When a person is saturated with research and resources, ideas sort of spring up on their own – Edwards calls this “looking around for information” (Edwards, 126). When students are surrounded with information, and simply follow pathways of interest, instead of hunting for the one right answer, they become saturated with knowledge. An analogy can be drawn between this and using the internet. The student looks up a topic or idea and finds a webpage with information. On this page, links take the student to different collections of information. Good sites will also point users to different websites and resources, allowing the research to be natural and flowing. As the student absorbs this information and tailors his/her experience s/he learns a vast multitude of facts and concepts.
As these ideas swell, the teacher should act as a guiding light – not interfering – but supporting the search and asking questions to help the student probe further. This is how the student will become saturated, and “ah ha!” moments will flourish. At first, students may need to be shown this process: the teacher might role-model how to seek saturation. It is also important that through this process answers and solutions “may change or even be transformed during the research” this is what leads to “the inspiration, which by definition “breathes life into” the pursuit of the solution” (Edwards, 127). The research will plant ideas in the student. The student will get ideas which will seed solutions. The student will exchange this seed idea with other students and the teacher, and vice versa.
The learning process becomes an organic give and take, as opposed to an autogamous lecture at. Seed ideas cross-pollinate between facilitators and learners, as opposed to facts being forced into students. When formed from cross-pollinated sources, the seed idea can blossom. However, the seed needs time and even then, these sorts of creative innovations can fizzle out. The important thing to remember about these ideas is that they are not complete. They are just the triggers for bigger moments (Kelley, 82). Kelley argues that seed ideas need the right environment to develop. A culture of creativity is enlivened by the cross-pollination of vastly different sources. Excitement ensues – sparking seed ideas within the cross-pollinators (Kelley, 83). Cross-pollination practices like these have become the hallmark of the most innovative businesses. It is no coincidence that we are using biological language to describe this process. Creativity is like growing a flower, and requires specific and delicate actions. Kelley suggests that seed ideas are out there, they just need to be tapped (Kelley, 84). Allogamous education is this sort of biological, organic institution and uses a PBL to encourage creative problem solving through cross-pollinating innovation. Implementing this sort of education will lead to an institutional change. School environments need to change in order to embrace allogamous practices. In order to develop this, Csikszentmihaly argues that we need to cross-pollinate dualities – the opposite pairs which complement one another.
In this model, Csikszentmihaly borrows from another biological concept: symbiosis – two organisms which mutually benefit from one another’s relationship. The classic example is that of clownfish cleaning a sea anemone of harmful bacteria while the anemone provides protection for the clownfish. Sources which provide a symbiosis, allow for deep innovation. Csikszentmihalyi argues that the deepest, richest meaning of flow is symbiosis. “Life-styles built on pleasure survive only in symbiosis with complex cultures based on hard work and enjoyment” (Csikszentmihalyi, 175). Flow allows for a “perception of both what can be accomplished ad what we as individuals are able to accomplish, until the two are in balance” (Csikszentmihalyi, 172). Studies done by Csikszentmihalyi show that some of the most creative people were raised in households of opposites: parents offered stability while encouraging uniqueness. Once the environment is structured to allow the students to explore their own dualities and cultivate their own ideas, the PBL can be introduced.
The PBL should immediately evoke wonder and inquiry. To continually encourage students to experience wonderment, teachers should follow these guidelines: First, students should, whenever, they experience a moment that is breath-taking or beautiful, write down their feelings and impressions. Students should try to keep track of these moments. This will help students recreate these feelings later, when they need them during problem-solving activities or critical thinking exercises. Second, students should identify moments when they should be experiencing awe and are not. There are many times when we see a sunset, notice an exchange between mother and child, or read a moving quote that we think we should feel something – but nothing happens. Students should immediately brainstorm on why. Why didn’t s/he feel moved? Was the moment genuine? Is the student in a bad mood? Is something blocking the student from feeling awe? Identifying these moments can also help students better understand the practice of wonderment. Third, students must pay attention! Students can only find awe, inspiration and wonder by being observant and looking for new, exciting experiences.
They should talk with others – ask them about exciting ideas or experiences, ask them about wonderful things. Students should continue to write down things that are important and things that are unimportant – this will help them develop the habit of wondering. Students should make tables of things that inspire them and things that do not – identifying them verbally and in written form will help train their eye for those experiences. Fourth, students should focus on the physical aspects of creativity in order to relax. Students need to clear their mind. They should choose a quiet place and sit in a comfortable manner. They should keep their back straight and partially close their eyes. They should breathe in through their nose and exhale through their mouth. By focusing on their breathing – they should listen to the air entering and leaving their bodies, concentrating on the feeling of air in their windpipes and lungs, and feeling their chest rise and fall. Creating a peacefulness is crucial to developing self-reflection and creativity. Fifth, students should focus on the mental aspects of creativity in order to seek out awe. While in a physical state of peace and tranquility students can open their mind.
Contemplation helps us build the habit of finding wonder. While their heart rate is low, their breathing will slow and their body will relax. In this mode, students can force their minds to think in abstractions. Students should try not to think about concrete objects but ideas like peace, happiness, bliss, infinity, nothingness etc. This will encourage creative growth and help students become more sensitive to their own metacognition. While in this state, saturation is important. When calm and open-minded, resources should be made available. The cross-pollination of ideas will flourish naturally, when the environment is prepared. Sixth, help students find inspiration and avoid the pitfalls of entertainment – they must actively seek things that inspire. Inspiration can come from a variety of resources and people, such as: The students should ravenously read focusing on stories and information that contain narratives. They should listen to music: we all have our playlists and favorite MP3s, but if you listen to an entire album from start to finish it’s like a novel – the music is a narrative. The students should seek out mentors: help them find people that inspire – choose people because they are interesting, informative and charismatic. Students should cut out the negativity: there are those people and things which bring us down – they should avoid them! The students should learn to enjoy art, food and movies/plays: instead of just viewing, they should participate! They should really look at a piece of art, really immerse themselves in a movie and really turn food into an experience. Seventh, student should seek out new places; it’s not enough just to let the masters be an inspiration, but the students should seek out creative atmospheres. They should go somewhere they have never been before; they should go somewhere that they would never thought they would enjoy or want to go to. They should try new restaurants and coffee shops or try a new theater, go to a play, attend a symphony or ballet, and really try to keep an open mind. Finally, the students need to allow for serendipity – serendipity is about allowing for a discovery when looking for something completely different.
Many artists refer to this as the “happy accident.” Here, the students are trying one thing and something else interrupts – they should allow this to happen. They should embrace and cherish these moments. Serendipity can only happen if the student has practiced the first seven steps. It is during serendipity that the student will cross-pollinate ideas, which will lead to creative practice. This, in turn, will lead to problem solving and decision making, allowing for innovative answers to the original PBL framework. By following these practices, teachers can help facilitate an atmosphere and culture of creativity. These sorts of activities replace the need for traditional curriculum. Allogamous education is self-directed. Students who are engaged, and encouraged to be creative, will develop their own learning experiences under the guidance of the instructor. This is how allogamous education starts with a PBL and grows into an experience.
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