Maud BESANCON
Université Paris Nanterre, 92, Faculty Member
Studies on SMS and teenagers have exploded the last few years. Results show that there is a link between textisms (change in a word’s orthographic form compared to traditional writing) and students’ literacy skills (Journal of Computer... more
Studies on SMS and teenagers have exploded the last few years. Results show that there is a link between textisms (change in a word’s orthographic form compared to traditional writing) and students’ literacy skills (Journal of Computer Assisted Learning, 2011, 27 (1)). Only one study has investigated the link between cell phone use and creativity (Jackson et al., 2012). In the present study, the participants were 24 girls and boys (mean age 21 years, SD=1.44 years) enrolled into a psychology course at a French university. They were asked to write SMS on their phones (under real life scripts) and passed the EPoC battery (Evaluation of Potential of Creativity, Lubart et al., 2011). Our results focus on: (1) the density of textisms produced by the participants while writing SMS; (2) the level of divergent and integrative thinking (verbal and graphic domains) of the writers. We distinguished between two types of textisms: (a) consistent with the traditional written French code (lov for love) Vs. (b) breaking with the traditional code (gr8 for great) (Bernicot et al., 2012). The second ones are the most representative of SMS teenage language. Results show a negative and significant relationship between textisms breaking with the code and verbal creativity (r = -.53 and r = -.41, p<.05 for divergent and integrative thinking respectively). Moreover, students who produce less textisms breaking with the code have the greatest amount of verbal divergent thinking (t(22) = 2.13, p<.05) and graphical integrative thinking (t(22) = -2.47, p<.05). Results are interpreted in terms of declarative knowledge in long term memory.
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Research Interests: Humanities and Enfance
International audienc
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Creativity is a crucial concept in modern societies which require new ideas to solve problems. Creativity is defined as the capacity to realize a production which is new (or original) and adapted to the constraints of a situation or a... more
Creativity is a crucial concept in modern societies which require new ideas to solve problems. Creativity is defined as the capacity to realize a production which is new (or original) and adapted to the constraints of a situation or a domain of expression. At present, some standardized measures allow creative potential to be estimated by evaluating isolated cognitive (e.g. divergent thought) and conative aspects (e.g. creative personality) involved in the expression of this potential. The main purpose of the battery of Evaluation of the Creative Potential (EPoC) is to evaluate divergent exploratory thinking and convergent integrative thinking which are both involved in creativity, with the aim of diagnosis (e.g., high creative potential) and description of a creative profile in various domains (verbal, graphic). This profile can be used to direct the development of the creativity in an appropriate way. We will present the results of a new part of the EPoC battery, concerning the field of the social creativity. The sample consists of French elementary school children, and examines their performance in social creativity tasks. Social creativity differences comparing high potential children (HP, IQ>130) and non HP children will also be presented
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Creativity Under Duress in Education? introduces a new framework—creativity under duress in education. Leading creativity researchers and educational scholars discuss creative theory and practice from an educational lens that is... more
Creativity Under Duress in Education? introduces a new framework—creativity under duress in education. Leading creativity researchers and educational scholars discuss creative theory and practice from an educational lens that is provocative. Across international contexts, this book combines insights from creativity and educational research; rich illustrations from classrooms, schools, and other professional settings, and practical ideas and strategies for how anyone invested in education can support creative teaching and learning. Readers will encounter diverse perspectives from an international cast of authors exploring cutting-edge ideas for creativity and innovation as a foremost priority for economies in the new millennium. At the same time, they consider forces of authority, control, and constraint that impact creative education and innovation within educational systems, extending to the professions. Educators and those interested in the future of education are vitally important to this conversation around research-based and practical analyses of creativity in and beyond the classroom. Addressed are these major issues: (1) creativity frameworks of theory and action in education, (2) research investigations into creativity and education, and (3) applications of creativity theory in real-world practice. Dynamic, this book presents a bridge between draconian contexts of assessment and explosive creativity in diverse places. A key contribution of the volume is its validation and promotion of creativity and innovation for students, teachers, professors, leaders, employers, policymakers, and others seeking ways to profoundly improve learning and transform education. In tackling the seemingly irreconcilable issues of creativity and accountability in K–12 institutions, higher education, and policy circles, worldwide, this work offers a message that is both cautionary and inspiring.
Research Interests: Sociology and Creativity
Studies on the development of creativity have highlighted the impact on learning environments (Besancon & Lubart, 2008). In particular, pedagogical approaches are hypothesized to differ concerning their emphasis on individual... more
Studies on the development of creativity have highlighted the impact on learning environments (Besancon & Lubart, 2008). In particular, pedagogical approaches are hypothesized to differ concerning their emphasis on individual initiative, and action-based learning. Moreover, we hypothesized that pedagogical approaches impact also global and school wellbeing (Diener, Emmons, Larsen, & Griffin, 1985; Huebner, 1994), interest (Schiefele, 2009), Intrinsic and extrinsic motivation (Deci & Ryan, 2002), self-efficacy (Bandura, 2003), feelings of relatedness (Richer & Vallerand) and flow (Csikszentmihalyi, 2000). This study focuses on children’s profiles concerning creativity, on different kinds of motivation and wellbeing according to their learning environments (traditional pedagogy with or without notes and alternative pedagogy – Steiner School). Children are schooled in Paris suburbs in first or second year of college. We used EPoC (Evaluation of Creative Potential, Lubart, Besancon & Barbot, 2011) to measure the creative potential and various questionnaires for motivation, wellbeing and interest
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Creativity is a 21st-century skill that is receiving increasing attention in schools.One of the key issues that needs to be solved to facilitate the education of creativity is its’ measurement. There is however ongoing controversy on the... more
Creativity is a 21st-century skill that is receiving increasing attention in schools.One of the key issues that needs to be solved to facilitate the education of creativity is its’ measurement. There is however ongoing controversy on the measurement of creativity. This is an issue of debate concerning both children, adolescents’ and adults’ creativity. A growing scholarly literature, since the earliest attempts to measure creativity more than a century ago, has not yet resolved this issue. To mention just a few of questions that remain to be resolved, we can cite: 1. What is creativity? 2. Why measure it? 3. How can creativity be measured? 4. Who is the best judge of creative work? These questions will be examined in this chapter and a new tool for the evaluation of creative potential in educational settings will be described.
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Creativity is a crucial concept in modern societies that require new ideas to solve problems. Creativity is defined as the capacity to realize a production which is new (or original) and adapted to the constraints of a situation or a... more
Creativity is a crucial concept in modern societies that require new ideas to solve problems. Creativity is defined as the capacity to realize a production which is new (or original) and adapted to the constraints of a situation or a domain of expression. At present, some standardized measures allow creative potential to be estimated by evaluating isolated cognitive (e.g.divergent thought) and conative aspects (e.g., creative personality) involved in the expression of this potential. The main purpose of the battery of Evaluation of the Creative Potential (EPoC) is to evaluate divergent / exploratory thinking and convergent / integrative thinking which are both involved in creativity, with the aim of diagnosis (e.g. high creative potential) and description of a creative profile in various domains (verbal, graphic). This profile can be used to direct the development of the creativity in an appropriate way. We will present the results of a new part of the EPoC battery, tests proposed in the field of the social creativity. An initial study on a sample of French elementary school children examines links between the performance in social creativity tasks and those in the verbal and graphic domains
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Research Interests: Psychology, Cognitive Science, Creativity, Spelling, Text Messaging, and 3 moreSMS, Créativité, and Textisms
Numerous studies have examined the effects of gender diversity in groups on creative performance, and no clear effect has been identified. Findings depend on situational cues making gender diversity more or less salient in groups. A... more
Numerous studies have examined the effects of gender diversity in groups on creative performance, and no clear effect has been identified. Findings depend on situational cues making gender diversity more or less salient in groups. A large-scale study on two cohorts (N = 2,261) was conducted among business students to examine the impact of the gender diversity in small groups on divergent thinking in an idea-generation task performed by synchronous electronic brainstorming. Participants were automatically randomized in three- or four-member groups to generate ideas during 10 min on a gendered or neutral task. Then, five categories of groups where the proportion of men/women in groups varied from three/four men to three/four women were compared to examine creative performance on three divergent thinking measures (fluency, flexibility, and originality). A Multivariate Generalized Linear Mixed Model (mGLMM) showed greater fluency in all-women groups than in other groups (except mixed-ge...
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Research Interests: Psychology and Creativity
This paper examines the concept of creative potential as it applies in science. First, conceptual issues concerning the definition of creative potential are explored, highlighting that creative potential is a moving target, and measures... more
This paper examines the concept of creative potential as it applies in science. First, conceptual issues concerning the definition of creative potential are explored, highlighting that creative potential is a moving target, and measures of creative potential are estimates of future behavior. Then three main ways to detect creative potential are examined. First, a person’s previous accomplishments in science can be analyzed. These accomplishments can be regarded as predictors of future creative performance. Second, science talent competitions can help to detect creative potential in children and adolescents. There are particular types of talent competitions differing from each other by the extent of focusing on individual (e.g., Science Fairs) or collaborative (e.g., Science Olympiads) work. Third, to measure an individual’s creative potential, psychometric tools such as Creative Scientific Ability Test (C-SAT), Test of Scientific Creativity Animations for Children (TOSCAC), and Eval...
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This study examines the link between creative potential (EPoC in verbal domain), motivation (intrinsic motivation, selfefficacy) and wellbeing of 150 students in high school. Four measures of creativity were used: two verbal divergent... more
This study examines the link between creative potential (EPoC in verbal domain), motivation (intrinsic motivation, selfefficacy) and wellbeing of 150 students in high school. Four measures of creativity were used: two verbal divergent thinking tasks, and two verbal integrative tasks (EPoC, Lubart, Besancon & Barbot, 2011). Moreover, we hope that students give us after their “baccalaureate”, their choice and results (in June). Our hypotheses are that (1) there is a link between creativity and intrinsic motivation (Amabile & Gitomer, 1984); (2) there is a link between intrinsic motivation and wellbeing (Waterman, Schwartz, Conti, 2008) so (3), there is a link between creativity and wellbeing. Finally, we hypothesised that creativity relies on the subject’s choice during the baccalaureate (the more creative are the students, the more they choose the subject “invention”). Implications for the development of creativity in high school are discussed.
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National audienc
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Creativity is considered a 21st century competency. Creativity is integrated in national curricula and in international texts. However, despite its recognition by educational authorities, such as Ministries of Education, creativity is not... more
Creativity is considered a 21st century competency. Creativity is integrated in national curricula and in international texts. However, despite its recognition by educational authorities, such as Ministries of Education, creativity is not well implemented in classrooms. Indeed, even when educational practitioners admit that creativity is important for education, it does not mean they seek systematically to implement it in schools. This difficulty is one of the significant issues that creativity research encounters. In response, this chapter aims to provide a reflection, based on the current literature, about the place of creativity in school environments. Considering the past 50 years of research and reflection on creativity, several factors hindering or fostering creativity implementation in education and research are evoked regularly. Hence, we propose an overview of these factors, with the goal that practitioners and researchers take into account observed situations, relieve the current duress under which creativity finds itself, and in the future contribute to field research on creativity and ultimately the development of creativity in schools.
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Research Interests: Psychology, Cognitive Science, Creativity, Spelling, Text Messaging, and 3 moreSMS, Créativité, and Textisms
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Research Interests: Philosophy and Humanities
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Creativity, as a 21st-century skill, has gained more interest these past years and has become one of the key competencies to be implemented in classrooms. However, some studies highlight teachers’ difficulties to integrate it in a... more
Creativity, as a 21st-century skill, has gained more interest these past years and has become one of the key competencies to be implemented in classrooms. However, some studies highlight teachers’ difficulties to integrate it in a classroom context. For instance, introducing creativity in overloaded school curricula may be a hindrance to developing it. Teachers have to implement other 21st-century competencies (the 4Cs) at the same time as well. These educational objectives can be considerable in terms of time and means for teachers and thus do not encourage them to develop these competencies. The purpose of this article is to present links, essentially theoretical, made by researchers between creativity and other 21st-century skills (e.g., critical thinking, metacognition, and collaboration). We considered that if creativity shares some characteristics with other competencies, it can be possible that, by applying only a teaching-for-creativity approach in classroom, we can also con...
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Drama pedagogy training (DPT) is a drama-based-pedagogy focused on socio-emotional-learning (SEL) development, over academic or artistic. This study aims to see if DPT promotes theory of mind (ToM) and collaborative behavior in 126 French... more
Drama pedagogy training (DPT) is a drama-based-pedagogy focused on socio-emotional-learning (SEL) development, over academic or artistic. This study aims to see if DPT promotes theory of mind (ToM) and collaborative behavior in 126 French children aged 9-10 years old, randomly assigned to an experimental group (DPT), either a control group for 6 weeks. Post-tests showed large effects of training on ToM, F(1, 124) = 24.36, p < .001, η² =.16, and collaborative behavior, F(1, 124) = 29.8, p < .001, η² = .19. T-test showed significant differences on ToM (t = -4.94, p < .001) and collaborative behavior (t = -5.46, p < .001), higher for DPT. Effects of type of school and grade are discussed. Results confirm the hypotheses.
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This article reviews developmental studies of creativity in children and adolescents with a focus on "peaks" and "slumps" that have often been described in the literature. The irregularity of the development of... more
This article reviews developmental studies of creativity in children and adolescents with a focus on "peaks" and "slumps" that have often been described in the literature. The irregularity of the development of creativity is interpreted in light of conceptual and measurement issues and with regard to the interaction between individual-level resources, task-specific demands, and environmental influences, resulting in apparent individual differences in the development of creativity. The need for longitudinal designs, multidimensional and multi-domain assessment of creative potential limiting the contribution of task-specific factors is outlined and discussed as an important direction for developmental research on creativity.
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Studies on creativity highlight periods of slump during the development of creative competences of children. The present research tested the influence of school environment and the development of cognitive factors such as logical... more
Studies on creativity highlight periods of slump during the development of creative competences of children. The present research tested the influence of school environment and the development of cognitive factors such as logical reasoning and cognitive inhibition on creative development. Children were schooled in elementary schools using different curricula (traditional versus alternative: Freinet and Montessori). The research design was semi-longitudinal. The data yielded divergent developmental paths in terms of creative performances depending on the task. Concerning the influence of school curriculum, an alternative pedagogy seems to be more favourable than a traditional pedagogy for the development of creative divergent thinking. The influence of cognitive factors on the development of creativity is less pregnant than reported in preceding studies. Last, applications for school curricula and identification of creative gifted children will be discussed.
Research Interests: Psychology and Paris
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La creativite est valorisee dans des domaines tres varies, mais qu'en est-il a l'ecole ? Une analyse precise des mecanismes en cause permet de mettre en evidence la necessite de favoriser la creativite des enfants et leur capacite... more
La creativite est valorisee dans des domaines tres varies, mais qu'en est-il a l'ecole ? Une analyse precise des mecanismes en cause permet de mettre en evidence la necessite de favoriser la creativite des enfants et leur capacite a innover'.
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Research Interests: Creativity and Evolution
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C REATIVITY is increasingly recognised as a valuable ability that contributes to personal and societal development. It refers to the ability to produce work that is both novel-original and different from commonplace productions – and... more
C REATIVITY is increasingly recognised as a valuable ability that contributes to personal and societal development. It refers to the ability to produce work that is both novel-original and different from commonplace productions – and contextu-ally relevant and valuable (Lubart et al., 2004; Sternberg & Lubart, 1995). It is useful to distinguish three concepts: creative poten-tial; creative accomplishment; and creative talent. Creative potential is a latent ability to produce original, adaptive work; this poten-tial may be more or less high and it can be measured. Creative accomplishment refers to a case of actual production, in which creative potential has been transformed into real-world work that has been recognised as creative by some audience. In comparison, creative talent refers to the tendency to produce creative work on repeated occa-sions. Thus, a person who has a high level of creative potential, who activates this poten-tial and produces creative work on repeated occasion...