creative and critical thinking independent or overlapping components

Critical Inquiry: Creative Movement and Embodied Cognition

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In Chap. 2 , I highlight the role of creativity in the embodied mind account of cognition. The enactive account of embodied cognition rests on the supposition of the phenomenological body as a dynamic force in its situated contexts. Similarly, the accounts of creativity most closely associated with cognitive processes are dynamic factors related to one’s phenomenological relationship to their context. Given that my account of embodied critical inquiry is grounded in the specific process of movement creation, rather than memorization, an understanding of cognition as embodied, creative, and dynamic is essential.

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The difference between critical thinking and critical inquiry is one merely of purpose. Critical thinking is inherently creative and involves the analysis, synthesis, analogizing, metaphorizing, etc. of ideas. Critical inquiry is one kind of critical thinking that is the creative and innovative approach to asking questions. All critical thinking is done in response to one kind of question or another. Critical inquiry is the critical thinking activity of pursuing and constructing the questions that the critical thinking activity of answering follows.

See also: James Kaufman and Robert Sternberg (eds.). The Cambridge Handbook of Creativity . Cambridge: Cambridge University Press, 2019. Margaret Boden (ed.). Dimensions of Creativity. Cambridge: MIT Press, 1994.

These cognitive tasks do not require a specific kind of cognitive normativity because creativity does not require all of these conditions. One can be creative solely through imagination, or affect, or what not. But also, the other higher cognitive skills in the list are also relatively available to cognitive and neuro diverse people.

See also: Thomas Ward and Yuliya Kolomyts. “Creative Cognition”. In The Cambridge Handbook of Creativity . Kaufman, James and Robert Sternberg (eds.). Cambridge: Cambridge University Press, 2019: 175–199.

For the specific role of moods, rather than affect, see: Matthijs Baas. “In the Mood for Creativity”. In The Cambridge Handbook of Creativity . Kaufman, James and Robert Sternberg (eds.). Cambridge: Cambridge University Press, 2019: 257–272.

See: Karen Barbour. “Embodied Ways of Knowing: Revisiting Feminist Epistemology”. In The Palgrave Handbook of Feminism and Sport, Leisure, and Physical Education . Louise Mansfield et al. (eds). New York: Palgrave Macmillan, 2018: 209–226. Michael Gard. “Movement, Art, and Culture: Problem-Solving and Critical Inquiry in Dance”. In Critical Inquiry and Problem-Solving in Physical Education . Wright, Jan, Doune McDonald, and Lisette Burrows (eds.). New York: Routledge Press 2004. Ann Thomas Moffet. Dance as Inquiry: Critical Thinking in Dance Education. Thesis. Department of Dance. Graduate School of the University of Oregon, 2010; Anna Pakes. “Original Embodied Knowledge: The Epistemology of the New in Dance Practice as Research”. Research in Dance Education , 4, no. 2 (2003): 127–149; Catherine Stevens. “Trans-disciplinary Approaches to Research into Creation, Performance, and Appreciation of Contemporary Dance”. In Thinking in Four Dimensions: Creativity and Cognition in Contemporary Dance . Robin Grove, Catherin Stevens, and Shirley McKechnie (eds.). Melbourne: Melbourne University Press, 2005: 154–168.

See also: Susan Leigh Foster. “Making a Dance/ Researching through Movement”. In Mapping Landscapes for Performance as Research: Scholarly Acts and Creative Cartographies . Shannon Rose Riley and Lynette Hunter (eds.). London: Palgrave Macmillan, 2009: 91–98; Catherine Hale. “The Science of Making Dances: Report on Choreography and Cognition Event at Winchester Festival”. Dance Gazette 2 (2004): 16–19; Shirley McKechnie. “Choreography as Research”. In Creative Investigations: Redefining Research in the Arts and Humanities . Stoljar, Margaret (ed.). Symposium of the Australian Academy of the Humanities, 1995.

See also: Ivar Hagendoorn. “Dance Perception and the Brain”. In Thinking in Four Dimensions: Creativity and Cognition in Contemporary Dance . Robin Grove, Catherin Stevens, and Shirley McKechnie (eds.). Melbourne: Melbourne University Press, 2005: 137–148.

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Welch, S. (2022). Critical Inquiry: Creative Movement and Embodied Cognition. In: Choreography as Embodied Critical Inquiry. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-93495-8_2

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Creative and critical thinking: Independent or overlapping components?

2018, Thinking Skills and Creativity

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Development of critical and creative thinking skills to increase competence of PLC programming for electrical engineering education students

PW Rusimamto 1 , L Nurlaela 1 , MS Sumbawati 1 , Munoto 1 and M. Samani 1

Published under licence by IOP Publishing Ltd IOP Conference Series: Materials Science and Engineering , Volume 535 , International Conference on Technology and Vocational Teachers (ICTVT-2018) 15 November 2018, Yogyakarta, Indonesia Citation PW Rusimamto et al 2019 IOP Conf. Ser.: Mater. Sci. Eng. 535 012005 DOI 10.1088/1757-899X/535/1/012005

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Creative and critical thinking: Independent or overlapping components?