Using cooperative and partner learning models, this newly revised book illustrates how professionals can enhance their powers of creativity to facilitate learning and respond to academic and behavioral challenges, preK-12.

This book includes instructional design and practice of how immersive technology is integrated in discipline-based and interdisciplinary curriculum design. It focuses on pedagogical models and learning outcomes of immersive learning experiences and demonstrates how immersive learning can be applied in industries. This book brings scholars, researchers and educators together around an international and interdisciplinary consolidation and reflection on learning through immersion. The originality lies in how advanced technology and contemporary pedagogical models can integrate to enhance student engagement and learning effectiveness in higher education.

Why does so much of our society look as it did in the past? Our schools,our government, our religious organizations, our media - while more complex, have maintained their general structure and shape. Classroomstructure today, with the exception of a computer or an LCD projector, looks remarkably unchanged: teacher at the front, students i n rows. Our business processes are still built on theories and viewpoints that existed over a century ago (with periodic amendments from thinkers like Drucker 2). In essence, we have transferred (not transformed) our physical identity to online spaces and structures.

The Creative Classroom presents an original, compelling vision of schools where teaching and learning are centered on creativity. Drawing on the latest research as well as his studies of jazz and improvised theater, Sawyer describes curricula and classroom practices that will help educators get started with a new style of teaching, guided improvisation, where students are given freedom to explore within structures provided by the teacher. Readers will learn how to improve learning outcomes in all subjects—from science and math to history and language arts—by helping students master content-area standards at the same time as they increase their creative potential. This book shows how teachers and school leaders can work together to overcome all-too-common barriers to creative teaching—leadership, structure, and culture—and collaborate to transform schools into creative organizations. Book Features: Presents a research-based approach to teaching and learning for creativity. Identifies which learning outcomes support creativity and offers practical advice for how to teach for these outcomes. Shows how students learn content-area knowledge while also learning to be creative with that knowledge. Describes principles and techniques that teachers can use in all subjects. Demonstrates that a combination of school structures, cultures, incentives, and leadership are needed to support creative teaching and learning.

Discover motivating, personalized learning strategies that all of your students will love! Build an active, responsive, and inclusive classroom where every student benefits. Through step-by-step directions, reproducible handouts, classroom-tested examples, and specific guidelines, teachers and teacher teams will discover 60 activities to help you: Quickly and easily modify and adapt design instruction for diverse learners, including students with cultural, language, learning, physical, or sensory differences Transform lectures and whole-class discussions through dynamic, student-centered learning experiences Immerse students in discussion, debate, creative thinking, questioning, teamwork, and collaborative learning Flexibly co-plan and co-teach with a variety of school professionals

Today’s world is continually facing complex and life-threatening issues that are too difficult or even impossible to solve. These challenges have been titled “wicked” problems due to their radical and multifarious nature. Recently, there has been a focus on global cooperation and gathering creative and diverse methods from around the world to solve these issues. Accumulating research and information on these collective intelligence methods is vital in comprehending current international issues and what possible solutions are being developed through the use of global collaboration. The Handbook of Research on Using Global Collective Intelligence and Creativity to Solve Wicked Problems is a pivotal reference source that provides vital research on the collaboration between global communities in developing creative solutions for radical worldwide issues. While highlighting topics such as collaboration technologies, neuro-leadership, and sustainable global solutions, this publication explores diverse collections of problem-solving methods and applying them on a global scale. This book is ideally designed for scholars, researchers, students, policymakers, strategists, economists, and educators seeking current research on problem-solving methods using collective intelligence and creativity.

The notion of the individual creator, a product in part of the Western romantic ideal, is now troubled by accounts and explanations of creativity as a social construct. While in collectivist cultures the assimilation (but not the denial) of individual authorship into the complexities of group production and benefit has been a feature, the notion of the lone individual creator has been persistent. Systems theories acknowledge the role of others, yet at heart these are still individual views of creativity - focusing on the creative individual drawing upon the work of others rather than recognizing the mutually constitutive elements of social interactions across time and space. Focusing on the domain of music, the approach taken in this book falls into three sections: investigations of the people, processes, products, and places of collaborative creativity in compositional thought and practice; explorations of the ways in which creative collaboration provides a means of crossing boundaries between disciplines such as music performance and musicology; and studies of the emergence of creative thought and practice in educational contexts including that of the composer and the classroom. The volume concludes with an extended chapter that reflects on the ways in which the studies reported advance understandings of creative thought and practice. The book provides new perspectives to our understandings of the role of collaborative thought and processes in creative work across the domain of music including: composition, musicology, performance, music education and music psychology.