Assisting Techniques to Get Creativity

b. Incubation, i.e. the period when people perceive some frustration because the methods used in the preparation stage have not worked and then these eventually lead them to move away to other things. c. Illumination, i.e. a stage in which people suddenly find the answer in their subconscious mind. d. Verification , i.e. a stage where people’s reasoning powers take over when they analyze the answer of problems, and they assess its feasibility. 8 Moreover, Lau reveals some other additional explanations related to the four stages or cycles of creativity above as follows: a. Preparation This stage is started with the process of gathering information about the problems encountered. This is conducted through a number of ways, such as going to the library, searching the web, talking to people, or collecting data or other items. Then, after the information had been collected, these are kept in some places that may be easily accessed, such as in a notebook, a box, or a computer. This stage constitutes merely collecting things that might be relevant without too much have some filtering or analyses. This is not an easy matter for people because many of them may feel impatient while they do not have adequate knowledge so that sometimes they meet some failure. Therefore, broadening mind and thinking about all possible sources that might help in doing tasks should be considered in this stage. b. Exploration This stage cover a number of activities comprising classifying the material, reorganizing them, looking at them from different perspectives, and trying to make a connections of the ideas and drawing conclusions. The aim of this stage is to create and find new and useful ideas. To succeed in this stage, a lot of concentration, analysis, and patience as well as avoiding distractions and devoting the attention fully to the task are required. 8 Philip Carter and Ken Rusell, loc. cit. c. Incubation This stage constitutes the time on which people get some rest or put aside their task, relax, and forget for a while what they have been doing, and just wait the answer. In this case, a period of inactivity after intensive thinking may be believed to promote creativity. It is believed that this stage gives a chance for the unconscious mind work on the problem. In this case, it can be considered that the answers of the problems are found because some break time assist people to see the problems with a fresh eye. d. Verification It is a stage in which people have found the answers or ideas related to the problems; they recheck their work and see whether the answers or ideas can be improved further. It is done to avoid some mistakes that lead to the failure. 9 In conclusion, to obtain some creative works, people are required to follow a number of stages comprising preparation, exploration, incubation, and verification. Furthermore, one thing that can be drawn from all the stages or cycles of creativity above is that one stage to other stages connect as well as is hierarchical one another. For instance, after the data gathered in the preparation stage, then these are continued to be classified and categorized in the exploration stage, which then is followed with incubation to get some ideas through putting aside the problem for a while, and these were rechecked in the verification stage.

4. Assessing Creative Thinking Ability

Some kinds of instruments gauging creative thinking ability have been proposed by a number of experts. The instruments are various due to the various notions associated with the nature or definition of creative thinking ability proposed by the experts. In this section, some of the explanations related to the instruments that are employed to assess creative thinking ability are discussed. Association of American Colleges and Universities AACU developed a value rubric that is intended to assess creative thinking ability. This rubric follows the nature or creative thinking ability which constitute as the capacity through 9 Joe Y. F. Lau, op. cit., pp. 218—219. which existing ideas, images, or expertise are combined or synthesized in original ways as well as the ability in which one is employed hisher thought, reaction, and work imaginatively, and these are indicated by a high degree of innovation, divergent thinking, and risk taking. The rubric consists of six dimensions such as acquiring competencies, taking risks, solving problems, embracing contradictions, innovative thinking, connecting, synthesizing, and transforming the detail of creative thinking value rubric, see Appendix III. 10 Creative thinking ability encompasses a number of dimensions or components. These components are commonly used as the indicators to assess the divergent thinking ability or creative thinking ability. The dimensions comprise: a. Fluency constitutes the ability to produce the number of different ideas. b. Flexibility constitutes the ability to produce the various ideas. c. Originality constitutes the ability to produce unusual ideas. d. Elaboration constitutes the ability to produce details of ideas. 11 Baer and Kaufman points out that the four dimensions above are assessed through making lists of things as many as possible of in a particular time constraint, for instance listing uses of bricks, boxes or tin cans. 12 In addition, Treffinger et al asserts the four dimensions above work together with metaphorical thinking ability constituting the personal creativity characteristics. 13 In this case, the explanations and descriptions of the dimensions above are provided in detail as follows: a. Fluency refers to the ability in which a large number of ideas in response to an open-ended question or in reference to one’s thinking process is generated. It is the stimulus that can create both novel and useful ideas. b. Flexibility constitutes the ability in which the direction of one’s thinking is shifted or the ability to make point of view changed. It is indicated through 10 Association of American Colleges and Universities, Creative Thinking Value Rubric, http;www.accu.org, 2015. 11 John Baer and James C. Kaufman, Being Creative Inside and Outside the Classroom: How to Boost Your Students’ Creativity—and Your Own, Rotterdam: Sense Publishers, 2012, p. 21. 12 Ibid., p. 16. 13 Donald J. Treffinger et al., Assessing Creativity: A Guide for Educators, Sarasota: The National Research Center on the Gifted and Talented, 2002, p. 11.

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