acts was developed. This procedure helps to determine the communicative function of messages in online discussions by recognizing discourse markers and cue phrases in the utterances. Five main communicative functions are distinguished: argumentative, responsive, informative, elicitative, and imperative. A total of 29 different dialogue acts are specified and recognized automatically in collaboration protocols. The reliability of the automatic coding procedure was determined by comparing automatically coded dialogue acts to hand-coded dialogue acts by a human rater. The validity of the automatic coding procedure was examined using three different types of analyses. First, an examination of group differences was used (dialogue acts used by female versus male students). Ideally, the coding procedure should be able to distinguish between groups who are likely to communicate differently. Second, to examine the validity of the automatic coding procedure through examination of experimental intervention, the results of the automatic coding procedure of students, with access to a tool that visualizes the degree of participation of each student, were compared to students who did not have access to this tool. Finally, the validity of the automatic coding procedure of dialogue acts was examined using correlation analyses. Results of the automatic coding procedure of dialogue acts of utterances (form) were related to results of a manual coding procedure of the collaborative activities to which the utterances refer (content). The analyses presented in this paper indicate promising results concerning the reliability and validity of the automatic coding procedure for dialogue acts. However, limitations of the procedure were also found and discussed.     

现代招贴的创造性思维

现代设计艺术的发展,愈来愈要求设计师具有强烈的创新意识,创造性思维。但在这个到处充斥着创意术语而又缺乏创意的环境下,如何创造创意?也许我们应该改变的是我们的思维,只有具有创造性思维才能做出独创性的作品来。     

The Need for Research into Creativity in Marketing

A convenience sample of 36 online journals was taken as the source of information for this study. Management and marketing journals at a major publishing house were analysed in order to find out what they had to say about creativity. A search over the period 1989–99 found 29 articles which included creativity as one of the keywords. The area of marketing revealed a range of applications for creativity thinking. It is suggested that marketing executives need to be creative in order to enable their organisations to match the activities of their competitors and meet the needs of a rapidly changing environment.     

Does a Creative Designer Necessarily Translate into the Creative Design of a Product? Exploring Factors Facilitating the Creativity of a New Product

Product creativity is a rarely studied topic in the area of new product development; nevertheless, its importance has been recognized by many researchers in a variety of fields. In this research, two studies were conducted: the first was quantitative and the second was qualitative. These studies examined the relationships among five variables: analogical thinking ability, creative self‐efficacy, length of experience, team climate for creativity and product creativity. The results of a multiple regression indicated that analogical thinking ability is an antecedent of design creativity, and that creative self‐efficacy is a mediator between them. The results also showed that length of experience and team climate for creativity have significant moderating effects. These findings indicate that both person‐based (i.e., ability, self‐efficacy and length of experience) and situation‐based (team climate) variables are key factors in developing the creative design of a new product.     

Where the Art is: Defining and Managing Creativity in New Media SMEs

This paper examines the definition and management of creativity in the ‘creative industries’. Initially the paper sets out the economic and cultural context for the emergence of the creative industries, before going on to argue that there are gaps in our understanding of the role of creativity and particularly the management of creativity within these industries. Based on research undertaken with new media SMEs in the North West of England, the paper then explores the ways in which creativity is defined and managed within this sub–sector. It is shown that the meanings attached to creativity are variable and contested and that the precise definition and management of creativity is strongly determined by the internal workplace culture, and the external social and economic conditions within which firms operate. It is further suggested that while creativity is often seen as a ‘must have’ attribute for new media firms it may also, conversely, be considered a barrier to commercial success. The paper concludes that if we are to understand work and production in the creative industries, and offer institutional support for firms to develop and sustain creativity for competitive advantage, it may be necessary to develop a more detailed understanding of the role of creativity and creative management as both a general and specific, socially embedded process.     

The Psychoeconomic View of Creative Work in Groups and Organizations

Although most research on creativity deals only with individuals, there are many settings in which creative tasks are assigned to groups. Indeed, in most contemporary research settings collaborative inquiry is the norm. Extensions to the psychoeconomic theory of creativity provide several specific predictions about the nature and optimization of group creativity. These predictions are based on consideration of the ways in which some individual differerences in creative style, such as domain experience and flexibility of thinking, are likely to interact. Instead of characterizing such attributes as conducive or harmful to the creative process, the psychoeconomic theory explicitly recognizes their potential for contributions in both directions. In particular, the theory implies that groups should be composed of heterogeneous participants who vary in their experiences within the domain in question, and who are only moderately familiar with one another, for most successful creative performance. This proposal is contrary to several theories which imply greater success from more congenial and symmetric groups. The theory also yields detailed predictions for how the optimal composition of a creative group should vary in response to changes in the characteristics of the group's members and the structure of its working environment.     

An inquiry dialogue system

The majority of existing work on agent dialogues considers negotiation, persuasion or deliberation dialogues; we focus on inquiry dialogues, which allow agents to collaborate in order to find new knowledge. We present a general framework for representing dialogues and give the details necessary to generate two subtypes of inquiry dialogue that we define: argument inquiry dialogues allow two agents to share knowledge to jointly construct arguments; warrant inquiry dialogues allow two agents to share knowledge to jointly construct dialectical trees (essentially a tree with an argument at each node in which a child node is a counter argument to its parent). Existing inquiry dialogue systems only model dialogues, meaning they provide a protocol which dictates what the possible legal next moves are but not which of these moves to make. Our system not only includes a dialogue-game style protocol for each subtype of inquiry dialogue that we present, but also a strategy that selects exactly one of the legal moves to make. We propose a benchmark against which we compare our dialogues, being the arguments that can be constructed from the union of the agents’ beliefs, and use this to define soundness and completeness properties that we show hold for all inquiry dialogues generated by our system.     

Virtual reality application influences cognitive load-mediated creativity components and creative performance in engineering design

Virtual reality (VR) can promote design performance, and may generate a high cognitive load and affect creative design thinking as well. In order to examine the effect of VR application on cognitive load and engineering design creativity, this study recruited 81 eighth-grade students as participants and employed a non-equivalent-groups quasi-experimental design to examine how VR application influences creativity components and creative performance. A creativity component scale (creative motivation, creative thinking, and professional cognition), a measurement of creative performance, and a cognitive load scale were used to collect data. The study also investigated the ability of VR application to predict creativity components and creative performance, using cognitive load as the mediator. The conclusions are as follows: (1) VR application had marked effects on professional cognition and creative motivation but no effect on creative thinking skills. (2) VR application had marked effects on the novelty and usefulness aspects of creative performance, particularly with respect to usefulness. (3) VR application had marked effects on extraneous and germane cognitive load, but no influence on intrinsic cognitive load, and (4) Both VR application and cognitive load were able to predict creativity components and creative performance. Their abilities to predict creative performance approached an acceptable level. Nevertheless, VR application had no effect on general creative thinking skills; therefore, other teaching strategies are needed to strengthen creative thinking.     

主动联想型对话机器人的设计与实现

人机对话系统通常仅是用户命令的执行者,很少能主动发起对话,或依据对话以外的内容展开个性化的人机交互.本文提出了联想型对话机器人的概念和对应设计方案,即通过融合用户提问和用户个人特征的方式产生对话内容,这样的对话系统不仅可以主动发出对话邀请,也可以个性化地回答用户问题,提升人机对话的满意度.文章首先介绍了联想型对话机器人...     

Promoting creative thinking through the use of ICT

Abstract A great deal has been written about the use of web-based technologies such as the Internet in promoting learning in education. In schools, research has focused primarily on social interaction and group work, student achievement levels and curriculum development. Very little study seems to have been brought to bear upon the promotion of creative thinking by the use of online technologies, and this paper attempts to contribute to this field of study. This paper reports on a pilot study which has investigated the creative impact of information and communication technology (ICT) in a rural primary school in South-west England. The school is unique because it provides a personal networked computer for each of its 41 Year 6 students (aged 10–11 years). A small group of students were interviewed about the learning activities they engaged in over the year, and this paper reports on initial findings with a special emphasis on creative working and thinking ( n  = 6). A model of creativity is presented with three discrete but related modes of activity — problem solving, creative cognition, and social interaction. The paper provides new findings about the nature of creativity in the context of computer based learning environments.