과학창의성 평가 공식의 개발과 적용

임채성 ( Chae Seong Lim ) 한국초등과학교육학회 2014 초등과학교육 Vol.33 No.2

Researchers have employed a diversity of definitions and measurement methods for creativity. As a result, creativity research is underrepresented in the literature and the findings of different studies often prove difficult to draw into a coherent body of understanding. With regard to assessment, there are some important problems both in creativity research and practice, such as originality bias and Big-C creativity bias in teachers` perceptions about creativity and creative thinking, and additive rather than multiplicative scoring systems of creativity assessment. Drawing upon most widely accepted conceptions of the creativity construct, I defined ‘student`s scientific creativity’ as the ability to make a product both original and useful to the student in terms of little c creativity, and ‘scientist`s scientific creativity’ as the ability to come up with a product both original and useful to the science community in terms of Big-C creativity. In this study, an ‘Assessment Formula for Scientific Creativity’ was developed, which is consisted of the multiplication of originality and usefulness scores rather than the sum of the two scores, and then, with scores calculated from the assessment formula, the scientific explanations generated by children were categorized into four types: routine, useful, original, and creative types. The assessment formula was revealed to be both valid and reliable. The implications of the assessment formula for scientific creativity are examined. The new assessment formula may contribute to the comprehensive understanding of scientific creativity to guide future research and the appropriate interpretation of previous studies.

초등과학영재학생의 과학창의성에 대한 자기 평가, 교사 평가, 객관적 평가의 비교 분석

김민주 ( Kim Min-ju ),임채성 ( Lim Chae-seong ) 한국초등과학교육학회 2018 초등과학교육 Vol.37 No.4

This study aims to compare student self-, teacher-, and objective assessments of elementary science-gifted students’ scientific creativity. A science-gifted program on the topic of Hydraulic Machine was implemented to 40 fifth-graders in the Science-Gifted Education Center of an education office in Seoul, Korea for four weeks. The products of the students’ activities were assessed by three types of ‘Student Self-Assesment’, ‘Teacher- Assesment’, and ‘Objective Assessment using Formula’. Based on two essential components of creativity, the scientific creativity is divided into two parts of originality and usefulness. Ideas that satisfy both components can be counted as scientifically creative. The main results of this study are as follows: First, the scores of each week and the average of the overall four-week scores on scientific creativity were significantly correlated. Student self-assessment (r=.687), teacher-assessment (r=.715), and objective assessment (r=.724) appeared consistently over instructional periods. Second, the average scores of student self-, objective, and teacher-assessments were 73.15, 35.72, and 26.60, respectively. The result of student self-assessment on scientific creativity tended to be higher than those of formula and teacher. Third, among the three types of assessment on scientific creativity, a strong correlation appeared between teacher- and objective assessment (r=.974), but neither between student self- and objective (r=.161) nor between student self- and teacher- (r=.213). Fourth, the scores on originality component had a positive correlation between teacher- and objective assessment (r=.713). The scores of student self- and teacher-assessments had a significant correlation too (r=.315), but not between student self-and objective assessment (r=.279). Fifth, the scores on usefulness component did not have a significant correlation between student self- and teacher-assessment (r=.155). Sixth, there was no significant difference on scientific creativity between student self- and objective assessment [χ²(1, n=40)=1.667, p<.197]. Not between student self- and teacher-assessment either [χ²(1, n=40)=1.616, p<.204]. On the contrary, there was a significant difference between teacher- and objective assessment [χ²(1, n=40)=32.593, p<.000]. Seventh, the students were categorized into four groups according to the levels of their scores by student self- and teacher-assessment. The result showed that factors influencing student self-assessment are inherent in the personality traits of gifted individuals, such as self-esteem and perfectionism. The findings suggested that there are challenges for the educators to make efforts to construct consistent assessment methods for scientific creativity.

디자인교육에서 평가방법이 창의적 인지과정에 미치는 영향

이희명 한국공간디자인학회 2021 한국공간디자인학회논문집 Vol.16 No.4

(Background and Purpose) In design education, as creativity is not clearly measured, assessment has not been the subject of considerable research. Moreover, design education adopts assessment methods from other education fields such as science, engineering, and even literature. Design practice is quite different as well and involves both creativity and crafting skills. As in other studio classes, final outcomes are used as the main measure of learning in current assessment. These are guided by teachers’ feedback for learners to reach outcomes. The study began with the question of whether the current method of assessment would help creativity. The research question considered which assessment method is appropriate for basic design education. The purpose was to compare the summative assessments representing the current method to the revised formative assessments focused on cognitive creative skills. The revised formative assessment involves giving feedback with grading on the four cognitive characteristics of creativity and other design processes. In other words, it compares the former, in which the final outcomes receive grades, and the latter, with grading of each design process, including creative cognition. (Method) A case study was conducted with 200 undergraduate students enrolled in design school at a single university. They were divided into two groups. One group received the summative assessment and the other the revised formative assessment with grading. Both groups received verbal feedback on the four creative cognitive processes. The data included 200 students’ surveys and 11 students’ in-depth interviews. The survey comprised 17 questions on a four-point rating scale and three open-ended questions. The in-depth interview focused on two questions: 1) the effect of the revised formative assessment on concept generation and 2) the effect of the revised formative assessment on final outcomes. (Results) The independent t-test compared the means between the two groups. There were statistically significant differences between the two groups in terms of the influence of assessment on creativity. Moreover, there were statistically significant differences in the three creative cognitive processes, “Digging Deeper into Ideas,” “Openness and Courage to Explore Ideas,” and “Listening to One’s Inner Voice.” In the interview, the revised formative assessment with grading helped to communicate and manage resources efficiently but created ideation pressure. (Conclusions) The implications of the results were as follows: 1) different assessment methods are needed for each creative cognitive process; 2) the feedback assessment must be supplemented to communicate it clearly; and 3) assessment in design education must be more sophisticated and systematic. (연구배경 및 목적) 디자인교육에서 평가는 창의성과 예술성이라는 정량화하기 어려운 요소들 덕분에 연구가 활발하지 못하다. 그러나 이런 요소뿐만 아니라, 수업진행 과정도 타 분야와 다르기에 일반적 평가와 차이가 있다. 본 연구는 기존의 평가방법이 창의성에 도움을 주는가라는 의문에서 시작되었고, 구체적으로 기초디자인 교육에 적합한 평가방법이 무엇이냐는 연구문제에 도달했다. 그동안 결과에 중점을 두었던 평가에서 벗어나 과정 평가가 창의적 인지과정에 도움이 되는가를 알아보기 위한 사례조사이다. 현재의 평가방법은 수업 과정 중 피드백을 주며 최종 디자인 결과물을 보고 종합적으로 평가하는 것이 일반적이다. 즉, 아트웍의 평가는 최종 결과물로 진행해왔다. 본 연구는 단계별 평가가 디자인 학습에 영향을 미치는가를 알아보고자 한다. 특히 창의적 인지 과정에서 단계별 평가가 영향을 미치는지에 집중했다. (연구방법) 기초디자인을 학습하는 학부생 200명을 두 그룹으로 나누어 한 그룹은 기존의 평가방법인 최종 결과물을 보고 등급평가를 하였고, 다른 한 그룹은 수업과정 단계마다 등급평가를 진행하고 이를 학생에게 알려주었다. 단계별 평가는 창의적 인지 과정인 4가지 단계에서의 평가와 디자인 시각화 작업과정 3단계마다 평가를 진행했다. 즉, 단계마다 피드백과 점수화된 평가를 같이 진행하였다. 최종 수업을 마치고 두 그룹의 평가가 창의적 인지 과정에 영향을 미치는가를 설문조사 하여 두 그룹의 응답의 차이를 알아보았다. 통계적 분석에 이어 인터뷰를 통해 정성적인 내용을 들여다보았다. 설문에 참여한 학생 중 11명을 대상으로 심층 인터뷰를 수행했다. (결과) 평가방법이 두 집단에서 창의적 사고에 미치는 영향이 유의미한 차이가 있는지를 살펴보기 위해 독립표본 T검정을 실시한 결과 통계적으로 유의미한 차이가 나타났다. 또한 창의적 인지과정 4단계 중 3단계인“깊이생각하기”, “아이디어 확산”, “내면의집중”과정에서 유의미한 차이가 나타났다. 즉, 단계별 평가가 창의적 사고에 긍정적 영향을 미치는 것으로 나타났다. 인터뷰를 통해서 단계별 평가가 컨셉트 도출에 미치는 역할은 명확한 의사전달, 효율적 자원관리이다. 그리고 마지막으로 심리적 부담이다. (결론) 본 연구가 주는 시사점은 1)창의적 인지과정의 특징에 따라 다른 방식의 평가를 적용하면 학습자의 창의성 발휘에 도움이 되며, 2)구두 피드백을 위한 명확한 의사전달 방법이 필요하며, 3)잘 짜여진 구조와 평가 시스템이 교육에 효율성을 향상하게 시킬 수 있을 것이다.

학습자 제작에 의한 채점 기준표를 활용한 대학생의 영어드라마 창의성 평가

이호,석유나 21세기영어영문학회 2019 영어영문학21 Vol.32 No.2

This study aims to explore creativity assessment in the context of English dramas. The current study has three research questions. How many points do students give to the area of creativity in their rubrics? How do they construct their definitions of creativity? Does creativity assessment yield acceptable inter-rater reliability? For the study, fifty university students wrote English drama, designed scoring rubrics for assessing the dramas, and conducted a self-assessment using their rubrics. The researchers analyzed the learner-generated rubrics and learners’ verbal reports about the construct of creativity and, further, compared students’ self-assessment scores to those of experts’. The finding indicates that 60% of the students included creativity in their rubrics, and that they considered language use and creativity as the most important and the second most important category. Students viewed creativity as defined by novelty, appropriateness, and interest and explained creativity mainly in conjunction with content. Finally, although the interrater difference between student raters and experts was comparatively notable in the area of creativity, the value of interrater reliability was in the acceptable range. The implication of this study is that learners’ participation in rubric development is a meaningful pathway to enlighten creativity in assessment practices.

체육수업에서 활용 가능한 창의성 평가도구 제작

김미예(Mi Ye Kim) 한국체육측정평가학회 2013 한국체육측정평가학회지 Vol.15 No.1

2007년과 2009년 개정된 교육과정에서 창의적 인재 양성이 강조됨에 따라 최근 각 교과별로 창의성 교육에 대한 관심이 높아지고 있다. 체육교과에서도 창의성을 어떻게 정의하고 개념화하느냐, 실제 체육수업에서 창의성을 어떻게 교육하고 발달시키느냐에 대한 연구가 진행되기 시작하였다. 그동안 창의성 연구에서 해결되지 않은 문제 중 하나는 창의성을 어떻게 평가하느냐에 대한 것이다. 지금까지 대부분의 창의성 연구는 심리, 교육 분야에서 이루어졌기 때문에 창의성 평가 도구들도 주로 인지적 영역을 중심으로 개발되었다. 이러한 평가 도구들은 신체활동을 본질로 사용하는 체육현장에서 직접 사용하기에는 무리가 있으므로 체육교과의 특수성을 고려한 창의성 평가 방법이 제시되어야 할 것이다. 특히 학교 현장에서는 실제 체육수업시간에 활용할 수 있는 창의성 평가 방법들에 대한 요구가 증가하고 있다. 이 연구에서는 그동안 일반적인 창의성 관점에서 수행되었던 창의성 분류 관점과 창의성 평가 방법들을 소개하고 이 방법들을 적용하여 체육교사들이 실제 체육수업 시간에 사용할 수 있는 평가도구를 제시하였다. 또한 앞으로 체육 창의성 평가 도구를 개발하는데 고려해야 할 사항들을 제안하였다. Through the 2007 and 2009 revised national curriculum, the creativity education is more emphasized in all subject. Recently, physical education area also start to study for teaching and developing creativity in physical education class. One of problem in the study of creativity is creativity assessment. Historically, creativity research mainly performed in psychology and educational fields, so most of assessment tool also developed in that fields. Few study is conducted for assessing and evaluating creativity in physical education. The purpose of this study is to introduce several methods for assessing creativity which used in general and traditional creative research area, and try to adopt those methods in physical education area. Four P model is discussed as a way of organizing method for assessing creativity, which classified the creative person, process, product, and press. Divergent thinking tests, the consensual assessment technique, assessment by others: teacher, peer, and parent measures, and self assessment methods also proposed as a assessing creativity methods in physical education. Lastly, creativity assessment tool for physical education class is also presented.

초등과학영재학생의 과학창의성에 대한 자기 평가, 동료 평가의 비교 분석

김민주,임채성 한국초등과학교육학회 2019 초등과학교육 Vol.38 No.4

This study aims to compare self- and peer-assessments of science-gifted elementary students’ scientific creativity. A science-gifted program on the Pascal’s principle was implemented to 40 fifth-graders in the Science- Gifted Education Center for two weeks. After that, students presented their results from a scientific creativity task using the principle in class. The task was to devise a new and useful tool using the principle, and it included the students’ self-assessment about their idea. During presentation, students were asked to assess the works of peers and write down the reasons that they gave the scores they gave. Shortly, student self- and peer-assessments about students’ scientific creativity outcomes were compared. Based on two essential components of creativity, ideas that satisfy both originality and usefulness can be counted as scientifically creative. The main results of this study are as follows: First, the average scores of student self- and peer-assessments were 71.5 and 61.9. Second, the standard deviations of student self- and peer-assessments were 14.47 and 5.79. Third, among scientific creativity, originality, usefulness scores, only originality had a significant correlation between student self- and peer-assessment (r=.42). Fourth, the students were categorized into four groups according to the levels of their scores by student self- and peer-assessment. And the frequencies of peer-assessment group had a significant difference at p<0.05 level, according to self-assessment group (Chi Square=4.0000, df=1, p=0.0455). Fifth, through a case study by group, the results suggesting that self-assessment could be affected by the students’ self-efficacy and perfectionism and such effect could also influence peer-assessment have been found. The result showed that how the student self- and peer-assessment of scientific creativity are different and what the students’ thoughts on the evaluation of scientific creativity are. The findings suggested that there are several things to consider for the educators to make efforts to construct consistent assessment methods for scientific creativity.

도덕과에서의 창의성 평가 방법 연구

곽병우(Kwak, Byong Woo) 한국도덕윤리과교육학회 2014 도덕윤리과교육 Vol.- No.42

창의성의 주요 평가 방법은 확산적 사고 검사, 타인에 의한 평가, 자기 평가, 산출물 검사이 다. 도덕과에서 학생들의 창의성을 평가할 때는 산출물 검사를 위주로 하고 타인에 의한 평가 와 자기 평가를 부수적으로 사용해야 한다. 도덕과에서 학생들의 산출물을 평가하기 위해서는 기존의 수행평가를 활용해야 한다. 도덕과 수업시간에 창의성 평가를 위해 활용 가능한 수행평가 방법은 서술형 및 논술형 검사, 구술 시험, 면접법, 관찰법, 자기평가 및 동료평가 보고서법, 연구보고서법, 프로젝트법, 포트폴리오 법 등을 들 수 있다. 이러한 수행평가 방법을 활용하여 학생들이 자신의 창의성을 발현할 수 있는 기회를 제공하고, 학생들이 만들어낸 산출물을 활용하여 학생들의 창의성을 평가해야 한 다. 또한 도덕과 수업시간에 학생들이 창의성을 발현할 수 있도록 수행평가를 실시할 때, 이를 평가하는 평가기준표에 '창의성'이라는 평가요소가 들어있어야 한다. Major ways of assessing creativity are divergent thinking tests, assessment by others, self assessment, and product-focused assessment. When assessing creativity in moral subject, we must use product-focused assessment mainly, and assessment by others & self assessment subsidiarily. To assess students' creative products in moral subject class, we must use the existing performance assessment. Usable ways of performance assessment in moral class are essay test, oral statement test, interview method, observation method, self-evaluation and peer-evaluation report method, project method, portfolio. After giving students a chance to make creative product by this ways of performance assessment, we can assign creativity ratings to their tangible products. Besides, to assess students' creative product in moral subject class, we must add 'creativity' as a assessment element in rubrics.

Why Grand Theories of Creativity Distort, Distract, and Disappoint

John Baer 대한사고개발학회 2011 The International Journal of Creativity & Problem Vol.21 No.1

The success of physics and other sciences is in many ways attributable to unifying theories that bring seemingly disparate phenomena together under a single conceptual framework. This model is inviting for creativity theorists because grand theories have great power, but there is no guarantee that any large theory can describe the many very different kinds of cognitive processes that underlie cre-ativity in diverse domains. Trying to force creativity into an ill-fitting Procrustean bed can distort both theory and practice (such as in creativity-training programs and in creativity assessment) and in doing so cause us to misunderstand what we observe and to promote activities that may be counter-productive. Domain specificity, which argues that the skills and other factors leading to creative performance vary across domains, cautions against seeking grand, domain-general theories. Although there has been increasing interest in domain specificity in recent years, creativity researchers remain divided regarding the extent to which creativity is domain specific and the likelihood that there may be any significant domain-general factors in creative performance. Because this question is unlikely to be resolved soon and domain-specific theories of creativity are less likely to mislead us, practitioners should resist the allure of grand theories and try to understand and promote creativity on a smaller, domain-by-domain scale. Some limited general creativity meta-theories can be useful as heuristic devices to point us toward possibly productive domain-specific theories of creativity, however, if their limitations are clearly recognized and understood.

Psychometric and Self-Rated Creativity of Polish Managers: Are Implicit Theories of Creativity Relevant to Self-Assessment?

Joanna Szen-Ziemiańska 대한사고개발학회 2013 The International Journal of Creativity & Problem Vol.23 No.1

This study explored the relationship between self-rated creativity of managers and psychometric creativity including different aspects of creative thinking and creative attitude. The main aim was to examine the accuracy of self-assessment of creativity and to discover the role played by implicit theories of creativity among Polish managers. Managers (N = 75) completed two creative thinking tests (TCT-DP and TTM); a creative attitude inventory (KANH); open-ended question about the implicit theories of creativity; and a self-rating creativity scale. It was demonstrated that: (a) psychometric creativity reliably predicted self-rated creativity; (b) implicit theories of creativity were mostly coherent with explicit theories, however; (c) coherency of implicit theories did not moderate the relationship between psychometric and self-rated creativity. The results are discussed in the context of the possible regulatory function of implicit theories of creativity.

문화영향평가제도의 헌법적 의미와 운영방향에 관한 연구

장인호 제주대학교 법과정책연구원 2018 法과 政策 Vol.24 No.3

The international community recognizes the importance of preserving and developing culture in realizing human values such as human dignity and sustainability in order to realize the values jointly realized by humanity. and the Promotion of the Diversity of Cultural Expressions. In order to preserve, maintain and develop the culture that the individual has autonomously created, he urged the legislative implementation of the cultural impact assessment system. At the same time, impact assessments in various countries such as Germany, France, and the United States have come to be applied not only to the environment but also to society, economy, traffic and culture. Especially, as the necessity of cultural impact assessment is increased in the preservation of national identity and cultural preservation, each country is preparing and operating a culture impact assessment to maximize the positive impact and minimize the negative impact using the impact evaluation in the cultural field. In Korea, too, Article 5 (4) and (5) of Article 5 (4) and (5) of the 「Culture Fundamental Law」 have legislated a culture impact assessment system to evaluate the impact of the state on the quality of life , And is making efforts to spread cultural values to society through cultural influence evaluation operation. However, the cultural impact assessment system has various problems related to its operation and development such as unclear objects, lack of characteristics, lack of direction, and lack of principles. As a result, the cultural impact assessment did not sufficiently meet the original legislative intent, and the need to improve the cultural impact assessment problem also increased in order to ensure the effectiveness of the cultural impact assessment. Therefore, through this study, the cultural impact assessment system should be systematically operated from the long-term perspective as it is originally intended, and the cultural impact assessment system should examine the constitutional value that ultimately should be pursued in its operation. The purpose of this study is to examine the background, international trends, and constitutional implications of the cultural impact assessment system in order to analyze concretely, systematically, rationally operation, development direction and principle of the culture impact assessment system. 국제사회는 인간존엄성・지속가능성 등 인류가 공동으로 실현해야 할 가치들을 실질적으로 실현하는데 있어서 문화의 보존・발전이 중요함을 인식하고 「문화적 표현의 다양성 보호와 증진을 위한 협약(Convention on the Protection and Promotion of the Diversity of Cultural Expressions)」 등 국제협약을 체결하고 개인이 자율적으로 생성해온 문화를 보존・유지・발전 등을 이루기 위해 문화영향평가제라는 제도적 장치의 입법・이행을 촉구하였다. 이와 동시에 전 세계 독일・프랑스・미국 등 각 국가에서 영향평가가 환경 분야를 넘어 사회・경제・교통은 물론 문화 분야에까지 적용되기에 이르렀다. 특히 국가정체성 유지, 문화 보존 등에 있어 문화영향평가의 필요성이 증대됨에 따라 문화 분야의 영향평가를 이용해 긍정적인 영향은 극대화하고 부정적 영향을 최소화하기 위해 각국은 문화영향평가를 마련・운영하고 있다. 이러한 가운데 우리나라도 「문화기본법」 제5조 제4항과 제5항에서 문화영향평가제도를 입법함으로써 국가가 각종계획・정책을 수립할 경우 문화적 관점에서 국민 삶의 질에 미치는 영향을 평가하도록 했으며, 문화영향평가 운영을 통해 문화적 가치가 사회적으로 확산될 수 있도록 노력하고 있다. 그러나 문화영향평가제도는 그 운영・발전과 관련해 대상 불명확, 특성 불충분, 방향 부재, 원칙 미흡 등과 같은 여러 문제점이 나타났다. 이로 인하여 문화영향평가가 원래의 입법취지에 충분히 부합하지 못하여 문화영향평가의 실효성 확보 등을 위해 문화영향평가 문제점의 개선필요성도 점증했다. 그러므로 본 연구를 통하여 문화영향평가제도가 본래 도입취지에 걸맞게 장기적 안목에서 체계적・효율적으로 운영될 수 있는지에 대해 검토하겠다. 아울러, 문화영향평가제도가 그 운영에 있어 궁극적으로 추구해야할 헌법적 가치를 검토하고 이러한 헌법적 가치에 터 잡은 문화영향평가제도의 합리적인 운영방향과 운영원칙에 대해 구체적으로 분석하겠다. 이를 위하여 문화영향평가제도의 논의배경, 국제적 동향, 헌법적 의미 등을 살펴보고자 한다.