加强数学教材建设,提高大学生的创造能力

对如何提高学生创造能力的必要性,怎样加强数学教材建设进行了探讨。在高等数学教材建设中融入数学建模和发散思维思想对全面提高学生创造能力的重要意义。     

Two legs, thing using and talking: The origins of the creative engineering mind

Instead of seeing technology as outside ourselves, it is argued that it is an innate human function and the main driving force in human evolution. Opportunistic thing using, long before stone tools appeared, was the likeliest cause of bipedalism. It also forced brain development and the emergence of creativity. The neural basis for this creative technical activity later provided the brain functions on which language could develop. This simple unifying hypothesis has interesting implications for the way that we see technology in history, and for determinist theories of the future. It also bears on the way engineers are trained, and more important, the human faculties which need to be fostered in children.     

论艺术设计中创造性思维的提高

本文从创造性思维的概念入手,论述了创造性思维在艺术设计中具有创造性、突发性、无意识性的特点,指出了创造性思维发挥的多少影响着设计作品的成败。进而从积累知识,发现创造灵感;培养敏锐的感知力等五个方面总结了在艺术设计中提高创造性思维的重要途径。     

从中国酒文化谈酒广告的创意

中国的酒文包括酒文,酒德,酒礼,酒具等,历史悠久,而中国的酒广告比较单一,基本以赞扬酒的优良品质为主,为了更好地进行酒广告的创意,应从美酒蕴涵的深刻内涵着手,广告应表现中华民族的传统文化,应体现博大精深的中国酒文化,应从消费者出发,把握其内心情感。     

Type IV culture or,is it possible to define a framework for universal creativity?

ABSTRACT

The radical limit of post-anthropocentric creativity is a mode of completely nonhuman creative endeavour. Yet, the anthropocentrism prevails and conceptions of radically different civilisations and cultures are defined by current human thought that shapes and limits the understanding of what a genuinely alternative cultural production might entail. This article uses the Kardashev scale of civilisations, classified according to energy consumption at the planetary, stellar and galactic scales to consider culture beyond the current limits of an inherently anthropocentric perspective. In considering microdimensional, informational and universal extensions of Kardashev's scale, critical reflections on the anthropocentric limits of cultural epistemology create an opportunity to posit a universal framework of creativity.     

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.     

艺术设计基础教学的时代特征——艺术设计专业基础教学研究

设计基础训练就是通过对客观事物的认识,并对构成事物以及构成画面形态因素、形态的组织与构造的认识,观察、感知来激发学生的想象力、创造力。所以说设计基础训练的意义不只是对基本功、技法、技巧的训练,同时也包含了对思维方法和创造力的培养。     

高职广告制作专业素描教学的改革与探讨

随着新技术的发展,数字艺术的普及和读图时代到来,根据高职院校培养学生应用型技术人才的特点,通过广告制作专业素描教学的改革与探讨,进一步提高学生的创新思维能力。     

当代建筑叙事学的本体建构——叙事视野下的空间特征、方法及其对创新教育的启示

通过案例分析、交叉学科研究等,解析了建筑叙事内在的要素属性、空间结构、建构策略和文化意义。认为空间叙事的双重特征逻辑性和文学性及其内外双层语义是当代建筑叙事的核心内容;因此在构筑理性的物质空间的同时,需要建构空间的深层语义;同时结合西方建筑教育实践,指出叙事教学对于培养建筑创新能力的积极作用。     

C-K design theory: an advanced formulation

C-K theory is a unified Design theory and was first introduced in 2003 (Hatchuel and Weil 2003). The name “C-K theory” reflects the assumption that Design can be modelled as the interplay between two interdependent spaces with different structures and logics: the space of concepts (C) and the space of knowledge (K). Both pragmatic views of Design and existing Design theories define Design as a dynamic mapping process between required functions and selected structures. However, dynamic mapping is not sufficient to describe the generation of new objects and new knowledge which are distinctive features of Design. We show that C-K theory captures such generation and offers a rigorous definition of Design. This is illustrated with an example: the design of Magnesium-CO₂ engines for Mars explorations. Using C-K theory we also discuss Braha and Reich’s topological structures for design modelling (Braha and Reich 2003). We interpret this approach as special assumptions about the stability of objects in space K. Combining C-K theory and Braha and Reich’s models opens new areas for research about knowledge structures in Design theories. These findings confirm the analytical and interpretative power of C-K theory.