Teaching Portfolio
Liane Gabora
o
Written Student Comments
o
Numerical Teaching Effectiveness Questionnaires
o
Philosophy of Teaching
o
Teaching Experience: Classes I have Taught or Could Teach
o
Innovative Classroom Learning Activities
o Sample
Syllabus
(Since
comments are written here exactly as they appeared they contain grammatical
errors.)
From
Courses Taught in 2006-07
o
Exciting,
creative presentations
o
The
field is surveyed from all angles; lots of class cooperation and discussion;
material is amenable to understanding by everybody; positive environment
o
Prof
very friendly and approachable
o
Exams
were very fair
o
Enjoyed
most: The amount of knowledge you have
o
Class
was interesting and thought provoking
o
I
enjoyed the friendly openness of the instructor and her passion for the
material
o
I
really enjoyed the enthusiasm and in-depth knowledge the instructor offered. I
felt the guest speakers and presentations, as well as the games were all very
effective teaching tools.
o
The
prof knows her stuff. Prof really enjoys this subject + this can rub off on
students.
o
Liane,
your enthusiasm was great. Lots of first hand knowledge on topics.
o
Great
teaching
o
You
have an amazing personality that makes me want to attend class
o
Liane
teaches with a lot of energy and has extensive knowledge in the area of
creativity as well as biology
o
You
definitely are the expert in the field so the content of the course was strong.
You were able to present the complicated course content in a way that I could
understand
o
The
instructor was very knowledgeable in this subject and had great energy. She
clearly outlined the objectives for examinations which was very helpful.
From
Courses Taught in 2007-08
o
Very
inspirational class.
o
Fantastic
powerpoint presentations. All relevant material available and well layed out
for those who attend, awesome!
o
Very
fair testing, relevant and clear questions.
o
Instructor
made the material relevant to real life.
o
Loved
how it related to different dynamics of life, ex art, children, history, and
modernism.
o
The
instructor was knowledgeable and obviously enjoyed what she was teaching.
Material was presented clearly and made interesting.
o
The
instructor was great! Very helpful and made lectures interesting.
o
[enjoyed
most] How passionate she was in teaching the course.
o
Very
interesting material. Overall very enjoyable! Liane is a great professor.
o
Dr.
Gabora encouraged class involvement and sought new ways to keep things
interesting.
o
I
liked the fun environment, it made the class more enjoyable.
o
A
very interesting course about an interesting subject.
o
Open
and encouraging atmosphere to participate.
o
Liane
was extremely enthusiastic about the information and really made me enjoy and
become more interested in the course material.
o
Professor
Gabora made some very intricate material easy to follow and understand. I loved
the easygoing structure in class, the show and tells, and all the fun
exercises. This class was the breath of fresh air for me with more staunch
other classes.
o
The
information was interesting and Liane really made it fun and engaging for me.
o
Evaluation
process very fair.
o
[strengths]
Professors enthusiasm. She understood, also, the pace students needed to
accurately take down notes. Very helpful.
o
Very
enthusiastic, learned a lot (even though marks may not reflect that). I get
distracted easily but Dr. Gabora kept me interested all the time.
Note: My
teaching evaluation questionnaire scores are well above both the Psychology
averages and the Arts and Sciences averages for UBC for almost every question.
PSYO 121 refers to Introduction to Psychology and PSYO 317 refers to Psychology
of Creativity.
Teaching
Philosophy
I have had the
tremendous fortune to have had teachers who conveyed in a contagious manner the
profound elegance and intricate beauty of the world we live in, and this is a
legacy I seek to pass on. I believe that good teachers respect the traditions
of their discipline and transfer knowledge as accurately as possible, yet
remain alert to the unique needs of their students, their own gifts as a
teacher, and the times in which they are living. Students learn best when they
have a genuine need to know. Good teachers also create an atmosphere of trust
and fairness, and usher forth a sense of excitement about the subject matter. I
think it is important to try to be in a good mood when teaching, and even more
important, to be in integrity at all times, because it is not just facts or
even skills but also values, assumptions, and underlying attitudes that
students absorb. I believe that students should come away from their university
experience with not just the skills to accomplish their chosen profession but
with the strength to be true to their own perspective, as well as qualities
that will make them embraced as citizens of their society. What one says and
does as a teacher can have a genuine impact that extends far beyond the
classroom. I believe that every effort should be made to ensure that education
is available to all including minorities and the disabled. Despite cultural
differences, the thirst to understand and predict, and the thrill of gaining
insight into something, are universal.
Content
Curricula should be
cover the basics but ideally some time should be left to delve more deeply into
areas of particular interest to the students. Where there are issues of controversy,
the various alternatives should be presented, though I think it is okay for a
teacher to give his or her particular stance, and explain why he or she adopts
that stance. I think a good teacher should attempt to understand the worldview
of the learner and use that as the departure point for the lesson; to start
from what the student really
knows. I remember a biology teacher going into great detail about the citric
acid cycle without explaining how it related to the aspects of living things
with which the students were familiar. We had no sense of what this chemical
flowchart had to do with the behavior or inner organs of animals or plants. It
can be useful to go from the big picture inward, painting details as they
become relevant, and answering questions as they arise.
Teaching
Style
I believe it is
important to try to maintain regular eye contact with students because their
expressions give cues as to whether you are making yourself understood or not,
and whether you are holding their interest. If I see a puzzled look, I try to
rephrase what I have been saying another way. I think it can be useful to use
metaphors to explain new things in terms of things with which the students
might already be familiar. I have been told that I am good at this. I take joy
in seeing in students eyes that they have understood what I am saying and are
excited by the possibilities of it.
My
Goal as a Teacher
Although
the primary goal of a teacher is to transfer the nuts-and-bolts factual
material of the course, my objectives also include the nurturing of students
critical thinking and creative problem solving skills, and their capacity to
take the material and make it their own. Unlike some teachers interested in
fostering creativity, I am not against rote repetition. Through years of
learning to play the piano, I came to see each repetition of a skill is
different from that which precedes it because it takes place in the context of
that previous
repetition. Thus I believe that repetition, disciplined study, and homework all
play an important part in the learning process, as do fun, experimentation and
play.
Exams
and Office Hours
Students
should be encouraged to come to office hours, where their unique needs may be
more fully met than in the classroom, both with respect to the facts and skills
that interest them and the methods for acquiring these facts and skills. I
believe that it is important to write tests and exams in such a manner as to
distinguish as genuinely as possible amongst different possible levels of
mastery over the subject matter.
Lab
and Graduate Students
I am setting up a lab with computer facilities and a room for research with human
subjects. I welcome both theoretically and empirically oriented students,
including those with an interdisciplinary bent, so long as their proposed
research had some point of contact with the study of creativity, the origin
and/or evolution of modern cognition, cultural evolution, or clinical /
developmental / philosophical implications of these studies. Since these topics
are broadly attractive (I have already had several inquiries from students
about doing graduate work with me), I have no trouble recruiting students. I
would encourage them to follow their passion, while making them aware that the
further their research strays too far from my areas of expertise, the less
helpful I can be.
In
summary I consider it a pleasure, an honor, and a responsibility to teach. I
think that the students enjoy having me as a teacher, and I look forward to
future teaching opportunities.
Teaching Experience
Undergraduate
o PSYO
121: Introductory Psychology (5 times)
o PSYO
317: Psychology of Creativity - designed as well as taught (6 times)
o PSYO
380B Special Topics: Evolution of Human Cognition (designed as well as taught)
o PSYO
380G Special Topics: Psychology of Humor - designed as well as taught (first
class begins Jan 2009)
o
PSYO
390: Directed Studies in Psychology (5 times)
Guest Lecture on Creative Process in Other Classes
o
Nancy
Holmes' Advanced Theory and Practice in Creative Writing class (CRWR 481), Oct
10, 2008.
o Mary
Ann Murphy's Sociology of Aging class (SOCI 280), Sept 25, 2008.
o Neil
Cadger and Byron Johnston's Visual Forum class (CCS 100), Sept 24, 2008.
o Andrew
Labun's Introduction to Engineering class (APSC 170), Jan 16, 2008.
o Bryan
Ryley's Advanced Painting class (VISA 482), Sept. 19, 2007.
o Nancy
Holmes' Advanced Theory and Practice in Creative Writing class (CRWR 481), Oct
5, 2006.
o Andrew
Labun's Introduction to Engineering class (APSC 170), Sep 27, 2006.
o Bryan
Ryley and Fern Halpern's Advanced Painting class (VISA 482), Sept. 20, 2006.
Graduate / Advanced Students
(Note: since the graduate program in Psychology did not
get started until 2007, I have limited opportunity for supervision of advanced
students.)
o One
graduate student in 2006-07. (Thesis title: A computer model of the
interaction, merger, and collision of ideologies)
o Member
of advisory committee of two graduate students.
o One
undergraduate summer research student in 2006. (Project title: A computer model
of the evolution of dance)
o Topics
of directed studies students range from empirical studies of concept combination
and analogy, to a study of group chemistry in creative collectives, to an
investigation of self-organized criticality in the lifetime contributions of
eminent composers, to a literature review of inventiveness in hybrid cultures.
Teaching-related Service
o Have
written letters of recommendation for numerous students.
o Contacted
regularly by students who are familiar with my work (e.g. Sachi Arafat at the University of Glasgow, Tanguy
Coenen at the Free University of Brussels, and Jennifer Scobie at the
University of Windsor) to whom I offer suggestions and help.
o Lecturer
at Le franais pour lavenir / French for the Future, April 25, 2006, UBC Okanagan. This program provides
high school students the opportunity to learn about university research in lectures
geared to their level and delivered in French.
Teaching Assistant Experience
As a graduate student I was a teaching assistant for the
classes listed below. Duties included running tutorials and laboratory
sessions, writing instructive computer programs, holding office hours, and
grading papers and exams.
Other Courses I Could Teach
o Introduction
to Cognitive Science (COGS 101/102)
o Human
Cognition in Evolution and Development (COGS 201)
o Interdisciplinary
Creativity Studies
o Cognitive
Psychology
o Learning
and Memory
o Concepts
and Categories
o Culture
as an Evolutionary Process
o Connectionism,
Neural Networks, and Related Architectures
o Cognitive
Science of Myth and Story-telling
o Evolutionary
Psychology
Interdisciplinary Courses
I Would Like to Help Team-Teach
o The
Cognition of Fictional Characters
o Origin
and Evolution of the Modern Mind (Participating departments might include
anthropology, archaeology, neuroscience, psychology, and environmental science)
o Complexity
in the Arts and Sciences (Participating departments might include biology,
chemistry, physics, psychology, art, music, etc.)
o Contextual
Structures (Participating departments might include mathematics, philosophy,
physics and psychology)
Brief Course Descriptions
For the
less standard classes listed above (for which probably no standard syllabus
exists) here are tentative sketches of topics that could be covered:
Interdisciplinary Studies in Creativity: As a fourth year undergraduate I
took a course on creativity that addressed issues such as historiometric
inquiries (such as how creativity changes over the lifetime, and how this
varies across different disciplines) and factors that may play a role in
enhancing creativity. This was interesting but it did not help unravel what was
to me the most fascinating question about creativity: how is it that the mind
is capable of coming up with ideas? What cognitive mechanisms underlie the
generation of metaphors, stories, and music? I would enjoy teaching a course on
creativity that includes standard creativity research but also incorporates
recent findings that address this important and fascinating aspect. It would be
similar to the course I am teaching now (see attached syllabus and related
materials), but it would last two semesters and not be restricted to the
psychology of creativity, i.e. more interdisciplinary.
Culture as an Evolutionary Process: This course would focus on in
what sense culture constitutes a genuine process of evolution, how it is
similar to and different from biological evolution, and what (if anything)
constitutes a replicator in culture. Topics covered would include an
introduction to evolution, basic genetics, the neoDarwinian revolution,
strengths and limitations of straightforward applications of Darwinism to
formal models of culture, genetic and cultural algorithms, evolutionary
epistemology, evolutionary archaeology, diffusion and epidemiological models,
as well as non-evolutionary approaches to culture.
Complexity in the Arts and Sciences: This course would investigate
common themes that appear across different disciplines, using examples from
biology, chemistry, physics, and psychology, as well as from music and the
arts. Topics covered might include what is complexity?, emergence and self
organization (including self-organized criticality), conservative and
dissipative systems, nonlinearity and feedback, stability, attractors,
bifurcations and symmetry breaking, cellular automata, order and chaos.
The Cognition of Fictional Characters: This would be a course for
advanced students that would explore what the characters of novels, movies,
comic books, and so forth, reveal about the way we structure and understand the
world.
Origin and Evolution of the Modern Mind: This course would be aimed at
uncovering what is anatomically, cognitively, socially, and culturally unique
about the modern human mind. It would investigate questions such as what is a
theory of mind and do other species have it? Why, where, and when did we
become so good at creatively solving problems, building on others solutions,
and adapting them to new contexts? What cognitive processes underlie such
abilities? What impact have we had (for better or worse) on our planet as a
result of our unique abilities?
Contextual Structures: This course would cover the role
played by context across different realms of inquiry, and how contextuality has
been addressed in various scientific disciplines. Topics would include the
observer effect in quantum mechanics and the development of mathematical
structures to cope with it; generalizations of these mathematical structures;
the role played by context (situation or circumstance) in eliciting concepts in
cognition, and how this has been dealt with (or ignored) in psychology. The
course would also explore philosophical foundations of this problem, and
discuss the limitations of scientific models.
The
following is a sample of innovative ideas I have used in the classroom:
o PSYC 121
students were asked to find a partner and take turns acting out the roles of an
individual with mild depression, and the individuals psychiatrist. The
psychiatrist could use any of the following methods: (a) psychoanalysis (e.g. employ
free association, dream interpretation), (b) client centered therapy (e.g. display
empathy and unconditional positive regard for client) and (c) cognitive
therapy (e.g. ask questions that encourage client to explore
extent to which beliefs match reality). Students reported that they will not
forget these techniques after engaging in this exercise.
o
When covering the lifespan chapter in PSYC 121, students
were asked to find a partner and pretend they are parents and discuss when and
how they will explain the birds and the bees to their children. After a few
minutes, each pair was asked to join with another pair. One pair was still to play
the role of parents and the other pair were to play the role of their
children. The parents then told
the children about sex. The children provided feedback afterward. They then
exchanged roles. The goal was to get students thinking from perspectives of
these two groups (pre-teens and their parents) and glimpse the challenges and
rewards they offer one another.
o PSYC 380A
students gained a first hand understanding of concepts such as spreading
activation and Hebbs learning rule by joining hands to form a human neural
network. Some students were input/output nodes who responded directly to my
stimulus if it was relevant to them (e.g. if you are wearing a white shirt then
you are now activated) by squeezing their neighbors hands. Other students were
hidden nodes, who had to wait for a hand squeeze from their neighbors in order
to achieve an activated state. After being a neural network, 90% of the
students answered the (quite difficult) neural network question correctly on
the midterm.
o By 2007, new
research (spearheaded by Nelson and colleagues at University of Southern
Florida) suggests that the spreading activation hypothesis is actually wrong!
So that year I used the same method to explain both theories: spreading
activation, and Nelsons synchronous activation hypothesis, according to
which elements that are associated with the activated element are activated (to
a lesser degree) at the same time as the activated element.
o PSYC 380B
students were asked to write down every hour of their waking hours for two days
whether the skills / cognitive abilities necessary for the activity they were
engaged in that hour are best described as episodic, mimetic, mythic, or
theoretic. The exercise drove home the important point that each new level of
cognitive ability did not replace the preceding one but built on top of it,
such that all four play an integral role in the cognitive processes of modern
humans. Students reported that it them more aware of these four levels
operating within them.
Other Learning
Outcomes
o One of my
students, Christopher Allan, and his artist wife (who lives with chronic pain)
sent me a handcrafted card with words of deep appreciation stating that what
Chris learned in my class about the creative process and its role in coping
with pain led him to a renewed understanding of his wife which ushered forth a
deeper level of appreciation and commitment in their relationship.
o One of my
students did her final project on creativity in children using her son and his
friends as subjects, which led her to a deeper appreciation for the importance
of fostering opportunities for creative expression in her sons life.
o The success of
PSYC 380A as a special topics course led it to be turned into an official
course PSYC 329: The psychology of Creativity (now PSYO 317).
o Three students
(Sara Walker, Adam Saab, and Richard Ouimet) accompanied me to an international
workshop titled Culture in Evolutionary Perspective at UBC Vancouver, April
14-15, 2007.
o Third year
student Amanda Provencal and I co-authored a DVD review which was published in Journal
for the Study of Aesthetics, Creativity, and the Arts.
PSYO 317:
Psychology of Creativity
Winter 2008 Syllabus
(Note: any updates to this syllabus will be posted on WEB-CT)
Professor: Liane Gabora
Location:
ART 281
Day
& Time: T/Th 11:00 PM –
12:20 PM
Contact Information:
Office: Arts 326
Office hours: Tuesday
3:00 – 4:00 PM and Thursday 1:00 – 2:00 PM or by appointment
Phone: 807-9849
Email: liane.gabora@ubc.ca
Readings
The readings come from a
course pack that is available at the bookstore. The readings in this course
pack are also on reserve in the library and/or can be accessed through WEB-CT.
Prerequisites
Six credits of 200-level
psychology. If you do not have the prerequisites please speak with the
professor at your earliest convenience (if you have not done so already).
Students who remain in the course without written consent of the professor will
fail the course.
Course Description and Objectives
This course provides
exposure to experimental and theoretical approaches through which psychologists
investigate the interplay of internal and external factors involved in the
creative process. It is hoped that by the end of the course students will
possess an understanding of the different ways creativity can be studied, how
creativity works, how human creativity evolved, and why humans are so
exceptionally creative. It is also hoped that the course will fuel insights
into the creative life of the student and/or other individuals in the students
life.
Format
Each week (or two week
block) will focus on a different aspect of the psychology of creativity. The
topics covered each week are listed below. Sometimes there will be a student
presentation, guest speaker, or a game or fun activity that calls upon or
explores our creativity as individuals or groups. Your participation is always
welcome!
Evaluation
Title, Sentence, &
1 APA Reference for Presentation, Essay, or Project: 1%, Due Sept. 23
Example of Emergent
Property: 2%, Due Oct 2nd
One Page Summary of
Presentation, Essay, or Project:
5%, Due Oct. 16th
Midterm: 25%, Tentative Date: October 30th
Show and Tell: 2% + possible 1% bonus mark (Present something
creative to class or just to me)
Presentation, Essay,
or Project: 30% (Essay or project
due beginning of last day of class)
Final Exam: 35% (Comprehensive, i.e. covers material prior to midterm; possibly
take-home)
Details Concerning Presentation, Essay, or
Project
Choose and prepare either (1)
a presentation, (2) an essay, or (3) a project. To help you choose and research
a topic, check out Creativity Resources on the Web and Downloadable Papers
on Creativity under Student Resources on WEB-ct. Please type assignments
double-spaced, 12-point font, and use APA (American Psychological Association)
format for references (examples available under Student Resources on WEB-CT).
Assignments must be grammatically
correct, and will be assessed for content, accuracy, clarity, originality, and
strength of arguments. Presentations will be given throughout the term. Essays
and projects are due last class before start of class.
Presentations are done in groups of 1-3. Possible topics are listed on WEB-CT or you may
choose your own topic so long as it is relevant to creativity. All students
in the group should arrange to, as a group, discuss plans with me two weeks
prior to the week of their presentation, and present it to me the week prior. (They should additionally meet as a group to
discuss and practice the presentation.) Creative presentations are encouraged.
Have fun with it, and make it fun for the class! (If you do a presentation, you
are not obliged turn anything written except the one sentence summary and the
one page outline, but if it is in powerpoint please email me the .ppt file.)
An
essay can be (1) a critical evaluation of (a) one of the
supplementary papers on reserve in the library or on Web-CT, or (b) an article in
a peer-reviewed journal that you find using PSYC-info or Google Scholar. Or the essay can be (2) a synthetic review of multiple articles on the
same topic that discusses the merits of different approaches, or (3) an explanation of how something learned in class
applies to or sheds light on your own creative activities. It should be
approximately 2000 words not including references. Come talk to me early in the
semester about possible project ideas.
A
project can be anything you
want so long as it shows in a nontrivial way that you learned something about
creativity in this class.
Policy Concerning Late Essay/Project or Missed
Exams
If the date for handing
in assignment is missed, the mark for that assignment will be reduced by 3% for
each calendar day (or part thereof) it is late. Midterm and final exams MUST be
written during the designated times. If the midterm must be missed for a
legitimate health reason (I will expect a certificate from your physician), the
final exam will count for 60% of your mark instead of 35% and I MUST be
contacted beforehand. If I am not available, leave a message that includes your
reason and a phone number where you may be reached. Failure to do so may mean
that you will not be allowed to sit the exam or receive a mark for that
component.
Disabilities
If you require disability
related accommodations to meet course objectives please let me know, and
contact the Coordinator of Disability Resources located in the Student
Development and Advising area of the student services building. For more
information about Disability Resources or about academic accommodations see http://okanagan.students.ubc.ca/current/disres.cfm
Academic Integrity
The academic enterprise
is founded on honesty, civility, and integrity. As members of this enterprise,
all students are expected to know, understand, and follow the codes of conduct
regarding academic integrity. At the most basic level, this means submitting
only original work done by you and acknowledging all sources of information or
ideas, and attributing them as required. This also means that you should not
cheat, copy, or mislead others about what is your work. Violations of academic
integrity (i.e. misconduct)
lead to the breakdown of the academic enterprise and therefore serious
consequences arise and harsh sanctions are imposed. For example, incidences of
plagiarism or cheating usually result in a failing grade or mark of zero on the
assignment or in the course. Careful records are kept in order to monitor and
prevent recidivism. A more detailed description of academic integrity,
including the policies and procedures, may be found at http://web.ubc.ca/okanagan/faculties/resources/academicintegrity.html
Guest Speakers (Tentative)
Andrew Labun, Professor of Engineering, may speak on creative problem solving and
invention.
Bryan Ryley, Creative Studies Professor, may present his painting and speak on
nonobjective art.
Nancy Holmes, Creative Studies Professor and writer, may speak on creative
writing.
Denise Kenney, Creative Studies Professor, may speak on creativity in theatre and
film.
Topics and
Weekly Readings
1. Introduction (Read
by Sept. 9)
Sternberg, R. J. & Lubart, T. I. (1999). The concept
of creativity: Prospects and paradigms. Chapter 1 of Handbook of Creativity, (pp. 3-15). Cambridge, MA:
Cambridge University Press.
2. Cognitive
Issues (Read by Sept. 16)
Feinstein, J.
S. (2006). Creative interests and conceptions of creative interests. Chapter 2
of The Nature of Creativity, (pp. 36-61). Stanford CA: Stanford University
Press.
Weisberg, R. W.
(2006). Extract on problem solving from Chapter 3 of Creativity:
Understanding Innovation in Problem Solving, Science, Invention, and the Arts, (pp. 121-152). Hoboken, NJ: Wiley.
3. Biological
Explanations of Creativity (Read by Sept. 23)
Gabora, L. (in
press). Revenge of the neurds: Characterizing creative thought in terms of
the structure and dynamics of memory. Creativity Research Journal.
http://www.vub.ac.be/CLEA/liane/papers/neurds.htm
4. Intuition
and Insight (Read by Sept. 30)
Bowers, K. S.,
Farvolden, P. & Mermigis, L.
(1995). Intuitive antecedents of insight. In S. M. Smith, T. B. Ward, & R.
A. Finke (Eds.), The Creative Cognition Approach (pp. 27-52). Cambridge MA: MIT
Press.
5.
Personality / Health and Clinical Perspectives (Read by Oct. 7)
Sawyer, K.
(2006). Personality psychology. Chapter 3 of Explaining Creativity: The
Science of Human Innovation, (pp. 39-56). New York: Oxford University Press.
Runco, M. (2007). Health and clinical perspectives. Chapter 4 of Creativity:
Theories and Themes, Research, Development and Practice (pp. 115-152), Burlington, MA: Elsevier Academic
Press.
6. Educational Issues
and the Development of Creativity
(Read by Oct. 14)
Sternberg, R.
(2007). Finding students who are wise, practical, and creative. The Chronicle
Review, July 6 issue. Note: If you like this article then read the one by
Sternberg on web-ct titled Rainbow Project (OPTIONAL).
DiChristina,
M. (2008). Let your creativity soar. Scientific American 19(3), 24-31.
7. Creativity
in Business and Industry (Read by Oct. 21)
Nussbaum, B.,
Ed. (2006). Champions of Innovation: The new breed of managers and their
radical cultures of creativity. Business Week, June 19 issue, IN5 - IN32.
8. Review and
Midterm (Week of
Oct. 28)
9.
Evolutionary Origins of Creative Thought (Read by Nov. 4)
Gabora, L.
(2003). Contextual focus: A cognitive explanation for the cultural transition
of the Middle/Upper Paleolithic. In R. Alterman & D. Hirsch (Eds.) Proceedings
of the 25th annual meeting of the Cognitive Science Society, Boston MA, July 31-August 2.
Hillsdale NJ: Lawrence Erlbaum Associates. http://www.vub.ac.be/CLEA/liane/papers/cf.htm
Mithen, S.
(1998). A creative explosion? Theory of mind, language, and the disembodied
mind of the Upper Paleolithic. In S. Mithen (Ed.), Creativity in human
evolution and prehistory (pp. 165-191). London: Routledge.
10. How Do Creative Ideas Unfold?
(Read by Nov. 11)
Simonton, D. K.
(2007). The creative process in Picasso's Guernica sketches: Monotonic
improvements versus nonmonotonic variants' by D. K. Simonton. Creativity
Research Journal, 19(4),
329-344. (The commentaries on pages 345-379 are OPTIONAL.)
Gabora, L.
(2005). Creative thought as a non-Darwinian evolutionary process. Journal of
Creative Behavior, 32(3),
192-212. http://www.vub.ac.be/CLEA/liane/papers/ct.htm
11. Computer
Models (Read by Nov. 18)
Shank, R. and Cleary, C. (1995). Making computers
creative. In S. M. Smith, T. B. Ward, & R. A. Finke (Eds.), The creative
cognition approach
(pp. 229-247). Cambridge MA: MIT Press.
Martindale, C.
(1995). Creativity and connectionism. In S. M. Smith, T. B. Ward, & R. A.
Finke (Eds.), The creative cognition approach (pp. 249-268). Cambridge MA: MIT
Press.
12.
Presentations and Review (Wk of Nov. 25)