multimodal and digital experiences (directed by Magali Brunel, Amélie Lemieux)
R2LMM 16: Developing creativity in didactics: multimodal and digital experiences
Directed by Magali Brunel and Amélie Lemieux.
“The attention given to creativity in the scientific field of humanities and social sciences is not new, but realizing its importance as an important transversal skill for the citizen of the XXI century, it has gained special importance in the last ten years. This is especially evident at the level of international organizations such as the United Nations Educational, Scientific and Cultural Organization (UNESCO), the Organization for Economic Cooperation and Development (OECD), the European Union, and educational institutions in many countries. Indeed, when faced with the complex, multicultural, changing and digital world that citizens face, this skill is considered as necessary as collaborative, critical thinking and digital literacy skills (Fastrez, 2010) and multimodal (OECD, 2020). media literacy (Lacelle et al., 2015). It’s also often associated with problem solving.”
“Creativity is a new concept in educational research, while it has been an older topic of interest in cognitive psychology. In 1950, Guilford defined it as “complexity and the ability to generate new ideas.” [traduction libre] (p. 453). If it emerged late as a concept in the educational sciences, the realities it refers to were the subject of much older concerns: creativity thus extends fundamental thinking, especially within the artistic disciplines, around the tension between giving and learning, for example. between personal inspiration and imitation. Finally, in light of the competency-based approach, this concept has found its place in education, mainly in Anglo-Saxon literature (Dirani, 2016). Thus, it is today mobilized in a more transverse view of the training of individuals and considered in relation to the contemporary societal challenges of post-industrial society and its project of socio-economic integration of the individual.
“Finally, creativity is linked to digital content or experiences such as computational thinking, internet research, digital education projects, and media arts (De Smet et al., 2020, p. 605). Can we consider that these contexts that mobilize IT, digital and multimodal media support are conducive to the creation of creative skills? If we compare them with other aspects favorable to creativity listed in the review, such as the performance of complex tasks (Didier, 2016), constraints (Mili, 2012) or game situations (Verzat, 2009), in multimedia or digital environments, we indeed we can formulate and legitimize a question.
“At the end of the journey offered by this issue of the journal, it seems to us that multimodal and digital contexts really have a lot of potential for teachers to use to promote creative activity. The articles also highlight the complexity and disciplinary contexts of creative learning within schools, which are spaces that carry both physical and symbolic frameworks and arrangements. They particularly emphasize the importance of the time necessary for the emergence of creative expression, as well as the influence of educational actors (including students) on the development of creative thinking.
Summary
Arrow 1. Resources and creativity
– Instapoetry: from a virtual literary sharing space to the production of poetic texts in high school classrooms (Lemieux et al.)
– Transmedia stories in French as a foreign language classroom: rewriting a digital comic 2 in book maker (Huang)
Axis 2. interpretative competence and creativity
– The reception and re-creative stance of videopoems among teachers (Émery-Bruneau and Florey)
– Supporting the creativity of elementary school students through metatext and hypertext activities in literary networks (Dupin-de-Saint-André et al.)
– Development of teachers’ creativity in initial training during museum context and aesthetic evaluations (Emond)
Axis 3. Production and creativity
– Creativity, art or creativity at school? Evoking process divergence and analog/digital convergence (Richard et al.)
“With the application” or how to get out of it (Baryga)
The file is over
– Enriching high school students’ interpretative work using aesthetic reading: analysis of works of art in history class (Stan et al.)
