01. materi kuliah kreativitass

MENGAPA DI DUNIA INI TDK ADA YG ABADI, SELAIN PERUBAHAN? KENAPA PERKEMBANGAN IPTEK SAAT INI SANGAT CEPAT? KENAPA TIAP HARI ADA PRODUK BARU? DAPATKAH KAKEK LAHIR BEKALANGAN, SETELAH CUCUNYA?

Benarkah kreativitas itu hanya milik seniman

dan orang-orang cerdas?

Benarkah hanya orang kreatif yg dapat maju?

Mengapa seorang guru SLB saja khoq harus kreatif?

. .

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 Pada awalnya COCA COLA digunakan untuk menyembuhkan

Penyakit syaraf?

 Kratingdaeng – minuman tradisional Thailand.

 Harland Sanders, pencipta KFC, mulai meraih sukses pada usia 65

tahun.

 Kita dapat menemukan surat-surat di Al-Qur’an yang menganDung kata NAFSU dengan hanya dalam hitungan detik?

Apa kreativitas itu?

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 KREATIF = BANYAK IDE, BANYAK GAGASAN, BANYAK AKAL.

 KEMAMPUAN MENGGABUNGKAN SESUATU YANG BELUM

PERNAH TERGABUNG SEBELUMNYA

 KEMAMPUAN UTK MENEMUKAN/ MENDAPATKAN/ MELAHIRKAN

SUATU YANG BARU (IDE, GAGASAN, PEMEC MSL/KARYA).

 Gunakan metaphora : kreativitasa itu seperti seekor kucing

yang mau menangkap ekornya (Creativity is like a cat chasing its tail)

DEFINISINYA BERBEDA-BEDA, TERGANTUNG BGMN ORANG MENDEF : “CREATIVITY IS A MATTER OF DEFINITION”

Alasan :

1. Sbg suatu “konstruk hipotesis” kreativitas mrpk ranah psikologis yg kompleks & multidimensional.

Apa kreativitas itu?

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Wikipedia /free encychlopedia



Creativity (or creativeness) is a mental process

involving the generation of new ideas or concepts, or

new associations between existing ideas or concepts.



Creativity is manifested in the production of a creative

work

(for example, a new work of art or a scientific

hypothesis)

that is both

novel

and

useful

.



Yunani

: "to create"

Apa kreativitas itu?

.P.A.K.A.R.



Common definition from Webster's

- Creativity is

marked by the ability or power to create

–

to bring into

existence, to invest with a new form, to produce

through imaginative skill, to make or bring into

existence something new.



Carl Rodgers

(psychologist an writer) -- The emergence

of a novel, relational product, growing out of the

uniqueness of the individual.



Henry Miller

( writer) -- The occurrence of a

composition which is both new and valuable.



John Haefele

(CEO and entrepreneur) -- The ability to

make new combinations of social worth.



Newell, Simon, & Shaw

(team of logic theorists) -- A

Apa kreativitas itu?

.P.A.K.A.R.

 H. H. Fox (scientist) -- Any thinking process in which

original patterns are formed and expressed.

 E. Paul Torrance (educator, academic, creativity

investigator) --Fluency , flexibility, originality, and sometimes elaboration.

 Rollo May (writer, philosopher) - Creativity is the process of

bringing something new into being...

 Roger von Oech - Creative thinking involves imagining

familiar things in a new light, digging below the surface to find previously undetected patterns, and finding

connections among unrelated phenomena.

 Carnevale, Gainer, Meltzer - ... the ability to use different

modes of thought to generate new and dynamic ideas and solutions.

Apa kreativitas itu?

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U

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M

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U

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M

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Wikipedia /free encychlopedia



Creativity (or creativeness) is a mental process

involving the generation of new ideas or concepts, or

new associations between existing ideas or concepts.



Creativity is manifested in the production of a creative

work (for example, a new work of art or a scientific

hypothesis) that is both

novel

and

useful

.



Yunani

: "to create"



Latin

"creating" ("creatio") and for "creator," and had

Di

m

e

ns

I

Kre

ati

vita

S



P

erson



P

rocess



P

roduct



P

ress

RHODES (MUNANDAR, 1999) KREATIVITAS DPT DITINJAU DR KONDISI PRIBADI & LINGKUNGAN YG DIGOLONGKAN MENJADI 4 DIMENSI YANG DISEBUT SEBAGAI

PERSON



GUILFORD

 FLUENCY (banyak gagasan)  FLEXIBILITY (banyak pemec/pendekatan)  ORIGINALITY (asli)  ELABORATION

(mengurai scr rinci)

 REDEFINITION

(perspektif berbeda)

Orang kreatif melihat sesuatu sama dengan orang lain, tetapi

cara berpikirnya beda

 CAMPBELL

 MAMPU LIHAT MASALAH DR

SGL ARAH

 HASRAT INGIN TAHU BESAR

(curiosity)

 TERBUKA THD PENGALAMAN

BARU

 SUKA TGS MENANTANG

 WAWASAN LUAS

 MENGHARGAI KARYA ORANG

LAIN

Guilford (1950) :

Highly creative student may:

1. Have the ability to make unusual associations or connections between

seemingly unrelated or remote ideas.

2. Have the ability to rearrange elements of thought to create new ideas

or products.

3. Have a large number of ideas or solutions to problems.

4. Display intellectual playfulness, fantasize, imagine, and daydream. 5. Are often concerned with adapting, improving, or modifying existing

ideas, thoughts or products or the ideas or products of others.

6. Have a keen or unusual sense of humor and see humor others do not

see.

7. Do not fear being different, but may still be emotionally hurt by

non-acceptance. Often the importance of an idea outweighs that of peer acceptance.

8. Ask many questions at an early age - this trend generally continues

Highly creative student may:

9. Frequently challenge teachers, textbook authors, and those in authority or

"experts".

10. Sometimes come up with unexpected, futuristic, bizarre, even "silly" answers

or solutions.

11. Are sometimes resented by peers because of crazy or unusual ideas and their

forcefulness and passion in presenting them or for pushing their ideas on others. In the context of cooperative efforts or groupings, highly creative

students may get along or work better with younger or older students, or with adults.

12. When completing special or unusual projects or assignments, often show a rare

capacity for originality, intense concentration, commitment to completion, and persistence. In essence may be perceived as working hard to achieve personal goals.

13. Become obsessed with completing varied projects, or exhibit unusual

persistence in a completing tasks. It is this obsessive need to complete a task that is so important in differentiating folks with good ideas from those who are truly creative.

PROCESS



MUNANDAR (1977) :

Creativity is a process th

at

manifest itself in

fluency, in flexibility as

well

as in originality

of

thinking



WALLAS

, 4 tahap kreatif

1.

TAHAP PERSIAPAN

: KUMPUL INFORMASI

2.

TAHAP INKUBASI

: PENGERAMAN

3.

TAHAP ILUMINASI

: SAAT TIMBULNYA

INSPIRASI/GAGASAN PEMECAHAN MASALAH

PROCESS

Graham Wallas.

in his work Art of Thought, published in 1926 

5 stages:

1. Preparation (preparatory work on a problem that focuses the individual's mind on the problem and explores the problem's dimensions),

2. Incubation (where the problem is internalized into the subconscious mind and nothing appears externally to be happening),

3. intimation (the creative person gets a 'feeling' that a solution is on its way),

4. Illumination or insight (where the creative idea bursts forth from its subconscious processing into conscious awareness); and

 Baron (1976):

“Creativity Tis the ability o bring something new into existence”

 Amabile :

“Creativity can be regarded as the quality of product or respon

judged to be creative by appropriate observers”

1. Bersifat baru, unik, berguna, benar & bernilai

2. Bersifat heuristik, menampilkan metode yng msh blm pernah/jarang dilakukan sebelumnya.

 Stein

novel, tenable, usefull & satisfiyng (BARU, DPT DIPERTAHANKAN, BERGUNA DAN MEMUASKAN).

Produk



kriteria puncak kreativitas

PRESS

Tekanan  lingk : FAKTOR PENDORONG & PENGHAMBAT, BAIK INTERNAL / EKSTERNAL

 kepekaan dlm melihat lingkungan

 Kebebasan

berpikir/bertindak

 Komitmen kuat utk maju & berhasil

 Optimis & berani ambil resiko, termasuk resiko yg paling buruk

 Ketekunan utk berlatih  Hadapi masalah sbg

tantangan

 Lingkungan yg kondusif. Tdk kaku & otoriter.

 Malas  berpikir, bertindak, berusaha, lakukan sesuatu

 Impulsif

 Anggap remeh karya orang lain

 Mdh putus asa, cpt bosan, tdk tahan uji

 Cepat puas

 Tak berani tangung resiko  Tdk percaya diri

 Tdk disiplin

Creativity Killers

The most powerful way to develop creativity in your students is to be a role model. Children develop creativity not when you tell them to, but when you show them. (Robert J. Sternberg)

Hennessy & Amabile (1992)



Surveillance

(Pengawasan ) : Hovering over kids, making them feel that they're constantly being watched while they are working, . . . under constant observation, the risk-taking, creative urge goes underground and hides . . .



Evaluation

- When we constantly make kids worry about how they are doing, they ignore satisfaction with their

accomplishments. . . .



Rewards -

The excessive use of prizes . . . deprives

(menghilangkan) a child of the intrinsic pleasure of creative activity.

Creativity Killers

The most powerful way to develop creativity in your students is to be a role model. Children develop creativity not when you tell them to, but when you show them. (Robert J. Sternberg)

Hennessy & Amabile (1992)

 Over-control - Constantly telling kid how to do things, . . . often leaves (MENGABAIKAN) children feeling like their originality is a mistake and any exploration a waste (membuang-buang) of time.



Restricting choice

- Telling children which activities they should engage in instead of letting them follow where their

curiosity and passion lead . . . again restricts active exploration and experimentation that might lead to creative discovery and production.



Pressure

- Establishing grandiose (berlebihan?) expectations for a child's performance . . . often ends up instilling aversion for a

subject or activity. . . .Unreasonably high expectations often

pressure children to perform and conform within strictly prescribed guidelines, and, again, deter (menghalangi) experimentation,

konsensual

konseptual

 Menekankan segi produk

(kualitas produk atau respon yg dinilai oleh pengamat yg ahli).

 Berdasar konsensus

 Asumsi :

- produk  manifestasi puncak kreativitas.

- dpt dikenali oleh pengamat luar utk disepakati.

 Sering digunakan utk studi

kreativitas (seni & keilmuan) a/ terkait produk, orang, proses, maupun lingk.

 Menekankan pd produk, tp bkn

berdasar kesepakatan, melainkan pd kriteria ttt.

 Bertolak dr konsep ttt yg dijabarkan

dlm kriteria ttt. (Misal dr Amabile/Stein). Walau utk

penentuan akhir jg tergangtung pd kesepakatan.

Def Stein :  mewakili kedua def tsb.

The creative work is novel work that is accepted as tenable or useful or satisfying

by group in some point in time”

Novel : sbg kriteria produk

Teanble, useful, & satisfying : sbg validasi konsensual



Orang-2/karya-2 kreatif terdahulu yg mengalami

penurunan nilai krn ditemukan hal-hal baru yg mampu

menjelaskan & memecahkan masalah.

(THOSE WHO HAVE BEEN SUCCESFUL INNOVATORS OF THE PAST, TEND TO DISQUALIFY THEMSELVES FOR SUCCESFUL INNOVATION IN THE FUTURE).



Mimesis dpt terjadi pd orang, intitusi, karya, atau teknik

pmch mslh.

Kriteria kreatif

 Menyangkut dimensi : PROCES, PERSON, & PRODUCT.  PROCES : proses berpikir kreatif  merentang dr tahap

pengumpulan inform, inkubasi, iluminasi, & evaluasi/verifikasi.

 PERSON : berkepribadian kreatif

 PRODUCT : sejauh mana produk tsb memiliki nilai kebaruan

(newness, novelty), orisinalitas, bermanfaat, memuaskan, dan dapat memecahkan masalah. Berdasar penilaian melalui analisa obyetif ataupun pertimbangan subyektif.

 Ghiselin (1963) & Shapiro (1973)

DPT DIBEDAKAN MENJADI 2 :

1. product CRITERIA : berdasar produk yg ditampilkan sesorang selama hidupnya / hanya ketika ia menyelesaikan karya kreatif. 2. concurrent CRITERIA : Berdasar konsep /def yg dijabarkan dlm indikator-indikator ttt.

ASUMSI

–

ASUMSI KREATIVITAS

 TIAP ORANG MEMILIKI POTENSI KREATIF, YG MEMBEDAKAN

TINGKATANNYA (& bersifat kontinum).

 POTENSI KREATIF DPT DIKEMBANGKAN & DIPUPUK. (Devito)

 KREATIVITAS DPT DINYATAKAN DLM IDE ATAU PRODUK, DGN

PRODUK SBG KRITERIA PUNCAK – “THE ULTIMATE CRITERIA”

(pan hadiah Nobel).

 KREATIVITAS LAHIR SBG HSL INTERAKSI ANT FAK PSIKOLOGIS

(internal) & LINGKUNGAN (eksternal).

 KREATIVITAS TDK BERLANGSUNG/DATANG DARI KEVAKUMAN

(EX-NIHILO) : TDK LHR TIBA-TIBA, TTP DIDAHULUI OLEH KARYA SEBELUMNYA

 KREATIVITAS TDK LAHIR KRN KEBETULAN, TTP MENUNTUT

KECAKAPAN, KETERAMPILAN, KETEKUNAN & KERJA KERAS  1% IDE, 99% KERINGAT.

 DLM DIRI SESEORANG & LINGK-NYA TREDAPAT FAKTOR-2

PENUNJANG & PENGHAMBAT BANG KREATIVITAS.

 KREATIVITAS DPT DIPELAJARI, DGN CIPTAKAN FAKTOR

A. Taylor, (1959)

 The first three levels of creativity can be attained by anyone who is motivated and who

has persistence enough to see projects and ideas through. : siapapun bisa

 The last two levels may be unattainable to all but those who are highly gifted creatively,

or those who are naturally creative geniuses. : yang berbakat

1. Primitive and intuitive expression

Found in children and in adults who have not been trained in art. There is an innocent quality to primitive art, but also directness and sensitivity.

2. Academic and technical level

At this level the artist learns skills and techniques, developing a proficiency that allows creative expression in myriad ways (banyak cara). The academic artist adds power to expression through the mastery of craft.

3. Inventive level

Many artists experiment with their craft, exploring different ways of using familiar tools and

mediums. This heralds the level of invention. Breaking rules is the order of the day, challenging the boundaries of academic tradition, becoming increasingly adventurous and experimental. Inventors use academic tradition and skills as a stepping-stone into new frontiers.

4. Innovative level

At the level of innovation the artist, writer, musician, inventor, thinker is more original. Materials and methods that are out of the ordinary are introduced. Now the creator breaks the boundaries. The academic or inspirational foundation remains as a substructure of unconscious thought guiding these creative efforts.

5. Genius level

The fifth level of creativity is characterized as genius. There are individuals whose ideas and accomplishments in art and science defy explanation. Genius is arguably the one level that is unexplainable and perhaps unattainable for most of us, something that an individual is born with.

TEORI fungsi BELAHAN OTAK (CLARK) BERPIKIR  _HOLISTIK  _SPATIAL  _METAPHORIK  _INTEGRATIF

 SINTESA, INTUITIF

 _ELABORASI

 _{HUMANISTIK -MISTIK} • OTAK KIRI & KANAN DISAMBUNG OLEH SEGUMPAL SERABUT “CORPUS COLUSUM”

• RESPON, TUGAS & FUNGSI MASING-MASING BELAHAN BERBEDA.

BERPIKIR



RASIONAL



ANALITIS



LINIER



SCIENTIFIC

(BELAJAR CALISTUNG)

KONVERGEN & VERTIKAL

MENILAI KEBENARAN SECARA KRITIS

DEVERGEN & LATeRAL

MENILAI KEBENARAN DR MAKNANYA

Kalau belahan kanan ditingkatkan :

 _{Wittrock (1980, Clark, 1983)}

FUNGSI BELAHAN

OTAK KIRI

FUNGSI BELAHAN

OTAK KANAN

MATH, HISTORY, LANGUAGE SELF, ELOBORATES AND INCREASES

VARIABLE, INVENTIVE (DY CIPTA)

VERBAL, LIMIT SENSORY INPUT NON VERBAL PERCEPTION AND EXPRESSIVENESS

SEQUENTIAL, MEASURABLE SPATIAL

ANALYTIC INTUITIVE COMPARATIVE HOLISTIC RELATIONAL INTEGRATIVE REFERENTIAL NONREFERENTIAL LINEAR HOLISTIC LOGICAL IMAGERY

DIGITAL BETTER AT DEPTH PERCEPTION, FACIAL

RECOGNITION

SCIENTIFIC, TECHNOLOGICAL MYSTICAL, HUMANISTIC

ACADEMICIANS BUSINESS MAN

Kreativitas & berpikir divergent

Creative production is often characterized by the divergent nature of human thought and action.

 Fluency – The ability to generate a number of ideas so that there is an

increase of possible solutions or related products.

 Flexibility - The ability to produce different categories or perceptions

whereby there are a variety of different ideas about the same problem or thing.

 Elaboration – The ability to add to, embellish, or build off of an idea or

product.

 Originality – The ability to create fresh, unique, unusual, totally new, or

extremely different ideas or products

 Complexity – The ability to conceptualize difficult, intricate, many layered

or multifaceted ideas or products.

 Risk-taking – The willingness to be courageous, adventuresome, daring

--trying new things or taking risks in order to stand apart.

 Imagination – The ability to dream up, invent, or to see, to think, to

conceptualize new ideas or products – to be ingenious.

 Curiosity – The trait of exhibiting probing behaviors, asking and posing



Koestlur

BERPIKIR BISOSIATIF : MENGAITKAN PASANG SURUT

AIR LAUT DENGAN POSISI BULAN.

PK

RS

IND

INT CRE



Jung

FUNGSI JIWA :

BERPIKIR, MERASA, MENGINDRA, & INTUISI

TEORI PANDANGAN TTG KREATIVITAS

PSIKOANALISA

- Freud

 KREATIVITAS TERJADI KARENA KONDISI RILEK DARI EGO

YANG MENJADIKAN ALAM BAWAH SADAR BERFUNGSI BEBAS MENGEMBANGKAN IDE. SEHINGGA TERJADI INTEGRASI

ANTARA MASALAH YANG DIHADAPI DENGAN IMAGINASI.

 KREATIVITAS ADALAH PENGGALIAN ALAM BAWAH SADAR

 PROSES KETIDAKSADARAN MELANDASI KREATIVITAS.

 KREATIVITAS MERPK MANIFESTASI DR PSIKOPATHOLOGI

ASOSIASI HASIL DR PROSES ASOSIASI & KOMBINASI ELEMEN-ELEMEN YG TLH ADA SHG MENGHASILKAN SESUATU YG BARU.

GESTALT MANIFESTASI PROSES TILIKAN IND THD LINGK SCR HOLISTIK.

EKSISTENSIAL IS

KREATIVITAS MRPK PROSES UTK MELAHIRKAN SESUATU YG BARU MELALUI PENJUMPAAN ANTARA MANUSIA DGN MANUSIA & MANUSIA DGN ALAM.

INTERPERSON AL

KREATIVITAS LAHIR DLM KONTEKS SOSIALNYA. KREATOR SBG INOVATOR & LINGK SBG PIHAK YG MENGAKUI.

MENEKANKAN PENTINGNYA NILAI & MAKNA DR KARYA, KRN INI YG AKAN MENGHASILKAN PENGAKUAN SOSIAL.

SIFAT MENEKANKAN UPAYA UTK MENGIDENTIFIKASI

CIRI-CIRI/KARAKTERISTIK KREATIVITAS. (MISAL : GUILFORD)

A state of higher

Consciuosness – not of the councious, rational mind, available from the uncouncious or during altered

counciousness. Enhanced by growth toward enlightenment.

Intuitive

A feeling state –

Emotionally impactful requires self-awareness, process of self-actualization.

Releases emotional energy from the creator, transfers

this energy to the viewer or consumer, eliciting an

emotional response.

Feeling

A state of talent – Creating new products seen or hard by others. Requires high levels of physical Or mental development, high level of

Skill in area of talent.

Sensing

A thinking state – Rational, measurable.

Can be developed by Deliberate, concious pratice.

Thinking

Creativity

Jung (clark, 1983) : An integrated concept of creativity

Creativity : A rational thinking function Torrance (1962)

The process of sensing gaps or disturbing missing element;

forming new hypotheses and communicating the result, possibly, modifying and retesting the hypotheses.

Parner (1967)

Function of knowledge, imagination, and evaluation. The process involved as fact finding, problem finding, idea finding, solution finding, and acceptance finding. (etc)

Meassure / selecting & evaluating student :

MInisota Test of Creative Thinking (MTCT), TTCT, Remote Association Test (RAT), test IQ

General characteristic :

Self discipline, independent, often anti-authoritarian, zany sense of humor, able to resist group pressure, a strategy develop early. More adaptable, more adventurous, greater tollerance for ambiquisity and discomfort. Little tolerance for boredom, preference for complexity, asymetry, open-endedness. High in devergent thinking ability. High in memory, good attention to detail, broad knowledge background, need think periods, need supportive climate, sensitive to environment, need recognition, opportunity to share, high aesthetic values, good aesthetic judgment. Freer in developing sex role integration; lack of stereotypical male, female identification. Bgmn Pengembangannya?

Creativity : A rational thinking function

characteristic

Female Male

Liked school, especiallly course in science, music, and art.

Liked their teacher.

Regularly read news magazines …

Were active in dramatics and musical production

Did not go out on dates as often.

Were daydreamers.

Disliked school, dislike their teacher and thought yhey were uninteresting.

Did little homework.

Dislike physical education and seldom engaged in team sports.

Wew regarde as radical or unconventional.

Often wanted to be alone to pursue their own thoughts and interests.

Creativity :

A function of feeling

Fromm (1959)

Ability to see (or to aware) and to respond. He view it as an attitude for living.

Khrisnam urti

(1964)

.. Its roots in the initiative which comes into being only when there

is deep discontent … One most be wholley discontent, not

complainingly, but with joy, with gaiety, with love.

Hallman (1963)

As a way of conducting one’s life rather than in term of the number

and kind of objects which one may have oroduct.

Meassure / selecting & evaluating student : Personal Orientation Inventory (POI), elaboration trait. Maslow : evaluating self-actualizing.

General characteristic :

Maslow :

common attribute in his population of self actualizing : A special kind of perception, more spontanous and expressive, able to integrated, more self-accepting, less

afraid of what others would say, less need for other people, lack of fear of own emotions, imulses, and thoughts. Etc.

Fromm:

capasity to be puzzled, ability to concentrate, ability to experoence self as creative,

as the originator of one’s acts. Willingness to the born every day, ability to accept

conflict and tension from polarity rather than avoiding them. Courage to let go of

certainties, to different, to be concerned with trust, to be certain of one’s own

feeling and thoughts and trust them.

1983:39-Creativity :

A function of

feeling

To develop (anderson, dkk)

 Provide an environment rich and varied in stimulation.

 Teach with materials & method harmonies with each other & with

teacher.

 Deliniate clearly and repeatelly the aims of this type of program.

Allow free interplay of differences.

 Make environment and materials frendly, nonthreatening, threreby

allowing disagreement and controversy without hostility.

 Reduce anxiety in classroom, espicially that created by the teacher.

Handle difference as confrontations, not as conflicts.

 Find integrative element in differences.  Emerge unifying concept.

 Allow individuation and differentiation within the unity.

 Foster positive change in directions congruent with student prediction

in cognitive and affective areas.

1983:39-Creativity :

The talent aspect

The talent aspect of creativity include the product, the art form, and the realm of the talented creator.

Maslow (1959)

.. As production that result from activity, control, and hard work.

Roger (1954)

Emergence in action of novel rational product, growing out of the uniqueness of the individual on this one hand and the materials, events,

people or circumtances of his life on the other.

May (1959)

Creativity is bringing something new into birt

… the expression normal man in the act of actualizing himself … as the representation of

the highest degree of emoyional health.

Meassure / criteria for evaluating : how original, inventive, or imaginative the product.

1983:39-Creativity :

The talent

aspect

to develop

Inner condition/characteristic To facilitate creative and artistic production externally:

Openess to experience, new idea; an internal locus of evaluation; an ability to toy with element and concepts; perceiving fressly;

concern with outside and inside worlds; ability to defer closure and judgment; ability to accept conflict and tension; skilled performance of the traditional arts; high theoritical and

aesthetic values.

Treat the child with respect and allow freedom to explore the universe;

create the atmosphere with really good music, books, and pictures as a natural part of the

child’s world;

treat ideas and question respectfully; respect to the child privacy; value the unusual, the divergent; help the child learn mistaake; avoid sex role stereotyping; encourage self expression; teach the child learn to trsust the

senses; and permit the child’s own creativity

to emerge.

Rogers : Safety psychological  accepting individual unconditional; providing a climate, and by understanding empathetically.

1983:39-Creativity : A function of higher levels of consciousn ess Anderson (1962)

indicated that a creative product is never completely a

product of one’s rational, everyday state of maind.

Krippner (1968)

Whitout acces to alternative levels of awareness, creative behavior may be stilfed or blocked.

MacKinnon (1985)

-gives being more intuitively perspective as one of the major conditions for creativity.

Characteristic

Have their energy field accescible; have ability to top and release

unconcious and preconcious thought; be able to withstand being thought of as abnormal or eccentric; be more sensitive; have a richer fantacy life and greater involvement to daydreamning; be more enthusiastic and impulsif; often show abilities of synesthesia (e.g. tastibng color, seeing sound, hearing smells); show different brain wave pattern than less

creative, especially during creative activity; when confront with novelty of design, music, ideas, get excited and involved (less creative people get suspicious and hostile), when given new solution to a problem, get

enthused, suggest other ideas, over look details and problem (less creative student analyze the defect rather than explore potentials).

1983:39-Creativity : A

function of higher levels of

consciousness

STOP CREATIVITY

Krippner (1967) list ten assumptions to stop creativity : (creativity killer)



Everything must be useful



Everything must be

succesful



Everything must be perfect



Everything must like you



You shall not prefer

solitude to togetherness

 You must have concentrated

attention

 You must not diverge from

culturally imposed sex norms

 Do not express excessive

emotional feeling

 Do not be ambigous

1983:39-PENGUKURAN KREATIVITAS



TES :

TES TORRANCE : MENCERITERAKAN GAMBAR

TES PERBUATAN : BUAT KARYA/LAKUKAN

SESUATU



NON TEST

OBSERVASI

WAWANCARA

TEKNIK BANG KREATIVITAS

 BERANDAI-ANDAI

 PENGGUNAAN YG TDK

LAZIM

 PERBAIKI PRODUK

 MENGGABUNGKAN

 BERPIKIR POLOS

 MEMBUAT HAL2 YG LUCU

 ANALISA KEBUTUHAN



MENGUBAH SESUATU



MENYESUAIKAN



MEMPERKECIL



MEMPERBESAR



PENGGUNAAN LAIN



MENYUSUN KEMBALI

SCAMMPERR



Substitute



sepakbola, pager & HP



Combine



kopi 3 in 1



Adapt



bus way,



Magnify



iklan ukuran besar, membuka kantor cabang



Modify



celana cutbrai, rambut cepak, buku edisi ulang



Put to Other Uses



transfer Beckham,



Eliminate



restrukturisasi, roti unyil, debirokrasi



Reverse



toko swalayan, pom bensin di usa

PEMBELAJARAN KREATIF



IN-DEPT STUDY

(misal: sampai menemukan rumus)



Thinking, RESEARCH, and library skill



INDEPENDENT STUDY



Self

–

selected topics



AffecTIVE ACTIvitieS



Pembelajaran kreativitas harus

menyenangkan bagi siswa



Keterlibatan siswa



Tidak menyalahkan siswa



Banyak cara yang dapat dilakukan

guru



Guru harus kreatiF

PAJANGAN - ABSESNSI MANDIRI – POHON ILMU – KERJA SAMA

ALASAN



ADANYA MASALAH-MASALAH DGN TEMAN

SEBAYA, GURU, ORANG TUA, DLM PENGAMBILAN

KEPUTUSAN, KERJASAMA, & MASALAH PERASAAN.



Terlalu percaya diri / sebaliknya



Beban mental

–

harapan lingungan

SASARAN



Pemenuhan BUT KOG/AKADEMIK/nafsu intelektual



Pemenuhan BUT PerSONAL- so.SIAL



Pemenuhan BUT PENGALAMAN

PERAN GURU SBG TNG

KONSELING



MENYEDIAKAN AKTIVITAS UTK BANG

PSIKOSOSIAL POSITIF



IMPLEM KUR SCR EFEKTIF



MENYEDIAKAN NARA SUMBER DI KELAS YG DPT

JADI MODEL ANAK



MENYIAPKAN BIBLIOGRAFI



MENGGUNAKAN KONSULTASI KELOMPOK KECIL

SBG USAHA KAT PEMAHAMAN SOSIAL & DIRI

ANAK



PENYELENGGARAAN & PEMBENTUKAN POK

DISKUSI

BIDANG LAYANAN

 BIMBINGAN AKADEMIK

 MONITOR PRESTASI ANAK

 BANTU PILIH AKTIVITAS

BELAJAR

 MEMOTIVASI DISIPLIN

DLM BELAJAR

 BIMBINGAN KEPRIBADIAN

 BANTU RENCANAKAN

AKTIVITAS SEHARI2

 MONITOR AKTIVITAS

SOSIAL & PRIBADI ANAK

 BANTU PILIH TEMAN, DSB

 BIMBINGAN KARIR

 INFORMASI KARIR

 PERENCANAAN KARIR

Contoh-contoh

hasil kreativitas

&

bagaimana

9X2=18 1+9 =9

9X3=27 2+7 =9

9X4=36 3+6 =9

9X5=45 4+5 =9

9X6=54 5+4 =9

9X7=63 6+3 =9

9X9=81 8+1 =9

9X11=99 9+9 =18 1+8=9

9X15=135 1+3+5=9

9X22=198 1+9+8 =18 1+8=9

9 DIKALIKAN BERAPAPUN.

Looks like President Clinton and Vice President Gore,

right?

Wrong... It's Clinton's face twice, with two different

haircuts.

There's a face... and the word

liar

What do

No, they're both the same

size

It's a spiral, right?

Keep staring at the black dot. After a while

the gray haze around it will appear to

Stare at the black lightbulb for at least 30 seconds.

Then immediately stare at a white area on the screen

How many colors do you see?

PERANAN HUKUM KENDALI F PENENTU EKONOMI DINAMIS, TERTIB, SEIMBANG

LINDUNG & KAT NATIONAL INCOME

GAKKUM JAHTERA YG MERATA & ADIL

FAKTOR TERTENTU KENDALI KEADILAN KESIMBANGAN KESEJAH TERAAN MASY

PERANAN HUKUM DALAM PEMBANGUNAN EKONOMI DI NEGARA POLISI DAN NEGARA KESEJAHTERAAN

NEGARA POLISI PEMBANGUNA EKONOMI BERHASIL SESUAI CITA-CITA HUKUM PEMBANGUNAN EKONOMI NEGARA KESEJAH TERAAN TDK ADA KEBEBASAN USAHA & PERSAINGAN BEBAS HAMBAT INDUSTRALISASI KETERLIBATAN NEGARA TERUKUR - SEIMBANG KETERLIBATAN NEGARA MINIMALIS DIGUNAKAN SCR BERLEBIHAN (MAKSIMALIS) AGAR TDK SAING BEBAS SESUAI HK EKONOM

TAP MPR No. VI/MPR/2000 TAP MPR No VII/MPR/2000

Keppres No 89/ 2000 UU No. 2/2002.

BAGIAN

ABRI

ARAH KEBIJAKAN HUKUM NASIONAL

DENGAN KELUARNYA KEPOLISIAN DARI LINGKUNGAN ABRI

Penetapan Dewan Pertahanan Negara

No 112/1947 UU No 20/1982

UU No 28/1997

POLRI

MANDIRI

PP No 11 D/1946

Dibawah Depdagri -Menteri Dibawah Kendali Militer

MERDEKA  ORBA  ERA REFORMASI

POLRI

MANDIRI

Dibawah Presiden

TAP KEDUDUKAN, FUNGSI, PERAN & TUGAS POLRI

TAP PROFESIONALISME

TAP JATI DIRI POLRI

TAP KEMANDIRIAN

JADI BAG MASY MADANI

HILANG JATI DIRI, PROF, KEMANDIRIAN, MILITERISTIK

PUS BUD MILITERISTIK

BERFIKIR DIVERGEN

 Fluency – The ability to generate a number of ideas so that there is an increase of possible solutions or related products.

 Flexibility - The ability to produce different categories or perceptions whereby there are a variety of different ideas about the same

problem or thing.

 Elaboration – The ability to add to, embellish, or build off of an idea or product.

 Originality – The ability to create fresh, unique, unusual, totally new, or extremely different ideas or products

 Complexity – The ability to conceptualize difficult, intricate, many layered or multifaceted ideas or products.

 Risk-taking – The willingness to be courageous, adventuresome, daring -- trying new things or taking risks in order to stand apart.

 Imagination – The ability to dream up, invent, or to see, to think, to conceptualize new ideas or products – to be ingenious.

 Curiosity – The trait of exhibiting probing behaviors, asking and

 Kelancaran– Kemampuan untuk menghasilkan sejumlah gagasan sedemikian sehingga ada suatu peningkatan kemungkinan

pemecahan atau berhubungan produk.

 Fleksibilitas- Kemampuan untuk menghasilkan persepsi atau kategori berbeda dengan mana ada berbagai gagasan berbeda tentang hal atau masalah yang sama.

 Pengembangan– Kemampuan untuk menambah, menghias, atau

membangun batal/mulai dari suatu gagasan atau produk.

 Keaslian– Kemampuan untuk menciptakan segar, unik, tidak

biasa, secara total baru, atau produk atau gagasan sangat berbeda

 Kompleksitas-Kemampuan ke conceptualize sulit, ruwet, banyak orang yang layered atau produk atau gagasan bersegi banyak.

 Risk-taking– Kesediaan untuk berani, adventuresome, keberanian-- berusaha berbagai hal baru atau mengambil resiko dalam rangka menyendiri.

 Imajinasi– Kemampuan untuk menemukan, menemukan, atau untuk lihat, untuk berpikir, ke conceptualize produk atau gagasan baru– untuk;menjadi ingenious.

 RASA INGIN TAHU– Ciri memperlihatkan menyelidiki perilaku, [minta;tanyakan] dan bersikap pertanyaan, pencarian, menjadi mampu lihat lebih dalam ke dalam gagasan, dan yang kurang

untuk mengetahui lebih banyak tentang sesuatu (yang).Fluency – The ability to generate a number of ideas so that there is an