The method of G. Davis is designed to determine the creative abilities of students. The fundamental research method is testing. The technique is intended for adolescents and young men aged 14-17. The study is conducted by a teacher-psychologist once a semester with students from schools, vocational schools, secondary schools. The results of the study are intended for teachers, educators, curators of study groups, masters of industrial training, a social teacher, and class teachers. The technique is carried out in the standard conditions of educational institutions (group form of testing). The interpretation of the results is carried out in accordance with the key to the evaluation and processing of research data.
Read the statements. If you agree with the statement, then put "+". If you disagree with the statement, then put "-".
I think I'm neat (tna)
I liked to know what was going on in other classes of the school.
I liked visiting new places with my parents, not alone.
I love being the best at anything.
If I had sweets, then I tried to keep them all.
I am very worried if the work that I do is not the best, cannot be done by me in the best possible way.
I want to understand how everything happens around, to find the reason.
As a child, I was not particularly popular with children.
I sometimes act like a child.
When I want to do something, nothing can stop me.
I prefer to work with others and cannot work alone.
I know when I can do something really good.
I am very worried and worried when I make mistakes.
I often miss.
I will be important and famous when I grow up.
I love looking at beautiful things.
I prefer familiar games to new ones.
I love to explore what will happen if I do something.
When I play, I try to take as little risk as possible.
I prefer watching TV than doing it.
Key
Creativity (ability to be creative) - in case of answers (+) to questions: 2, 4, 6, 7. 8, 9, 10, 12, 16, 17, 19 and in case of answers (-) to questions: 1, 3 , 5, 11, 13, 14, 15, 18, 20, 21.
The sum of the answers corresponding to the key indicates the degree of creativity. The larger the amount, the higher the creativity.
If the sum of the answers corresponding to the key is equal to or greater than 15, then we can assume that the respondent has creative abilities. The teacher must remember that these are still unrealized opportunities. The main problem is to help in their implementation, since often other character traits of such people prevent them from doing this (increased pride, emotional vulnerability, unresolved core personal problems, romanticism, etc.). We need tact, communication on an equal footing, constant monitoring of their creative products, humor, periodic pushing to "great things" and exactingness. Avoid sharp and frequent criticism, more often give a free choice of topic and mode of creative work.
The concept of creativity and development
creative abilities
Practical work
1. Translate into understandable language an excerpt from a humorous poem by Lewis Carroll:
Varkalos. Flimsy shorts
Pyryali on nave,
And the zelyuks grunted,
Like music in a move
2. Try to determine on your own the features and results of artistic and scientific creativity. What is the difficulty in assessing the results of creativity?
3. Express your understanding of creativity and the actions that make up the creative process.
Creativity Tests
(ability to be creative)
Creativity indicators used in tests:
a) productivity(easiness or "fluency" of generating ideas, plots, associations in tasks of an open type, in which many different answers can be given) - measured by the total number of plots, ideas of different categories;
b) flexibility- measured by the number of stories, ideas of different categories, views on the problem;
AT) originality - determined by the number of rare answers; for example, the criterion for classifying an answer as original might be an answer that occurs in no more than two participants in a group of 10 people.
Incomplete figures (Torrens test)
Instruction. Draw the following figures (Fig. 1) to the whole picture, come up with and write names. You can draw several pictures for each figure.
Rice. one
Dealing with unusual situations (Torrens test)
Come up with and offer written solutions to unusual situations.
1. What will happen on Earth if all people become light as fluff?
2. In three days, our entire planet will be flooded with water, will turn into one ocean. What are you going to do?
3. Several thousand aliens landed on Earth, including near your house. What will you do?
Compare the originality and scope of all answers in the class.
Picture story (Torrens test)
Instruction. To conduct this test, you must form a group of several people. Everyone takes one picture and tries to tell about the present and future of the object or person that is depicted in it (Fig. 2). Compare the originality and volume of the story, i.e. strength and productivity of creative imagination.
Fig.2
Method "Four paper clips" (test by O.I. Motkov)
Instruction. You are given 4 paperclips (fig. 3). Please try to make different figures, plots out of them. On a piece of paper, draw (conditionally) each figure and sign it with a name you have invented. The total running time is 7 minutes.
Such qualities of the mind are determined as productivity, flexibility (it is important to consider that, for example, all composed letters belong to only one type), originality. If you managed to compose more than 20 plots of 10 different types, if several original figures were found among them, then we can assume that you have a good figurative imagination.
Fig 3.
Method "Nine points" (test by Ya.A. Ponomarev)
Draw, without taking your hands off the sheet, through all 9 points 4 straight segments (Fig. 4). Do not draw twice on the same line!
Everyone writes down solutions on their sheets of paper and tries to solve the problem without consulting each other. After 7 minutes, you can read the hint.
Fig 4.
A good indicator of intellectual activity is if you refuse prompts and do not take the task to solve at home. The best indicator of creativity is the independent solution of this problem.
G. Davis test questionnaire
1. I think I'm neat (tna).
2. I am interested to know what is being done in other classes of the school.
3. I liked (a) visiting new places with my parents, and not alone (alone).
4. I love being the best at anything.
5. If I have sweets, I rarely share them with anyone else.
6. I am very worried if the work I do is not the best, I cannot do my best.
7. I want to understand how everything is happening around, to find the reason.
8. As a child, I was not a ringleader among my peers.
9. I sometimes act like a child.
10. When I want to do something, nothing can stop me.
11. I prefer to work with others and cannot work alone.
12. I know when I can do something really well.
13. Even if I am sure that I am right, I try to change my point of view if others do not agree with me.
14. I am very worried and worried when I make mistakes.
15. I often miss.
16. I will achieve fame when I grow up.
17. I like to look at beautiful things.
18. I prefer familiar games to new ones.
19. I like to think about what will happen if I do something.
20. When I play, I try to take as little risk as possible.
21. I prefer to watch TV rather than study its device.
Key to the questionnaire
Creativity- in case of answers (+) on questions: 2, 4, 6, 7, 8, 9, 10, 12, 16, 17, 19 and in case of answers(-) for questions: 1, 3, 5, 11, 13, 14, 15, 18, 20, 21.
The sum of the answers corresponding to the key indicates the degree of creativity. The larger the amount, the higher the creativity.
If the sum of the answers corresponding to the key is equal to or greater than 15, then we can assume that the respondent has creative abilities. It must be remembered that these are still unrealized, “dormant” abilities.
Meaning of answers
1 - attitude towards disorder;
2 - interest in the environment;
3 - readiness for risk, for the unexpected;
4 - desire to stand out;
5 - altruism or selfishness;
6 - dissatisfaction with oneself (self-esteem);
7 - the presence of curiosity;
8 - sociability;
9 - independence;
10 - initiative, willpower;
11 - individualism or collectivism (introvert or extrovert);
12 - self-esteem;
13 - independence (or dependence) on others;
14 - fear of error;
15 - the presence (or absence of hobbies);
16 - vital installation;
17 - a sense of beauty;
18 - the desire for novelty;
19 - reflection, ability to analyze;
20 - gambling or prudence;
21 - research activity.
§2. Brainstorming Method (MA)
Practical work
Solve the proposed or other problems posed by the teacher using the MA method. To do this, use tests to select groups of idea generators and analysts (6-8 people each).
Originality Test
Away from all space lanes lay a small, fading star system. But now there was a need to create a new route passing through this system. To create a space base on the only planet of this system, an automatic reconnaissance was sent. Video cameras showed a gloomy lifeless landscape. On the rocky surface, oval pebbles are randomly scattered, smoothed by frequent hurricanes. During the beginning of the hurricane, communication with the scout disappears. A manned transport ship with a station module is sent to the planet. The ship also has a research laboratory for detailed study of the planet. The landing went well. Nearby, rubber shock absorbers and ceramic fragments of engines and electronics were found - the remains of an automatic reconnaissance aircraft. The crew begins scheduled work when an orbiting weather balloon reports an impending hurricane. During a hurricane, communication with the Earth is disrupted. On Earth, the space research center is starting to get worried. At this time, communication is resumed for a few seconds and the captain of the ship only has time to shout:
"Never land on this planet without studying its history... The ship hasn't been in touch again..."
Suggest an ending to this story (or list all possible consequences of this situation).
Similar information.
Dyslexia is quite common and is a violation of the development of higher mental functions of the brain, which, in turn, causes certain difficulties with reading and writing.
Dyslexia can manifest itself in several forms, but any type of disease can be corrected using various methods. One of the most effective and popular methods is considered to be the Davis technique.
The author of the technique, Ronald D. Davies, is the founder of the Center for Reading Research at the Center for Dyslexia Correction in the United States of America. The uniqueness of the program is that its creator himself is a dyslexic and has proven the effectiveness of his method on himself. According to Davies, dyslexia is not a disease, but a special gift that needs to be learned to use. The Davis Method is specifically designed to teach dyslexics how to properly use the gift of dyslexia.
Dyslexics are fast-thinking and imaginative, but their way of understanding the world around them is very different from what other people are used to. Dyslexics tend to use disorientation to build images of objects and their knowledge. The Davis technique is aimed at turning off disorientation by establishing a special “point of orientation”, thereby setting the imagination to create the most realistic images of the surrounding reality.
The Davis method helps in correction in most cases, regardless of the age of the dyslexic, and includes a set of measures, which conditionally consists of such elements as:
- assessment of the ability to perceive;
- switching;
- discharge and check;
- fine tuning;
- coordination;
- mastering symbols;
- sequential reading;
- mastering symbols in relation to words.
The schedule of classes according to the Davis program is compiled by the specialists of the medical institution, taking into account the individual characteristics of the patient. Although the desired results are visible even with gradual and longer treatment, it is recommended to conduct a course of intensive training in a shorter time.
Perception assessment
At the first stage of applying the methodology, specialists evaluate which of the areas excites the dyslexic child more than others. Often children with dyslexia worry about the difficulty in making contact with peers, and also because learning problems make them retarded in the eyes of teachers and classmates. Next, specialists need to determine the degree of difficulty in perception.
In the course of working on this problem, the child learns to use the so-called "mind's eye" to study the surrounding reality and build mental models.
The exercise is aimed at ensuring that the patient can imagine one or another object in his palm. By asking questions about the color, shape, size and other parameters of this object, the doctor helps the child build a more detailed image of the object in his head.
Next, the child learns to “transfer” his visual center and mentally examine the imaginary object from all sides, after which he can start playing with the object, changing its size, shape, color in his imagination or moving the object from one hand to another.
If this exercise was given to the child without much difficulty, you can proceed to the following exercises to correct dyslexia.
Switching
The main manifestation of dyslexia is disorientation, which must be “turned off” in order to obtain accurate images. It is possible to turn off the symptoms of disorientation by creating an "orientation point", which is a certain space in which the patient's vision is mentally fixed.
The position of this point can be calculated as follows. It is necessary to imagine a straight line emanating from an object in the palm of your hand and passing through the tip of the nose and the back of the child's head, ending 15-30 cm above the back of the head - this is where the "orientation point" area is located. In other words, the child will imagine that he is looking out of the eyes of an imaginary person standing behind him.
To more accurately fix the "mind's eye" point, you can imagine an anchor formed by imaginary lines tending to the "orientation point" from the ears and forehead of the child. Once the image of the anchor is fixed in the head of the dyslexic, the need to visualize all the lines will disappear, and the child will be able to receive the image as other people see it.
This effect is achieved due to the fact that the brain cells responsible for disorientation in dyslexics are located in the upper part of the brain, and by placing the "mind eye" in this area, the patient turns off disorientation, thereby turning off dyslexia itself.
At the same time, it is important to train the processes of switching on and off disorientation, but this must be done carefully, without overworking the child and avoiding headaches.
Discharging and checking
Disorientation brings the body of a dyslexic into a state of confused consciousness, in which the patient tries to simultaneously reset the “orientation point” and keep it in a fixed area for as long as possible. The process of holding the "mind's eye" in one place is quite tedious, because many patients quickly begin to experience headaches and muscle pain in the neck. To get rid of unpleasant sensations and not lose control of the "mind's eye", you need to defuse the mind.
The discharge is carried out using the same visualization. The patient needs to create in his imagination a feeling of relief and relaxation and spread it throughout the head and at the “orientation point”. Within a short time, tension from the muscles of the neck will disappear, and the headache will also disappear.
After discharging, you need to make sure that the "mind's eye" has not moved from a fixed space. To do this, the doctor asks the patient to point a finger at an imaginary "orientation point". The check is considered successful if the point is specified correctly. If the patient points to another area, it is necessary to fix his finger at the right point, thereby correcting the position of the "mind's eye" after discharge.
A patient who has mastered the skill of discharging and checking the position of the "mind's eye" can proceed to the next level of the program for the correction of dyslexia.
Fine tuning
In the initial stages, the "orientation point" is in a floating state, so the patient needs to fine-tune its position. This occurs by mentally moving the mind's eye around a conventional "orientation point", which allows the patient to determine the most optimal location of the "mind's eye".
As a rule, having found such a point, the dyslexic experiences relief and the ability to keep balance, which is lost with the movement of the "mind's eye" to other positions. Having found the necessary point, the patient must fix its position with the help of an imaginary anchor.
Fine tuning is a must exercise for dyslexics, as the optimal "point of orientation" periodically changes its position under the influence of various factors. The ability to tune your "mind's eye" will allow the patient to avoid unwanted disorientation.
Coordination
All dyslexics suffer from problems with coordination and the correct definition of right and left sides. An exercise aimed at training coordination will allow the patient to get rid of clumsiness and confusion, where is the right and where is the left. This exercise should be done regularly after fine-tuning the mind's eye.
Before starting the exercise, it is necessary to check whether the “point of orientation” is correctly fixed, after which the patient must balance his body, standing on one leg. After balance has been achieved, small balls are thrown to the patient, which he catches first with his right and left hands alternately, and then simultaneously.
The next step in this exercise is to throw the ball with a slight right or left deviation, which forces the patient to go beyond the axis of symmetry of his body in order to reach the ball. Regular performance of this exercise contributes to significant progress in the normalization of coordination. It is also recommended to practice with balls in between exercises for the development of symbols.
Symbol Mastery
The imagination of a dyslexic perceives only a three-dimensional image, while almost the entire educational process is based on printed two-dimensional images.
Various numbers, prepositions, or other printed signs confuse the dyslexic and make the learning process, built mainly on working with printed media, unbearably difficult.
In order for the patient to learn this or that letter of the alphabet or a number, he needs to independently recreate this figure in a three-dimensional image and compare the hand-made model with its printed counterpart. Plasticine is well suited for creating models.
Further, it is important to carefully work out this particular element, having studied its position in the alphabet or number series. After the element is fixed in the mind, you can move on to a new element that causes difficulties in reading.
It is much more difficult for a dyslexic to learn symbols such as punctuation marks or arithmetic signs. It is important not only to compare the three-dimensional and two-dimensional image, but also to understand the purpose and reason for setting a certain sign. In addition, the patient must learn to give examples of the use of these symbols.
Sequential reading
The consciousness of dyslexics is arranged in such a way that printed or written information is perceived as a whole, and not by letter. Looking at a whole word, a dyslexic child tries to guess what object or phenomenon this word means. At the initial stage, it is necessary to teach the child to sequential reading from left to right with the isolation of individual groups of letters or syllables. However, there is no need for reading comprehension.
To practice reading, you need to pick up an extremely simple book and take breaks from time to time, not forgetting to check the position of the “orientation point”.
At the next stage, the patient must learn to repeat the read word. If he does not succeed, you must ask him to read the word several times and explain what this word means.
Next, it is important to develop an understanding of the meaning of whole sentences. To begin with, you can explain to the child what semantic load the read sentence carries, and then ask him to simulate the read situation in his imagination.
Mastering symbols in relation to words
Some language elements can be difficult to define. Exercises with these words are built as follows.
- To begin with, it is important to study the lexical meaning of this word in the explanatory dictionary.
- It is very important for dyslexics to immediately master the correct pronunciation of certain words, so the next step is to study the transcription of the necessary word.
- To master an unfamiliar word, you need to carefully work with its definition, making sentences with it and simulating situations in your imagination.
- It is recommended to simulate a situation related to this word from plasticine. For example, to master the meaning of the preposition "y", you can fashion one figure located at the other.
- The model of the letters that make up this word, made of plasticine, will also facilitate its understanding.
- The dyslexic needs to recreate molded patterns in his imagination.
- To work out an unfamiliar word, you need to say its meaning aloud several times.
At this level, it is especially important to remember that the speed of thought in dyslexics is very high, so it is important to accustom the child to gradual and unhurried reading for better reading comprehension.
If a child is born in a family who is distinguished from others by the gift of dyslexia, it is necessary to pay sufficient attention to activities aimed at correcting dyslexia so that the child can adapt to the world around him. While it’s best to start correcting early, it’s never too late to take up dyslexia exercises. The Davis method gives good results in classes at any age.
How do you know how creative you are? Researchers on the nature of creativity and the processes of creativity have developed many diagnostic methods that can be used to find out whether you are a creative person and to what extent. Let's look at how you can test how creative you are.
Scientific approaches to the problem of diagnosing creative abilities
What is the concept of "creativity" and how to evaluate it? - this is the originality of personality traits, allowing it to master various types of activities and improve in them. Creative skills assume a positive transformation of the surrounding world by creating original, unique, new spiritual or material values. Starting to assess the level of development of creative abilities, it is necessary to consider them through the prism of the development of individual elements. This is due to the fact that only creative thinking does not fully reflect all the components of creative activity. It is important to evaluate both perception, and imagination, and fantasy, and originality, and much more.
All studies of creativity can be divided into two groups:
- - universal cognitive creativity based on the interaction of intellect, cognitive abilities and real achievements. Representatives of this direction:, S. Mednik, A. Ponomarev, S. Taylor, E. Torrens. Their scientific achievements lie in the study of the influence of intelligence on the ability to generate new ideas.
- A creative personality is a complex of originality of individual creative features. Research in this area is devoted to the search for a description of the characteristics of the "portrait of a creative personality", motives and socio-cultural factors of creativity (F. Barron, D. Bogoyavlenskaya,).
Criteria for assessing creativity
Joy Gilford was one of the first to interpret the essence of creative thinking as a synthesis of originality, novelty and flexibility of the proposed ideas. Subsequent theories of creative thinking were essentially copies and variations on the theme of Guildford's thinking. Therefore, the first diagnostic methods for determining the level of development of creative abilities were built according to the following criteria:
- how quickly and easily creative abilities will manifest themselves when performing a specific task (here, the number of answers or options for solving a problem for a certain period of time is important)
- how flexible the responses are (number of switches from one type of object to another)
- how original the answers are (frequency of a certain answer in a homogeneous group).
Quiz is an easy way to test your creativity. Alice Paul Torrance. It consists of three parts, each of which characterizes verbal, visual and sound creativity. The test is carried out for a specified time, and the evaluation of its results takes place in accordance with the following criteria:
- Fluency(speed) - the number of responses for a certain period of time.
- Flexibility(variety of answers).
- Originality(a rarity of ideas).
- Development of ideas(detail).
The results of various scientific studies have made it possible to identify general indicators that can be relied upon when assessing the level of development of creative abilities:
- attentiveness(the ability to see and identify a creative problem)
- versatility(the ability to notice more sides and connections in the task at hand)
- flexibility(rejection of the standard point of view)
- originality(rejection of the template)
- variability(ability to regroup ideas and connections)
- concreteness(ability to deeply analyze the task at hand)
- abstractness(ability to synthesize)
- harmony(generation of ideas based on organizational harmony and ideological integrity)
- independence(non-acceptance of judgments and assessments under the influence of someone else's opinion)
- openness of perception(susceptibility to new, unusual).
Principles of the methodology for diagnosing creative abilities
When selecting or developing a methodology for diagnosing creative abilities, attention should be paid to ensuring that the methodology is reliable, and therefore covers different characteristics of creativity. It is important to pay attention to the age of the subjects, as well as to the diagnostic environment (whether you set a time limit or not, how you voice the test conditions, etc.).
Basic principles for diagnosing creative abilities:
- Intelligence tests are not suitable for diagnosing creativity, since their goal is the speed and accuracy of finding the only correct solution from several proposed ones.
- Exploring creativity, you need to study its figurative (non-verbal, artistic) and verbal (verbal) sides.
- Diagnostic methods should measure the indicators of stereotyped and stereotyped thinking (which is reflected in the use of words and images in a certain associative connection). The indicator of creativity is far from stereotypes (established connections).
- When diagnosing, you need to measure productivity (the ratio of the number of answers to the number of tasks).
- Originality is defined as the number of reciprocals in terms of the frequency of occurrence of non-standard responses.
- The measurement of uniqueness is carried out in terms of the number of ideas that have not been encountered before in relation to the total number of answers.
"On a note. Low diagnostic results do not at all mean that a person is incapable of creativity: one must take into account that creative manifestations are spontaneous and not subject to regulation.”
All methods of diagnosing creative abilities are not an absolute indicator of the formation of creativity. The disadvantage of test methods is that they evaluate creative manifestations in general, and not in application to any specific situation. Another drawback is the ambiguity of interpretation. These two factors reduce the level of diagnostic objectivity. Despite the shortcomings, test methods for studying the level of development of creative abilities are used by many scientists, psychologists, teachers, and creativity trainers: by combining several test options, you can explore creativity from different angles.
Try to measure your overall level of creativity with this simple questionnaire.. With the help of it, you, at least, you will find out how much you are striving for creative, creative activity.
Questionnaire for determining the level of creativity
Instruction. You are presented with a series of statements. Mark your agreement or disagreement next to the number of the statement, respectively, with the signs "+" or "-".
- I don't like a job where everything is clearly defined.
- I like abstract painting, I understand it
- I don't like doing regimented work.
- I don't like going to museums: they are all the same.
- I love to indulge in fantasies.
- Hobbies enrich a person's life.
- I can watch the same performance many times: each time a different game of actors, a new interpretation.
- I think it's better to be a cutter than a tailor.
- I value the process more than the end result.
- Even in the usual business, I'm creative.
- I often doubt what is obvious to others.
- Abstract painting gives food for thought.
- I would not like to subordinate my life to any particular system.
- I like the work of designers.
- I don't like walking the same path.
Analysis. Calculate the sum of "+": 0-5 points corresponds to a low level of creativity, 6-9 points to an average level, 10-15 points to a high level
What is your result?
The method of G. Davis is designed to determine the creative abilities of students. The fundamental research method is testing. The technique is intended for adolescents and young men aged 14-17. The study is conducted by a teacher-psychologist once a semester with students from schools, vocational schools, secondary schools. The results of the study are intended for teachers, educators, curators of study groups, masters of industrial training, a social teacher, and class teachers. The technique is carried out in the standard conditions of educational institutions (group form of testing). The interpretation of the results is carried out in accordance with the key to the evaluation and processing of research data.
Read the statements. If you agree with the statement, then put "+". If you do not agree with the statement, then put "-".
- 1. I think I'm neat (tna).
- 2. I liked to know what was going on in other classes of the school.
- 3. I liked visiting new places with my parents, not alone.
- 4. I love being the best at anything.
- 5. If I had sweets, I tried to keep them all.
- 6. I am very worried if the work that I do is not the best, I cannot do it in the best way.
- 7. I want to understand how everything is happening around, to find the reason.
- 8. As a child, I was not particularly popular with children.
- 9. I sometimes act like a child.
- 10. When I want to do something, nothing can stop me.
- 11. I prefer to work with others and cannot work alone.
- 12. I know when I can do something really good.
- 13. Even if I am sure that I am right, I try to change my point of view if others do not agree with me.
- 1. I am very worried and worried when I make mistakes.
- 2. I often miss.
- 3. I will be important and famous when I grow up.
- 4. I like to look at beautiful things.
- 5. I prefer familiar games to new ones.
- 6. I love to explore what will happen if I do something.
- 7. When I play, I try to take as little risk as possible.
- 8. I prefer to watch TV than to do it.
Key. Creativity (ability to be creative) - in case of answers (+) to questions: 2, 4, 6, 7. 8, 9, 10, 12, 16, 17, 19 and in case of answers (-) to questions: 1, 3, 5, 11, 13, 14, 15, 18, 20, 21.
The sum of the answers corresponding to the key indicates the degree of creativity. The larger the amount, the higher the creativity.
If the sum of the answers corresponding to the key is equal to or greater than 15, then we can assume that the respondent has creative abilities. The teacher must remember that these are still unrealized opportunities. The main problem is to help in their implementation, since often other character traits of such people prevent them from doing this (increased self-esteem, emotional vulnerability, unresolved core personal problems, romanticism, etc.). We need tact, communication on an equal footing, constant monitoring of their creative products, humor, periodic pushing to "great things" and exactingness. Avoid sharp and frequent criticism, more often give a free choice of topic and mode of creative work.