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E-raamat: Fostering Imagination in Higher Education: Disciplinary and Professional Practices

(Monash University, Australia)
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Imagination and creative teaching approaches are increasingly important across all higher education disciplines, not just the arts. Investigating the role of imagination in teaching and learning in non-arts disciplines, this book argues that a lack of clarity about what imagination looks like in higher education impedes teachers in fostering their students creativity.

Fostering Imagination in Higher Education tells four ethnographic stories from physics, history, finance and pharmaceutical science courses, analytically observing the strategies educators use to encourage their students imagination, and detailing how students experience learning when it is focussed on engaging their imagination. The highly original study is framed by Ricoeurs work on different forms of imagination (reproductive and productive or generative). It links imaginative thinking to cognitive science and philosophy, in particular the work of Clark, Dennett and Polanyi, and to the mediating role of disciplinary concepts and social-cultural practices.

The authors discussion of models, graphs, strategies and artefacts as tools for taking learners thinking forward has much to offer understandings of pedagogy in higher education. Students in these case studies learned to create themselves as knowledge producers and professionals. It positioned them to experience actively the constructed nature of the knowledge and processes they were learning to use and the continuing potential of knowledge to be remade in the future. This is what makes imaginative thinking elemental to the goals of higher education.

Arvustused

Fostering Imagination in Higher Education provides a unique account of how university educators foster the imagination, especially in disciplines not typically associated with imaginative thinking. Whitton skilfully integrates Paul Ricoeurs theory of imagination with a wide range of other literature on the imagination, creativity, and learning. Using this robust theoretical framework, she details three ethnographic studies: a fourth year physics course; a first year history course; and a post-graduate finance course. In doing so, Whitton provides many diverse examples of imaginative teaching practice practices that can easily be applied in most higher education contexts.

Dr. Jennifer Bleazby, Monash University, Australia

If there has ever been a time when we need to encourage students and teachers to use their imaginations, it is now. This is a must read book for any teacher who wants to improve their understanding of imagination in learning. It makes a significant contribution to understanding the nature of creativity in higher education teaching and learning and other practices.

The ethnographic case studies reveal the significance of imagination, productively connected to perception and reasoning, in the cognitive apprenticeships of learners: the important point being that while they learn how to use their imaginations like practitioners in the disciplinary field, they bring their own unique selves and history to what they imagine.

The imaginative way in which theory, practice and research have been connected and blended into a new synthesis, will stimulate any teachers imagination to develop new practices to encourage learners to use their own imaginations.

Professor Norman Jackson, Emeritus Professor University of Surrey

This beautifully written book is both scholarly and practical and a compelling read. Drawing on an ethnographic account of creative pedagogies in non arts-based subjects in a research-intensive university, Joy Whitton argues that imagination and creativity should be taken seriously so that all university students are helped to think beyond "what is" to "what might be". Her argument is that graduates need personal attributes that enable them to tackle the complex problems that continue to beset society. Ever sympathetic to the demands of working in Higher Education, Whitton offers ways of conceptualising creativity and imagination so that they can easily inform how we work with students. Strongly recommended.

Anne Edwards, Professor Emerita, Oxford University Department of Education

List of figures
xii
List of tables
xiii
List of exemplars
xiv
1 Introduction
1(18)
Creativity? Imagination? Same difference? --- terminology
3(6)
About the research
9(2)
Interpretation and analysis
11(1)
How to read this book
11(8)
2 Theoretical framework on imagination
19(27)
Introduction
19(1)
Ricoeur's theory of imagination
19(2)
Productive imagination and agency
21(1)
Metaphor: paradigmatic of imagination
22(1)
Semantic innovation
22(2)
Agency
24(3)
Productive imagination as forecasting or anticipatory imagination
27(1)
`Models for': epistemological imagination in models
27(2)
Fossilised metaphors and lack of criticality in using models
29(3)
Narrative imagination
32(1)
Narrative agency in author and reader
33(1)
Imagination: developing possibilities
34(1)
Imagination and action: the heuristic power of narratives as models for action
34(1)
Emotions and their role in imagination and in ethical thinking
35(2)
Imagination used to `map out' practical action
37(1)
The liminal space of imagination
38(1)
Probable imaginary constructions
39(2)
Grounding imagination: its relationship to reality
41(1)
Vygotsky, imagination, creativity and reason
41(5)
3 Theoretical linking of imagination with cognition and learning theory
46(23)
Introduction
46(1)
Tool mediation --- how cognition is shaped socio-culturally
47(2)
The role of language and other people
49(2)
Problematising perception: Wartofsky putting artefacts/representations back into the activity of perception and learning
51(2)
Learning re-imagined: Vygotsky's mediational triangle, Clark's extended mind model of cognition and Polanyi's `tacit knowing'
53(1)
Extended mind theory
54(2)
Interdependence between cognition, action and culture
56(2)
The perceiver as predictor
58(3)
Predictive processing and imagination
61(2)
1 The perceiver as imaginer
62(1)
2 The perceiver as generator of models
62(1)
3 The cognizer as synthesiser
63(1)
Relevance of predictive processing to imagination in complex learning of higher education
63(2)
Conclusion: imagination and finding and creating new knowledge
65(4)
4 Defining and practising creativity
69(30)
Creativity as original product
70(3)
Creativity as a process
73(2)
Creativity and problem solving, problem formulation or problem finding
75(2)
Creative and critical thinking
77(2)
Expertise: bringing into play creativity and critical forms of thinking
78(1)
Individual or social origins of imagination and creativity?
79(2)
Can creativity be enhanced or encouraged, and if so, how?
81(18)
Taking an intentional approach to the development of creativity
81(1)
Creativity training programs
82(1)
Encouraging the acquisition/mastery of domain-specific knowledge and skills
83(1)
Stimulating and rewarding curiosity and exploration
83(1)
Building motivation
84(1)
Encouraging confidence
84(1)
Risk-taking
84(1)
Imagination and higher education teachers' views
85(3)
Creative imagination and disciplinary learning in higher education
88(2)
Instruction in imaginative processes: action research reflective studies by higher education teachers
90(3)
Imagination expressed through narrative in educational and professional contexts
93(6)
5 Honours quantum physics ethnography
99(27)
Introduction
99(1)
The setting
99(2)
Dialectical cycling through mathematical reasoning processes
101(1)
Modelling the use of analogy to put an image to an emerging meaning: an instance of `reproductive' and `productive' imagination
102(1)
`Dancing around' a problem mathematically, pictorially, linguistically
103(2)
Learning by projecting the imagination into disciplinary conceptual tools
105(1)
Learning to be resourceful
106(2)
Scientific models --- examples of productive imagination --- involve the making of assumptions
108(1)
Teaching for imagination involves teaching openness to future revision or the reconsideration of explanatory possibilities
109(1)
Abstraction: abstracting from collecting tennis balls in a bucket or photons in a telescope!
110(2)
Using historical examples to problematise concepts and knowledge and encourage questioning assumptions
112(1)
Modelling internal standards of knowledge attempts and using error as an impetus to learning
113(2)
Feelings about knowledge
115(1)
Lifelong learning: the eternal return of the same
116(1)
Productive imagination and creatively linking-up diverse things
117(2)
Teaching for imaginative learning is teaching how to learn new things (not just existing things)
119(1)
Embodied cognition: forming analogical relationships between body and concept
120(2)
Conclusion
122(4)
6 First year medieval history ethnography
126(24)
Introduction
126(2)
How to read forensically
128(2)
Interrogation of primary sources: the five `W' framework
130(2)
Example of `lecture' that models the historical treatment of a primary source
132(3)
Introduction to history and gaining confidence: `No one comes out of the womb reading Latin'
135(3)
The development of historical skills in assessments
138(6)
The synthesis exercise and --- what is an essay anyway?
138(4)
The essay as a creative pedagogy
142(2)
Prompting engagement in historical thinking and avoiding ahistoricism
144(1)
Emotions and imagination
145(2)
Conclusion
147(3)
7 Finance ethnography
150(1)
Introduction
150(2)
Background and context for the case study
152(1)
Setting expectations of learning
153(1)
The role of creative collaboration
154(1)
Ground rules that release creativity
154(1)
Learning agency through risking error
155(1)
Imagination as mental flexibility and shifting perspectives
156(1)
Imagination in ethics: how surprise (`affect') can trigger reflection in simulation pedagogy
157(3)
Loans and deposits module: reproductive imaginary structures and productive imagination in strategy formation
160(4)
Introducing the simulation game rules of the loans and deposits module
161(2)
Forming strategies: a productive form of imagination that builds on reproductive forms of imagination --- an analysis of student bank reports
163(1)
Evidence of imagination and formation of strategy in student assignments
164(10)
Danger, surprise (again) and learning opportunity: managing the balance sheet
170(2)
Contingency strategies and forecasting imaginatively
172(2)
Feedback on learning provided naturalistically and in real time
174(1)
Re-imagining banking: questioning assumptions? ... or not
174(1)
Student reflection on forecasting and trading strategy
175(2)
Conclusion
177(4)
8 Pharmaceutical science ethnography
181(29)
Introduction
181(4)
Establishing the learning environment
185(2)
Shared critical reflection
187(1)
Underlying structure of the pedagogy
188(1)
Igniting the fire
188(1)
Identifying key features of scientific inquiry and critiquing key concepts
189(2)
Tool-making used to dynamically configure meaning
191(11)
Tooling active cognition by iterative diagram-making, reflection and social learning
202(5)
Conclusion: imaginative synthesis in diagrammatic narrative
207(3)
9 Conclusion
210(17)
Introduction
210(1)
1 Questioning assumptions, asking `What if?' questions and openness to knowledge being reconstructed
211(4)
Emotions
214(1)
2 Making new meaningful connections, discerning patterns
215(1)
3 Mastery of skills and knowledge, methodologies, processes: developing expertise
216(1)
4 Repositioning learners as knowledge producers
217(1)
5 Repositioning the student and teacher relationship: educational style
218(1)
Reflection on the usefulness of Ricoeur's theory
219(2)
Implications for practice
221(1)
Questions and ideas for teaching approaches that foster imagination
222(2)
Future directions of research
224(3)
Index 227
Joy Whitton is an academic developer at Monash University in Australia. Her research interests include imagination, cognition and their interplay with tools/artefacts and practices, and professional learning.
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