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  • Torrance Incubation Model for Creative Teaching and · PDF fileA Teaching Model for Integrating Creativity into Content Keep in mind that: • Creative learning and teaching is best
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A Teaching Model for Integrating Creativity into Content Keep in mind that: • Creative learning and teaching is best enhanced by non authoritarian methods and approaches • Creativity can be deliberately taught and learned, not only as a stand alone topic, but also by integrating its skills into other content areas • Incubation was a basic mechanism of creative thinking that can be deliberately facilitated by teachers or trainers in instructional situations. “It is generally accepted that you can teach for creativity. Teaching creativity as the content of learning starts with the identification of the specific dimensions of creativity for instruction. It may include, for example, creativity processes, dimensions of the creative personality, and affective and cognitive skills for creativity. Creativity may be the focus of a lesson and/or weaved into a lesson that focuses on another content area. Rather than assuming creativity is a natural part the learning process that will ‘just happen,’ teaching creativity allows for greater clarity around the essential concepts, the formulation of assessments to examine the degree to which the cre- ativity goals and objectives are met and deliberate planning for the learner’s creative growth. Deliberate approaches to teaching creativity vary and require a theoretical foundation and framework for creative learning to be more effective. Otherwise creative learning can be hap- hazard, focusing to broadly or narrowly over-emphasizing a particular skill or dimension. In order to deepen the learning regarding creativity methods and processes, connections need to be made to uses in varying contexts and areas of learning.” (Keller-Mathers, 2009, p. 198-99) Delivery: Lesson design is simple & deliberate. When used to integrate creativity into content use two sets of objectives. Objective I Content Topic or skills Objective II Creativity Skill to be taught Using dual format design activities for Warming Up, Deepening Expectations, and Extending the Learning. Design Activities that will work BOTH Content and Creativity skill at the same time. Integrating Creativity into Content: What to Select? There are productive frameworks that can be used to determine the creativity content you wish to integrate into another content area. It’s important to clearly articulate and understand what aspect of creativity you are integrating. Three productive frameworks are articulated below. They include the classic “Creativ- ity Skill Set” first identified by Torrance for use in the Incubation Model (Torrance,1979) , the classic “4P’s” of creativity outlined by Rhodes (1961) and the current T hinking Skills in the Creative Problem Solving Thinking Skills Model (Puccio, Murdock & Mance, 2007). Torrance’s Creativity Skill Set The Problem: recognition or awareness of a situation; definition of the problem and commitment to deal with it; recognizing the essence of the difficulty and identifying sub problems that are manageable or can be solved. Produce and Consider Many Alternatives: fluency; amount; generating many and varied ideas. Be Flexible: creating variety in content; producing different categories; changing one’s mental set to do something differently; perceiving a problem from different perspectives. Be Original: moving away from the obvious; breaking away from habit bound thinking; statistically infrequent responses; the ability to create novel, different or unusual perspectives. Highlight the Essence: identifying what is most important and absolutely essential; discarding erroneous or relevant information; refining are dealers, abandoning unpromising information; allowing a single problem or idea to become dominant and synthesizing all of this at the same time. Elaborate-But Not Excessively: adding details or ideas--developing them; filling in details for possible implementation. Keep Open: resisting premature closure; resisting the tension to complete things in the easiest, quickest way. Be Aware of Emotions: recognizing verbal and nonverbal cues; responding, trusting and using feelings to better understand people and situations. Put Your Ideas in Context: putting parts of experience into a bigger framework; putting experiences together in a meaningful way; making connection between things; giving situations and ideas a history, and background, a story. Combine and Synthesize: making new connections with the elements within our perceptual set; combining relatively unrelated elements; hitchhiking; making the familiar strange and the strange familiar. Visualize It-Richly and Colorfully: using vivid, exciting imagery; creating colorful and exciting images that appeal to all five senses. Enjoy and Use Fantasy: imagine, play and consider things that are not concrete or do not yet exist. Make It Swing! Make It Ring: using kinesthetic and auditory senses; responding to sound and movement. Look at It Another Way: being able to see things from a different visual perspective; being able to see things from a different psychological perspective or mindset. Visualize the Inside: paying attention to the internal dynamic work- ings of things; picturing or describing the inside of things. Breakthrough-Expand the Boundaries: think- ing outside prescribed requirements; changing the paradigm or system within which a problem resides. Let Humor Flow and Use It: perceiving incongruity; responding to a surprise; recognizing and responding to perceptual and conceptual discrepancies. Get Glimpses of the Future: predict, imagine and explore things that do not yet exist; wonder and dream about possibilities; view events as open-ended. Source: Torrance & Safter (1999) Overview of the Torrance Incubation Model of Creative Teaching and Learning The Torrance Incubation Model of Creative Teaching and Learning (TIM) is one of the few models in the domain of creativity whose major purpose is the design and delivery of creativity content. It was developed by E. Paul Torrance to provide a model for integrating creativity content into other disciplines or content areas. Effective use of the model presupposes a skill base of pertinent concepts that are basic and necessary to teach as creativity content. Thus, using the TIM requires a clear understanding of the distinctions between the creative process of using the model itself and the creativity content it seeks to deliver. Since 1987, a deliberate initiative at the International Center for Studies in Creativity (ICSC) provided further development of the model, curricular applications, research and dissemination of TIM. Stage 1: Heightening Anticipation Purpose: Motivate & engage learners in a creative way by setting up learning situation to connect deliberate psychological state of readiness to pertinent content Strategies: Create the desire to know Heighten anticipation & expectation, Get attention, Arouse curiosity, tickle the imagination, and give purpose & motiva- tion. This last strategy is designed “to pre- pare learners to make connections be- tween what they are expected to learn and something meaningful in their lives” (Torrance & Safter, 1990, p.7) Stage 2 : Deepening Expectations Purpose: Sustain motivation created by strategies in Stage 1 and use that motivation to encourage deeper exploration of a topic. This is accomplished by alternating between anticipatory and participatory strategies. Strategies: Choices of 8 strategies represented as metaphors. Digging Deeper - diagnosing difficulties, integrating information. Looking Twice - keeping open, search for new information. Listening to the Smells - making use of senses. Crossing Out Mistakes - understanding your feelings in response to new information, modify & refine. Cutting Corners - summarizing, focusing, discarding. Getting in Deep Water - searching for unanswered questions, confronting the unimaginable. Getting Out of Locked Doors - solving the unsolvable, opening up new vistas, going beyond the same. Combinations of any or all of these strategies result in behaviors and thinking that go beyond the basics and require higher level thinking and processing. Discovery & exploration are characteristics of the participatory nature of this stage. Tolerance for ambiguity is essential for the teacher and the learner. (Murdock, & Keller-Mathers, 2002) Stage 3 : Extending The Learning Purpose: Continue participation alter- nating with anticipation. At this point the anticipation is related to connections and uses. Result of continued alternation is that the model cycles around toward warming up to the new things that will be connected with the warm up effect more intense. (Murdock, & Keller-Mathers, 2002) Strategies: Five strategies represented as metaphors in this stage are powerful in their combination and describe an intense focus on activities that promote continued creative learning strongly enough to keep learners engaged and active long after the formal “lesson” is over. Having a Ball – fun, humor, laughter Singing in One’s Own Key – personalize information Building Sandcastles – imagine, fantasize, search for ideal Plugging in the Sun – work hard, find & use resources Shaking Hands with Tomorrow – relate to future vision, that which has not yet occurred. (Murdock, & Keller-Mathers, 2002) Cognitive Thinking Skills Associated With CPS Type of Thinking Definition Diagnostic Making a careful examination of a situation, describing the nature of a problem, and making decisions about appropriate process steps to be taken Visionary Articulating a vivid image of what you desire to create Strategic Identifying the critical issues that must be addressed and pathways needed to move towards the desired future Ideational Producing original mental images and thoughts that respond to important challenges Evaluative Assessing the reasonableness and quality of ideas in order to develop workable solutions Contextual Understanding the interrelated conditions and circumstances that will support or hinder success Tactical Devising a plan that includes specific and measurable steps for attaining a desired end and methods for monitoring its effectiveness Creative Leadership: Skills That Drive Change by Puccio, Murdock, & Mance (2007) Some Key Affective Skills that Support CPS Creative Leadership: Skills That Drive Change by Puccio, Murdock, & Mance (2007) Affective Skill (CPS Step) Definition Curiosity (Assessing Situation) A desire to learn or know; Inquisitive Dreaming (Exploring the Vision) To imagine as possible your desires and hopes Sensing Gaps (Formulating Challenges) To become consciously aware of discrepancies between what currently exists and what is desired or required Playfulness (Exploring Ideas) Freely toying with ideas formul Resisting the urge to push for a decision Sensitivity to Environment (Exploring Acceptance) Awareness of your physical and psychological surroundings Tolerance for Risk (Formulating a Plan) Not being shaken or unnerved by the possibility of failure or setbacks • Openness to Novelty • Tolerance for Ambiguity • Tolerance for Complexity (Support all steps) • Ability to entertain ideas that at first seem outlandish and risky • Deal with uncertainty and to avoid leaping to conclusions • Ability to stay open and persevere without being overwhelmed by large amounts of information, interrelated and complex issues, and competing perspectives Person Characteristics Of People Process Operations They Perform Product Results and Outcomes Press Environment, Context, Climate, Culture, Press References: Accurso, M. (2005). The Torrance Incubation Model of Teaching in the middle school social studies setting. Unpublished Master’s project. Buffalo, NY: Buffalo State College. Cellitioci, J. M. (2005). Utilizing science enrichment programs as a vehicle for encouraging meaningful family conversation and creativity skill development. Unpublished Master’s project. Buffalo, NY: Buffalo State College. Dore, D. (2007). Improvisation within the research and concepts of creative studies. Unpublished Master’s project. Buffalo, NY: Buffalo State College. Carr, P. (2006). Designing and building an indoor water fountain using the Torrance Incubation Model. Unpublished Master’s project. Buffalo, NY: Buffalo State College. Garas, T. (2002). Determining the impact of emphasizing humor/playfulness when teaching the CPS process. Unpublished Master’s project. Bufalo, NY: Buffalo State College. Giordano, L. (in progress). The significance of the TIM in higher education: Can it be effective across discipline and educational levels? Master’s project. Buffalo, NY: Buffalo State College. Keller-Mathers, S. (2009).Creative Teaching. In B. Kerr (Ed.) Encyclopedia of Giftedness, Creativity, and Talent (pp. 197-200). Thousand Oaks, CA: Sage. Keller-Mathers, S &. Murdock, M. C. (2002, Fall). Teaching the content of creativity using the Torrance Incubation Model: Eyes wide open to the possibilities of learning. National Association of Gifted Children’s Celebrate Creativity, 12(2), 7-9. Man, K. (2006). Exploring the use of the Torrance Incubation Model in the design of lessons in Art Explore. Unpublished paper. Buffalo, NY: Buffalo State College. Michaels, J. (2006). Making the TIM more accessible and useful in organizational training. Unpublished Master’s project. Buffalo, NY: Buffalo State College. Murdock, M. C. & Keller-Mathers, S. (November 10, 2001). Time is on your side: Integrating creativity into content. Invited Master Class presentation at the National Association for Gifted Children’s Annual Conference, Cincinnati, OH. Murdock, M. C. & Keller-Mathers, S. (2002a, Fall). Teaching for creativity: Where there’s a will, there’s a way. National Association of Gifted Children’s Celebrate Creativity, 12(2), 3-4; 10-12. Murdock, M. C. & Keller-Mathers, S. (2002b, Fall). Foundations of the Torrance Incubation Model: Identifying and using a creativity skill set. National Association of Gifted Children’s Celebrate Creativity, 12(2), 5-6; 13. Nitkowski, K. (2004). Documenting the use of the teacher’s experience with the use of the Torrance Incubation Model of Learning and Teaching. Unpublished Master’s project. Buffalo, NY: Buffalo State College. Olma, J. (in progress). Identifying the impact of the Torrance Incubation Model on teaching pedagogy and outcomes of adjunct instruction trained in the Torrance incubation model on their return to their college classrooms. Unpublished Master’s project. Buffalo, NY: Buffalo State College. Sabo, S. L. (2003). Warming up to leaping beyond. Unpublished Master’s project. Buffalo, NY: Buffalo State College. Standish-Wallace, S. (2004). Using the Torrance Incubation Model in a mandated setting for adult learners. Unpublished Master’s project. Buffalo, NY: Buffalo State College. Torrance, E. P. (1979). An instructional model for enhancing incubation. Journal of Creative Behavior, 13(1), pp. 23-35. Torrance, E. P. & Safter, H. T. (1999). Making the creative leap beyond. Buffalo, NY: Creative Education Foundation. Torrance, E. P. & Sisk, D. (1997). Gifted children in the regular classroom. Buffalo, NY: Creative Education Foundation. Zubrzycki, T. (2006). Increasing thinking at the Theatre of Youth through use of the Torrance Incubation Model. Unpublished Master’s International Center for Studies in Creativity at Buffalo State, Buffalo New York. By Maisha Drayton & Catherine Skora in collaboration with Dr. Susan Keller-Mathers Utilization of TIM Framework, Lesson Design and Creativity Skill Integration Author Audience Overall Framework Lessons/ Sessions Integrated Skills Accurso 7th Grade Social Studies Constitution Unit 9 Look Another Way, Highlight Essence Garas Human Service Employees Creative Problem Solving Workshop Series 3 Humor & Playfulness Gilliano Higher Education Students English Classes 2 TIM lessons, 2 non-TIM 2 Look Another Way, Fantasy Michaels Corporate Trainers TIM Workshop for Trainers 1 Look Another Way, Highlight Essence Standish- Wallace Health Care Employees Rights Workshop Series 3 More than One Way, Put Ideas Context Zubrzycki Teachers Series of lessons around a play 3 Visualize Inside, Fantasy, Humor © 2008 Keller-Mathers and Murdock. Used by permission. Variety of TIM Uses in ICSC Studies and Applications Focus of TIM Topic Participants Educational/Classroom Social Studies, Art, Science, English and Cross-curricular elementary through university students Personal Growth, Creativity Skill Development Constructing a fountain, 18 Beyonder skills videos Self, Adults Training and Development Rights/Responsibilities, TIM, Creative Problem Solving Corporate and not-for- profit employees Performing Arts Improv games/performance, children’s literature/theater production Adults, Teacher’s of young Children © 2008 Keller-Mathers and Murdock. Used by permission. Utilization of TIM as a Reflecting Process and Framework Author Audience Overall Framework Carr Self/Adults Building Fountain, “How To” Manual for others © 2008 Keller-Mathers and Murdock. Used by permission. Utilization of TIM Framework and/or Lesson Design Author Audience Overall Framework Lessons/ Sessions Nitkowski 3 rd Grade Students, Teacher Unit on Dessert Regions 13 Olma Adjunct Higher Education Faculty Engaged Learning, TIM 2 © 2008 Keller-Mathers and Murdock. Used by permission. Promoting Creative Teaching & Learning: The 2010 ICSC TIM Dissemination Initiative E. Paul Torrance inspired decades of thought and action related to creativity, creative learning and the Incubation Model of Teaching. As his student, Mary Murdock spent 23 years at ICSC applying and further developing Torrance’s classic model. She sparked the rise of an entire community of passionate TIM users whose thoughts and action related to creative learning and teaching is framed with this classic model. The current initiative, lead by long time TIM collaborators and ICSC faculty Susan Keller-Mathers and Cyndi Burnett, articulates the next level of development. It was Dr. M’s intent to inspire and grow colleagues and to that end, she was quite successful. Her words ring loud and clear to all of us “TIMers” who know that our fine work regarding creative teaching and learning, no matter how good it is, is underutilized if we don’t “Get out there and make the world a better place.” In the spirit of Dr. M’s call to action, the initiative focusing on taking the ICSC work to the next level of dissemination of best practices. The current initiatives builds from the foundational work of Dr. E. Paul Torrance and his colleagues at the University of Georgia, the influential work of Dr. Mary Murdock in utilizing and further developing Dr. T’s original model and the current thinking of Dr. M, her long time collaborators Dr. Keller- Mathers and Cyndi Burnett and all the “TIMers”. The dissemination initiative grew out of three needs: 1) develop a more deliberate collaborative environment, including strengthening the current informal network for sharing current thinking and initiatives related to creative learning and teaching in general and TIM specifically; 2) disseminate to the larger creativity community best practices from ICSC scholar/practitioners throughout the world who are using TIM; 3) provide support for the future development and dissemination of the ICSC’s communities work related to creative learning and teaching in general and TIM specifically. The initiative focuses on five main areas including: writing, research, practices, products and network. Many of the activities described are being developed in one or more areas currently. Current work includes an updated book on TIM (Keller-Mathers) and an edited collection of TIM practitioner’s experiences (Keller-Mathers & Burnett). Utilization of Creativity Skills as the Focus Author Creativity Skills Integrated Man Extend Boundary, Make it Swing Ring, Combine & Synthesize Cillitioci Visualize inside, keep open, combine & synthesize, Fantasy, Dore Inprov skits using most Beyonder skills and other creativity concepts Sabo Videos of 18 Beyonder skills © 2008 Keller-Mathers and Murdock. Used by permission. TIM is a deliberate framework to integrate creativity and promote incubation for deep- er, richer creative learning. It can be utilized to plan and deliver discrete learning epi- sodes such as a lesson and also for larger frameworks such as units, blocks of learning and long term cours- es and programs. It can also be used to me- ta-cognitively process learning experiences (what happened, why, where am I in the creative learning process?). Studies de- scribed include aspects of all of the functions of TIM. GARAS (2002) • Examined the use of TIM and the integra- tion of humor and play into CPS training for human services employees. • Conducted two-hour workshops with 10 employees. • Administered Pre and post surveys exam- ining thoughts about humor, creativity and problem solving. • Participants reported an increased com- fort level with humor, positive response to humor, and that it stimulated creativity and helped promote ideas. Giordano (in progress) • Designed and delivered college level freshman English lessons using the TIM and compared the interaction to non- TIM lessons. • Developed TIM and non-TIM lessons inte- grating skills into the lessons. • Deliberately chose literature students of- ten consider “dry”. • Surveys completed showed TIM behav- iors were present. • Students were able to identify strategies in warming up activities, and reported being more engaged and involved in TIM lessons. • Students rated their instructors higher when delivering lessons using TIM. Michaels (2006) • Examined corporate trainers’ response to and use of TIM and training design meth- odology. • Trained 17 customer service training pro- fessionals in the concepts and structures of TIM. • Trainer designed and implemented train- ing modules using TIM as a framework. • Michaels designed a four-hour introduc- tory TIM workshop, integrated with skills. • Workshop participants indicated a tactic understanding, and current uses of TIM stages and strategies. • Participants also indicated TIM would benefit their program design and facilita- tion of learners. Nitkowski (2004) • Observed and documented the use of TIM for creative learning and teaching, documented the teacher’s experience with the model at elementary level. • A five-week cross-curricular unit of study focused on science and social studies. • Observations were documented by teachers as participants and observers and student feedback. • Results indicated the presence of Tor- rance strategies and behaviors and as a whole there was engagement and moti- vation of the learners and the facilitator/ teacher. Olma (In progress) • Examined the effect of TIM on adjunct college level faculty teaching pedagogy to enhance delivery of more engaged learning. • Examined 17 faculty members through a 16 hour, two day Engaged Learning Proj- ect Pilot program teaching the context of higher education and instruction in the TIM. • Debrief with participants, a session ques- tionnaire, and participant reflections indi- cated TIM assisted with changes in class- room delivery of content from a lecture oriented design, to more engaged learn- ing opportunities for students. • Participants also indicated they were more mindful of their methodology and teaching delivery modes. Standish-Wallace (2004) • Integrated the TIM framework and skills into a mandated training for not-for-profit employees to strengthen learning of con- tent and teach creativity concepts. • Observed mandated training for 27 em- ployees using the TIM and integrated two creativity skills. • Participants also completed survey to evaluate teaching, retention, and use of the information three weeks after the train- ing. • Results indicated a positive response to the content and process of TIM. • All but four of the 52 behaviors on the ob- servational tool to heighten anticipation, deepen expectations, and extend the learning were observed. • There were indications that content learning continued beyond classes at home, work, and decision making. Overview of the TIM Observational/Descriptive Studies Torrance Incubation Model of Teaching and Learning © 2008 Keller-Mathers, S. & Murdock, M. Having a Ball Singing in One’s Own Key Create the Desire to Know Heighten Anticipation & Expectation Get Attention Arouse Curiosity Tickle the Imagination Give Purpose and Motivation Creativity Goal Content Goal Heightening Anticipation Building Sand Castles Plugging in the Sun Shaking Hands with Tomorrow Extending the Learning Digging Deeper Looking Twice Listening for Smells Crossing Out Mistakes Cutting Holes to See Through Getting Out of Locked Doors Cutting Corners Getting in Deep Water Deepening Expectations Torrance Incuba of Teaching and © 2008 Keller-Mathers, S. & M Incubation T O P I C Torrance Incubation Model of Teaching and Learning © 2008 Keller-Mathers, S. & Murdock, M. What is it? A model for creative teaching & learning Original Purpose: Design and delivery of creativity content Integration of creativity content into other domain areas Multi Purpose Application Can be used to deliver any content area! Dynamics between content & process form the unique metacognitive framework that makes the model so effective in integrating creativity into other content areas Includes… 3 Stages Cognitive Strategies Delivery System International Center for Studies in Creativity at Buffalo State, Buffalo, NY Maisha Drayton and Catherine Skora in collaboration with Dr. Susan Keller-Mathers

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Page 1: Torrance Incubation Model for Creative Teaching and · PDF fileA Teaching Model for Integrating Creativity into Content Keep in mind that: • Creative learning and teaching is best

A Teaching Model for Integrating Creativity into ContentKeep in mind that:•Creativelearningandteachingisbestenhancedbynonauthoritarianmethodsandapproaches

•Creativitycanbedeliberatelytaughtandlearned,notonlyasastandalonetopic,butalsobyintegratingitsskillsintoothercontentareas

•Incubationwasabasicmechanismofcreativethinkingthatcanbedeliberatelyfacilitatedbyteachersortrainersininstructionalsituations.

“Itisgenerallyacceptedthatyoucanteachforcreativity.Teachingcreativityasthecontentoflearningstartswiththeidentificationofthespecificdimensionsofcreativityforinstruction.Itmayinclude,forexample,creativityprocesses,dimensionsofthecreativepersonality,andaffectiveandcognitiveskillsforcreativity.Creativitymaybethefocusofalessonand/orweavedintoalessonthatfocusesonanothercontentarea.Ratherthanassumingcreativityisanaturalpartthelearningprocessthatwill‘justhappen,’teachingcreativityallowsforgreaterclarityaroundtheessentialconcepts,theformulationofassessmentstoexaminethedegreetowhichthecre-ativitygoalsandobjectivesaremetanddeliberateplanningforthelearner’screativegrowth.Deliberateapproachestoteachingcreativityvaryandrequireatheoreticalfoundationandframeworkforcreativelearningtobemoreeffective.Otherwisecreativelearningcanbehap-hazard,focusingtobroadlyornarrowlyover-emphasizingaparticularskillordimension.Inordertodeepenthelearningregardingcreativitymethodsandprocesses,connectionsneedtobemadetousesinvaryingcontextsandareasoflearning.” (Keller-Mathers,2009,p.198-99)

Delivery: Lessondesignissimple&deliberate.Whenusedtointegratecreativityintocontentusetwosetsofobjectives.Objective IContentTopicorskillsObjective IICreativitySkilltobetaughtUsingdualformatdesignactivitiesforWarmingUp,DeepeningExpectations,andExtendingtheLearning.DesignActivitiesthatwillworkBOTHContentandCreativityskillatthesametime.

Integrating Creativity into Content: What to Select?Thereareproductiveframeworksthatcanbeusedtodeterminethecreativitycontentyouwishtointegrateintoanothercontentarea.It’simportanttoclearlyarticulateandunderstandwhataspectofcreativityyouareintegrating.Threeproductiveframeworksarearticulatedbelow.Theyincludetheclassic“Creativ-itySkillSet”firstidentifiedbyTorranceforuseintheIncubationModel(Torrance,1979),theclassic“4P’s”ofcreativityoutlinedbyRhodes(1961)andthecurrentThinkingSkillsintheCreativeProblemSolvingThinkingSkillsModel(Puccio,Murdock&Mance,2007).

Torrance’s Creativity Skill SetThe Problem:recognitionorawarenessofasituation;definitionoftheproblemandcommitmenttodealwithit;recognizingtheessenceofthedifficultyandidentifyingsubproblemsthataremanageableorcanbesolved.Produce and Consider Many Alternatives:fluency;amount;generatingmanyandvariedideas.Be Flexible:creatingvarietyincontent;producingdifferentcategories;changingone’smentalsettodosomethingdifferently;perceivingaproblemfromdifferentperspectives.Be Original:movingawayfromtheobvious;breakingawayfromhabitboundthinking;statisticallyinfrequentresponses;theabilitytocreatenovel,differentorunusualperspectives.Highlight the Essence:identifyingwhatismostimportantandabsolutelyessential;discardingerroneousorrelevantinformation;refiningaredealers,abandoningunpromisinginformation;allowingasingleproblemorideatobecomedominantandsynthesizingallofthisatthesametime.Elaborate-But Not Excessively:addingdetailsorideas--developingthem;fillingindetailsforpossibleimplementation.Keep Open: resistingprematureclosure;resistingthetensiontocompletethingsintheeasiest,quickestway.Be Aware of Emotions:recognizingverbalandnonverbalcues;responding,trustingandusingfeelingstobetterunderstandpeopleandsituations.Put Your Ideas in Context:puttingpartsofexperienceintoabiggerframework;puttingexperiencestogetherinameaningfulway;makingconnectionbetweenthings;givingsituationsandideasahistory,andbackground,astory.Combine and Synthesize:makingnewconnectionswiththeelementswithinourperceptualset;combiningrelativelyunrelatedelements;hitchhiking;makingthefamiliarstrangeandthestrangefamiliar.Visualize It-Richly and Colorfully:usingvivid,excitingimagery;creatingcolorfulandexcitingimagesthatappealtoallfivesenses.Enjoy and Use Fantasy: imagine,playandconsiderthingsthatarenotconcreteordonotyetexist.Make It Swing! Make It Ring:usingkinestheticandauditorysenses;respondingtosoundandmovement.Look at It Another Way: beingabletoseethingsfromadifferentvisualperspective;beingabletoseethingsfromadifferentpsychologicalperspectiveormindset.Visualize the Inside:payingattentiontotheinternaldynamicwork-ingsofthings;picturingordescribingtheinsideofthings.Breakthrough-Expand the Boundaries: think-ingoutsideprescribedrequirements;changingtheparadigmorsystemwithinwhichaproblemresides.Let Humor Flow and Use It: perceivingincongruity;respondingtoasurprise;recognizingandrespondingtoperceptualandconceptualdiscrepancies.

Get Glimpses of the Future:predict,imagineandexplorethingsthatdonotyetexist;wonderanddreamaboutpossibilities;vieweventsasopen-ended.Source:Torrance&Safter(1999)

Overview of the Torrance Incubation Model of Creative Teaching and Learning

TheTorranceIncubationModelofCreativeTeachingandLearning(TIM)isoneofthefewmodelsinthedomainofcreativitywhosemajorpurposeisthedesignanddeliveryofcreativitycontent.ItwasdevelopedbyE.PaulTorrancetoprovideamodelforintegratingcreativitycontentintootherdisciplinesorcontentareas.Effectiveuseofthemodelpresupposesaskillbaseofpertinentconceptsthatarebasicandnecessarytoteachascreativitycontent.Thus,usingtheTIMrequiresaclearunderstandingofthedistinctionsbetweenthecreativeprocessofusingthemodelitselfandthecreativitycontentitseekstodeliver.Since1987,adeliberateinitiativeattheInternationalCenterforStudiesinCreativity(ICSC)providedfurtherdevelopmentofthemodel,curricularapplications,researchanddisseminationofTIM.

Stage 1:Heightening AnticipationPurpose: Motivate&engagelearnersinacreativewaybysettinguplearningsituationtoconnectdeliberatepsychologicalstateofreadinesstopertinentcontentStrategies: CreatethedesiretoknowHeightenanticipation&expectation,Getattention,Arousecuriosity,tickletheimagination,andgivepurpose&motiva-tion.Thislaststrategyisdesigned“topre-parelearnerstomakeconnectionsbe-tweenwhattheyareexpectedtolearnandsomethingmeaningfulintheirlives”(Torrance&Safter,1990,p.7)

Stage 2 : Deepening ExpectationsPurpose: SustainmotivationcreatedbystrategiesinStage1andusethatmotivationtoencouragedeeperexplorationofatopic.Thisisaccomplishedbyalternatingbetweenanticipatoryandparticipatorystrategies.Strategies: Choicesof8strategiesrepresentedasmetaphors.Digging Deeper -diagnosingdifficulties,integratinginformation.Looking Twice - keepingopen,searchfornewinformation.Listening to the Smells -makinguseofsenses.Crossing Out Mistakes - understandingyourfeelingsinresponsetonewinformation,modify&refine.Cutting Corners - summarizing,focusing,discarding.

Getting in Deep Water -searchingforunansweredquestions,confrontingtheunimaginable.Getting Out of Locked Doors -solvingtheunsolvable,openingupnewvistas,goingbeyondthesame.Combinationsofanyorallofthesestrategiesresultinbehaviorsandthinkingthatgobeyondthebasicsandrequirehigherlevelthinkingandprocessing.Discovery&explorationarecharacteristicsoftheparticipatorynatureofthisstage.Toleranceforambiguityisessentialfortheteacherandthelearner.(Murdock,&

Keller-Mathers,2002)

Stage 3 : Extending The LearningPurpose:Continueparticipationalter-natingwithanticipation.Atthispointtheanticipationisrelatedtoconnectionsanduses.Resultofcontinuedalternationisthatthemodelcyclesaroundtowardwarminguptothenewthingsthatwillbeconnectedwiththewarmupeffectmoreintense.(Murdock,&Keller-Mathers,2002)

Strategies:Fivestrategiesrepresentedasmetaphorsinthisstagearepowerfulintheircombinationanddescribeanintensefocusonactivitiesthatpromotecontinuedcreativelearningstronglyenoughtokeeplearnersengagedandactivelongaftertheformal“lesson”isover.Having a Ball–fun,humor,laughterSinging in One’s Own Key–personalizeinformationBuilding Sandcastles–imagine,fantasize,searchforidealPlugging in the Sun–workhard,find&useresourcesShaking Hands with Tomorrow–relatetofuturevision,thatwhichhasnotyetoccurred.(Murdock,&Keller-Mathers,2002)

Cognitive Thinking Skills Associated With CPS

Type of Thinking Definition

Diagnostic Making a careful examination of a situation, describing the nature of aproblem, and making decisions about appropriate process steps to betaken

Visionary Articulating a vivid image of what you desire to create

Strategic Identifying the critical issues that must be addressed and pathwaysneeded to move towards the desired future

Ideational Producing original mental images and thoughts that respond toimportant challenges

Evaluative Assessing the reasonableness and quality of ideas in order to developworkable solutions

Contextual Understanding the interrelated conditions and circumstances that willsupport or hinder success

Tactical Devising a plan that includes specific and measurable steps for attaininga desired end and methods for monitoring its effectiveness

Creative Leadership: Skills That Drive Change by Puccio, Murdock, & Mance (2007)

Some Key Affective Skills that Support CPS

Creative Leadership: Skills That Drive Change by Puccio, Murdock, & Mance (2007)

Affective Skill (CPS Step) Definition

Curiosity (Assessing Situation) A desire to learn or know; Inquisitive

Dreaming (Exploring the Vision) To imagine as possible your desires and hopes

Sensing Gaps (Formulating Challenges)

To become consciously aware of discrepancies between what currently exists and what is desired or required

Playfulness (Exploring Ideas) Freely toying with ideas

formul Resisting the urge to push for a decision

Sensitivity to Environment(Exploring Acceptance)

Awareness of your physical and psychological surroundings

Tolerance for Risk (Formulating a Plan)

Not being shaken or unnerved by the possibility of failure or setbacks

• Openness to Novelty• Tolerance for Ambiguity• Tolerance for Complexity

(Support all steps)

• Ability to entertain ideas that at first seem outlandish and risky• Deal with uncertainty and to avoid leaping to conclusions• Ability to stay open and persevere without being overwhelmed by large amounts of information, interrelated and complex issues, and competing perspectives

PersonCharacteristics

Of People

ProcessOperations

They Perform

ProductResults and Outcomes

PressEnvironment,

Context, Climate, Culture, Press

References:Accurso,M.(2005).The Torrance Incubation Model of

Teaching in the middle school social studies setting. UnpublishedMaster’sproject.Buffalo,NY:BuffaloStateCollege.

Cellitioci,J.M.(2005). Utilizing science enrichment programs as a vehicle for encouraging meaningful family conversation and creativity skill development.UnpublishedMaster’sproject.Buffalo,NY:BuffaloStateCollege.

Dore,D.(2007).Improvisation within the research and concepts of creative studies. UnpublishedMaster’sproject.Buffalo,NY:BuffaloStateCollege.

Carr,P.(2006).Designing and building an indoor water fountain using the Torrance Incubation Model.UnpublishedMaster’sproject.Buffalo,NY:BuffaloStateCollege.

Garas,T.(2002).Determining the impact of emphasizing humor/playfulness when teaching the CPS process.UnpublishedMaster’sproject.Bufalo,NY:BuffaloStateCollege.

Giordano,L.(inprogress).The significance of the TIM in higher education: Can it be effective across discipline and educational levels?Master’sproject.Buffalo,NY:BuffaloStateCollege.

Keller-Mathers,S.(2009).CreativeTeaching.InB.Kerr(Ed.)Encyclopedia of Giftedness, Creativity, and Talent(pp.197-200).ThousandOaks,CA:Sage.

Keller-Mathers,S&.Murdock,M.C.(2002,Fall).TeachingthecontentofcreativityusingtheTorrance Incubation Model:Eyeswideopentothepossibilitiesoflearning.National Association of Gifted Children’s Celebrate Creativity, 12(2),7-9.

Man,K.(2006).Exploring the use of the Torrance Incubation Model in the design of lessons in Art Explore.Unpublishedpaper.Buffalo,NY:BuffaloStateCollege.

Michaels,J.(2006).Making the TIM more accessible and useful in organizational training.UnpublishedMaster’sproject.Buffalo,NY:BuffaloStateCollege.

Murdock,M.C.&Keller-Mathers,S.(November10,2001).Time is on your side: Integrating creativity into content.InvitedMasterClasspresentationattheNationalAssociationforGiftedChildren’sAnnualConference,Cincinnati,OH.

Murdock,M.C.&Keller-Mathers,S.(2002a,Fall).Teachingforcreativity:Wherethere’sawill,there’saway.National Association of Gifted Children’s Celebrate Creativity,12(2),3-4;10-12.

Murdock,M.C.&Keller-Mathers,S.(2002b,Fall).Foundationsofthe Torrance Incubation Model:Identifyingandusingacreativityskillset.National Association of Gifted Children’s Celebrate Creativity,12(2),5-6;13.

Nitkowski,K.(2004).Documenting the use of the teacher’s experience with the use of the Torrance Incubation Model of Learning and Teaching. UnpublishedMaster’sproject.Buffalo,NY:BuffaloStateCollege.

Olma,J.(inprogress).Identifying the impact of the Torrance Incubation Model on teaching pedagogy and outcomes of adjunct instruction trained in the Torrance incubation model on their return to their college classrooms.UnpublishedMaster’sproject.Buffalo,NY:BuffaloStateCollege.

Sabo,S.L.(2003). Warming up to leaping beyond.UnpublishedMaster’sproject.Buffalo,NY:BuffaloStateCollege.

Standish-Wallace,S.(2004).Using the Torrance Incubation Model in a mandated setting for adult learners.UnpublishedMaster’sproject.Buffalo,NY:BuffaloStateCollege.

Torrance,E.P.(1979).Aninstructionalmodelforenhancingincubation.Journal of Creative Behavior,13(1),pp.23-35.

Torrance,E.P.&Safter,H.T.(1999).Makingthecreativeleapbeyond.Buffalo,NY:CreativeEducationFoundation.

Torrance,E.P.&Sisk,D.(1997). Gifted children in the regular classroom.Buffalo,NY:CreativeEducationFoundation.

Zubrzycki,T.(2006).Increasing thinking at the Theatre of Youth through use of the Torrance Incubation Model.UnpublishedMaster’s

InternationalCenterforStudiesinCreativityatBuffaloState,BuffaloNewYork.

ByMaishaDrayton&CatherineSkoraincollaborationwithDr.SusanKeller-Mathers

Utilization of TIM Framework, Lesson Design and Creativity Skill

Integration

Author Audience Overall Framework Lessons/

Sessions Integrated Skills

Accurso 7th Grade Social Studies Constitution Unit

9 Look Another Way, Highlight Essence

Garas Human Service Employees

Creative Problem Solving Workshop Series

3 Humor & Playfulness

Gilliano Higher Education Students

English Classes 2 TIM lessons, 2 non-TIM

2 Look Another Way, Fantasy

Michaels Corporate Trainers

TIM Workshop for Trainers

1 Look Another Way, Highlight Essence

Standish-Wallace

Health Care Employees

Rights Workshop Series 3 More than One Way, Put Ideas Context

Zubrzycki Teachers Series of lessons around a play

3 Visualize Inside, Fantasy, Humor

© 2008 Keller-Mathers and Murdock. Used by permission.

Variety of TIM Uses in ICSC Studies and Applications

Focus of TIM Topic Participants

Educational/Classroom Social Studies, Art, Science, English and Cross-curricular

elementary through university students

Personal Growth, Creativity Skill Development

Constructing a fountain, 18 Beyonder skills videos

Self, Adults

Training and Development Rights/Responsibilities, TIM, Creative Problem Solving

Corporate and not-for-profit employees

Performing Arts Improv games/performance, children’s literature/theater production

Adults, Teacher’s of young Children

© 2008 Keller-Mathers and Murdock. Used by permission.

Utilization of TIM Framework, Lesson Design and Creativity Skill

Integration

Author Audience Overall Framework Lessons/

Sessions Integrated Skills

Accurso 7th Grade Social Studies Constitution Unit

9 Look Another Way, Highlight Essence

Garas Human Service Employees

Creative Problem Solving Workshop Series

3 Humor & Playfulness

Gilliano Higher Education Students

English Classes 2 TIM lessons, 2 non-TIM

2 Look Another Way, Fantasy

Michaels Corporate Trainers

TIM Workshop for Trainers

1 Look Another Way, Highlight Essence

Standish-Wallace

Health Care Employees

Rights Workshop Series 3 More than One Way, Put Ideas Context

Zubrzycki Teachers Series of lessons around a play

3 Visualize Inside, Fantasy, Humor

© 2008 Keller-Mathers and Murdock. Used by permission.

Utilization of TIM as a Reflecting Process and Framework

Author Audience Overall Framework

Carr Self/Adults Building Fountain, “How To” Manual for others© 2008 Keller-Mathers and Murdock. Used by permission.

Utilization of TIM Framework and/or Lesson Design

Author Audience Overall Framework Lessons/Sessions

Nitkowski 3rd Grade Students, Teacher Unit on Dessert Regions 13

Olma Adjunct Higher Education Faculty Engaged Learning, TIM 2

© 2008 Keller-Mathers and Murdock. Used by permission.

Utilization of Creativity Skills as the Focus

Author Creativity Skills Integrated

Man Extend Boundary, Make it Swing Ring, Combine & SynthesizeCillitioci Visualize inside, keep open, combine & synthesize, Fantasy, Dore Inprov skits using most Beyonder skills and other creativity conceptsSabo Videos of 18 Beyonder skills

© 2008 Keller-Mathers and Murdock. Used by permission.Promoting Creative Teaching & Learning: The 2010 ICSC TIM Dissemination Initiative

E. Paul Torranceinspireddecadesofthoughtandactionrelatedtocreativity,creativelearningandtheIncubationModelofTeaching.Ashisstudent,MaryMurdockspent23yearsatICSCapplyingandfurtherdevelopingTorrance’sclassicmodel.ShesparkedtheriseofanentirecommunityofpassionateTIMuserswhosethoughtsandactionrelatedtocreativelearningandteachingisframedwiththisclassicmodel.

Thecurrentinitiative,leadbylongtimeTIMcollaboratorsandICSCfacultySusanKeller-MathersandCyndiBurnett,articulatesthenextlevelofdevelopment.ItwasDr.M’sintenttoinspireandgrowcolleaguesandtothatend,shewasquitesuccessful.Herwordsringloudandcleartoallofus“TIMers”whoknowthatourfineworkregardingcreativeteachingandlearning,nomatterhowgooditis,isunderutilizedifwedon’t“Getoutthereandmaketheworldabetterplace.”InthespiritofDr.M’scalltoaction,theinitiativefocusingontakingtheICSCworktothenextlevelofdisseminationofbestpractices.ThecurrentinitiativesbuildsfromthefoundationalworkofDr.E.PaulTorranceandhiscolleaguesattheUniversityofGeorgia,theinfluentialworkofDr.MaryMurdockinutilizingandfurtherdevelopingDr.T’soriginalmodelandthecurrentthinkingofDr.M,herlongtimecollaboratorsDr.Keller-MathersandCyndiBurnettandallthe“TIMers”.Thedisseminationinitiativegrewoutofthreeneeds:1)developamoredeliberatecollaborativeenvironment,including

strengtheningthecurrentinformalnetworkforsharingcurrentthinkingandinitiativesrelatedtocreativelearningandteachingingeneralandTIMspecifically;

2)disseminatetothelargercreativitycommunitybestpracticesfromICSCscholar/practitionersthroughouttheworldwhoareusingTIM;

3)providesupportforthefuturedevelopmentanddisseminationoftheICSC’scommunitiesworkrelatedtocreativelearningandteachingingeneralandTIMspecifically.

Theinitiativefocusesonfivemainareasincluding:writing,research,practices,productsandnetwork.Manyoftheactivitiesdescribedarebeingdevelopedinoneormoreareascurrently.CurrentworkincludesanupdatedbookonTIM(Keller-Mathers)andaneditedcollectionofTIMpractitioner’sexperiences(Keller-Mathers&Burnett).

Utilization of Creativity Skills as the Focus

Author Creativity Skills Integrated

Man Extend Boundary, Make it Swing Ring, Combine & SynthesizeCillitioci Visualize inside, keep open, combine & synthesize, Fantasy, Dore Inprov skits using most Beyonder skills and other creativity conceptsSabo Videos of 18 Beyonder skills

© 2008 Keller-Mathers and Murdock. Used by permission.

TIMisadeliberateframeworktointegratecreativityandpromoteincubationfordeep-er,richercreativelearning.Itcanbeutilizedtoplananddeliverdiscretelearningepi-sodessuchasalessonandalsoforlargerframeworkssuchasunits,blocksoflearningandlongtermcours-esandprograms.Itcanalsobeusedtome-ta-cognitivelyprocesslearningexperiences(whathappened,why,whereamIinthecreativelearningprocess?).Studiesde-scribedincludeaspectsofallofthefunctionsofTIM.

GARAS (2002)•ExaminedtheuseofTIMandtheintegra-tionofhumorandplayintoCPStrainingforhumanservicesemployees.

•Conductedtwo-hourworkshopswith10employees.

•AdministeredPreandpostsurveysexam-iningthoughtsabouthumor,creativityandproblemsolving.

•Participantsreportedanincreasedcom-fortlevelwithhumor,positiveresponsetohumor,andthatitstimulatedcreativityandhelpedpromoteideas.

Giordano (in progress)•DesignedanddeliveredcollegelevelfreshmanEnglishlessonsusingtheTIMandcomparedtheinteractiontonon-TIMlessons.

•DevelopedTIMandnon-TIMlessonsinte-gratingskillsintothelessons.

•Deliberatelychoseliteraturestudentsof-tenconsider“dry”.

•SurveyscompletedshowedTIMbehav-iorswerepresent.

•Studentswereabletoidentifystrategiesinwarmingupactivities,andreportedbeingmoreengagedandinvolvedinTIMlessons.

•StudentsratedtheirinstructorshigherwhendeliveringlessonsusingTIM.

Michaels (2006)•Examinedcorporatetrainers’responsetoanduseofTIMandtrainingdesignmeth-odology.

•Trained17customerservicetrainingpro-fessionalsintheconceptsandstructuresofTIM.

•Trainerdesignedandimplementedtrain-ingmodulesusingTIMasaframework.

•Michaelsdesignedafour-hourintroduc-toryTIMworkshop,integratedwithskills.

•Workshopparticipantsindicatedatacticunderstanding,andcurrentusesofTIMstagesandstrategies.

•ParticipantsalsoindicatedTIMwouldbenefittheirprogramdesignandfacilita-tionoflearners.

Nitkowski (2004)•ObservedanddocumentedtheuseofTIMforcreativelearningandteaching,documentedtheteacher’sexperiencewiththemodelatelementarylevel.

•Afive-weekcross-curricularunitofstudyfocusedonscienceandsocialstudies.

•Observationsweredocumentedbyteachersasparticipantsandobserversandstudentfeedback.

•ResultsindicatedthepresenceofTor-rancestrategiesandbehaviorsandasawholetherewasengagementandmoti-vationofthelearnersandthefacilitator/teacher.

Olma (In progress)•ExaminedtheeffectofTIMonadjunctcollegelevelfacultyteachingpedagogytoenhancedeliveryofmoreengagedlearning.

•Examined17facultymembersthrougha16hour,twodayEngagedLearningProj-ectPilotprogramteachingthecontextofhighereducationandinstructionintheTIM.

•Debriefwithparticipants,asessionques-tionnaire,andparticipantreflectionsindi-catedTIMassistedwithchangesinclass-roomdeliveryofcontentfromalectureorienteddesign,tomoreengagedlearn-ingopportunitiesforstudents.

•Participantsalsoindicatedtheyweremoremindfuloftheirmethodologyandteachingdeliverymodes.

Standish-Wallace (2004)•IntegratedtheTIMframeworkandskillsintoamandatedtrainingfornot-for-profitemployeestostrengthenlearningofcon-tentandteachcreativityconcepts.

•Observedmandatedtrainingfor27em-ployeesusingtheTIMandintegratedtwocreativityskills.

•Participantsalsocompletedsurveytoevaluateteaching,retention,anduseoftheinformationthreeweeksafterthetrain-ing.

•ResultsindicatedapositiveresponsetothecontentandprocessofTIM.

•Allbutfourofthe52behaviorsontheob-servationaltooltoheightenanticipation,deepenexpectations,andextendthelearningwereobserved.

•Therewereindicationsthatcontentlearningcontinuedbeyondclassesathome,work,anddecisionmaking.

Overview of the TIM Observational/Descriptive Studies

Having

a Ball

Singing

in O

ne’s

Own Key

Create the Desire to Know

Heighten Anticipation & Expectation

Get Attention

Arouse Curiosity

Tickle the Imagination

Give Purpose and Motivation

Creativity Goal

Content Goal

He

igh

ten

ing

An

tic

ipa

tio

n

Buildin

g San

d Cas

tles

Pluggin

g in t

he S

un

Shakin

g Han

ds w

ith To

morro

w

Exten

ding

the

Lear

ning

Dig

ging

Dee

per

Look

ing

Twic

e

List

enin

g fo

r S

mel

ls

Cro

ssin

g O

ut M

ista

kes

Cut

ting

Hol

es to

See

Thr

ough

Get

ting

Out

of L

ocke

d D

oors

Cut

ting

Cor

ners

Get

ting

in D

eep

Wat

er

Deepe

ning

Exp

ecta

tions

Torrance Incubation Model of Teaching and Learning© 2008 Keller-Mathers, S. & Murdock, M.

Incubation

TOPIC

Having

a Ball

Singing

in O

ne’s

Own Key

Create the Desire to Know

Heighten Anticipation & Expectation

Get Attention

Arouse Curiosity

Tickle the Imagination

Give Purpose and Motivation

Creativity Goal

Content Goal

He

igh

ten

ing

An

tic

ipa

tio

n

Buildin

g San

d Cas

tles

Pluggin

g in t

he S

un

Shakin

g Han

ds w

ith To

morro

w

Exten

ding

the

Lear

ning

Dig

ging

Dee

per

Look

ing

Twic

e

List

enin

g fo

r S

mel

ls

Cro

ssin

g O

ut M

ista

kes

Cut

ting

Hol

es to

See

Thr

ough

Get

ting

Out

of L

ocke

d D

oors

Cut

ting

Cor

ners

Get

ting

in D

eep

Wat

er

Deepe

ning

Exp

ecta

tions

Torrance Incubation Model of Teaching and Learning© 2008 Keller-Mathers, S. & Murdock, M.

Incubation

TOPIC

Having

a Ball

Singing

in O

ne’s

Own Key

Create the Desire to Know

Heighten Anticipation & Expectation

Get Attention

Arouse Curiosity

Tickle the Imagination

Give Purpose and Motivation

Creativity Goal

Content Goal

He

igh

ten

ing

An

tic

ipa

tio

n

Buildin

g San

d Cas

tles

Pluggin

g in t

he S

un

Shakin

g Han

ds w

ith To

morro

w

Exten

ding

the

Lear

ning

Dig

ging

Dee

per

Look

ing

Twic

e

List

enin

g fo

r S

mel

ls

Cro

ssin

g O

ut M

ista

kes

Cut

ting

Hol

es to

See

Thr

ough

Get

ting

Out

of L

ocke

d D

oors

Cut

ting

Cor

ners

Get

ting

in D

eep

Wat

er

Deepe

ning

Exp

ecta

tions

Torrance Incubation Model of Teaching and Learning© 2008 Keller-Mathers, S. & Murdock, M.

Incubation

TOPIC

What is it? Amodelforcreativeteaching&learningOriginal Purpose:DesignanddeliveryofcreativitycontentIntegrationofcreativitycontentintootherdomainareasMulti Purpose ApplicationCanbeusedtodeliveranycontentarea!Dynamicsbetweencontent&processformtheuniquemetacognitiveframeworkthatmakesthemodelsoeffectiveinintegratingcreativityintoothercontentareasIncludes…3StagesCognitiveStrategiesDeliverySystem

International Center for Studies in Creativity at Buffalo State, Buffalo, NYMaishaDraytonandCatherineSkoraincollaborationwithDr.SusanKeller-Mathers

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