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Creativity of an Aha! Moment and Mathematics Education
 Creativity of an Aha!
Moment and Mathematics
Education
Edited by

Bronislaw Czarnocha and William Baker

‫ءؘؗ؜ؘ؟‬ᄩؕ‫ءآائآ‬
Cover illustration: Artwork by Jose Garcia, Art Director, Hostos ѹѹ

All chapters in this book have undergone peer review.

Library of Congress Cataloging-in-Publication Data

ƞƸƣƾᄘDžƞƽƹƺơƩƞᄕƽƺƹƫƾƶƞǂᄕƣƢƫƿƺƽᄙᄩƞƴƣƽᄕƫƶƶƫƞƸᄕƣƢƫƿƺƽᄙ
Title: Creativity of an aha! moment and mathematics education / edited by
Bronislaw Czarnocha and William Baker.
ƣƾơƽƫƻƿƫƺƹᄘƣƫƢƣƹᄖƺƾƿƺƹᄘƽƫƶƶᄧƣƹƾƣᄕᄴᇾᇼᇾᇽᄵᄩ ƹơƶǀƢƣƾ
bibliographical references and index.
ƢƣƹƿƫƤƫƣƽƾᄘ҂ѹѹ҄ᇾᇼᇾᇽᇼᇼህሂᇾᇿᄬƻƽƫƹƿᄭᄩ҂ѹѹ҄ᇾᇼᇾᇽᇼᇼህሂᇾሀᄬƣƟƺƺƴᄭᄩѿ҉Ѹ҄
ህሃሄህᇼᇼሀሀሀሃሀሀሄᄬƻƞƻƣƽƟƞơƴᄭᄩѿ҉Ѹ҄ህሃሄህᇼᇼሀᇿሃሂᇾᇾህᄬƩƞƽƢƟƞơƴᄭᄩѿ҉Ѹ҄
ህሃሄህᇼᇼሀሀሀሂሀᇿሀᄬƣƟƺƺƴᄭ
Subjects: ҂ѹ҉Ѿ: Mathematics--Study and teaching.
Classification: ҂ѹѹ҇ѷᇽሂᄙሃሀᇾᇼᇾᇽᄬƻƽƫƹƿᄭᄩ҂ѹѹ҇ѷᇽሂᄬƣƟƺƺƴᄭᄩѺѺѹ
ሁᇽᇼᄙሃᇽᅟᅟƢơᇾᇿ
҂ѹƽƣơƺƽƢƞǁƞƫƶƞƟƶƣƞƿƩƿƿƻƾᄘᄧᄧƶơơƹᄙƶƺơᄙƨƺǁᄧᇾᇼᇾᇽᇼᇼህሂᇾᇿ
҂ѹƣƟƺƺƴƽƣơƺƽƢƞǁƞƫƶƞƟƶƣƞƿƩƿƿƻƾᄘᄧᄧƶơơƹᄙƶƺơᄙƨƺǁᄧᇾᇼᇾᇽᇼᇼህሂᇾሀ

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Contents

ƽƣƤƞơƣᏻ‫ث؜‬
ơƴƹƺǂƶƣƢƨƣƸƣƹƿƾᏻ‫ث‬
ƫƾƿƺƤ ƫƨǀƽƣƾƞƹƢƞƟƶƣƾᏻ‫؜ث‬
ƺƿƣƾƺƹƺƹƿƽƫƟǀƿƺƽƾᏻ‫ة؜ث‬

  ƹƿƽƺƢǀơƿƫƺƹᏻᇳ
Bronislaw Czarnocha

ᇳ  ƽƿƩǀƽƺƣƾƿƶƣƽᅷƾƫƾƺơƫƞƿƫƺƹƩƣƺƽDŽᏻᇵᇳ
Bronislaw Czarnocha

҆ѷ҈Ҋማ
Bisociation in the Classroom

2 Teaching-Research Analysis: The Constructivist Teaching Experiment as

ƞƣƿƩƺƢƺƶƺƨDŽƺƤƣƞơƩƫƹƨᏻᇷᇻ
Bronislaw Czarnocha

ᇵ  ƶƞƾƾƽƺƺƸ ƞơƫƶƫƿƞƿƫƺƹƺƤƩƞᄛƺƸƣƹƿ ƹƾƫƨƩƿƾᏻᇺᇲ

Bronislaw Czarnocha and William Baker

ᇶ  ƾƾƣƾƾƸƣƹƿƺƤƿƩƣƣƻƿƩƺƤƹƺǂƶƣƢƨƣơƼǀƫƽƣƢƢǀƽƫƹƨƞƹƩƞᄛ
ƺƸƣƹƿ ƹƾƫƨƩƿᏻᇳᇳᇲ
Bronislaw Czarnocha

ᇷ  ƩƣƺƶƣƺƤƿƩƣƣƞơƩƣƽƫƹ ƞơƫƶƫƿƞƿƫƹƨƿƩƣƩƞᄛƺƸƣƹƿᏻᇳᇵᇻ
William Baker

6 The Work of the Teaching-Research Team of the Bronx:

ƽƣƞƿƫǁƫƿDŽᏻᇳᇸᇶ
William Baker, Olen Dias, Edme Soho, Hector Soto
and Lauren Wolf
‫؜ة‬ ѹ‫ئاءؘاءآ‬

҆ѷ҈Ҋሜ
The Aha! Moment and Affect

7 Creativity in the Eyes of Students: Espoused and Enacted Beliefs in

 ƞƿƩƣƸƞƿƫơƞƶƽƺưƣơƿƾᏻᇴᇲᇷ

Hannes Stoppel and Benjamin Rott

ᇺ  ǀƫƶƢƫƹƨƺƹƨᅟƣƽƸƣƞƹƫƹƨƫƹƞƿƩƣƸƞƿƫơƞƶƩƫƹƴƫƹƨᄘƩƞᄛƞƹƢ
ƩᅟƩǀƩᄛᏻᇴᇴᇸ
David Tall

ᇻ  ƺƹƞƿƫǁƣƣƽƾƻƣơƿƫǁƣƺƹƩƞᄛƺƸƣƹƿƾᏻᇴᇸᇲ
Gerald A. Goldin

ᇳᇲ  ƶƶǀƸƫƹƞƿƫƹƨƩƞᄛƺƸƣƹƿƾƿƩƽƺǀƨƩƿƩƣƣƶƞƿƫƺƹƾƩƫƻƾƟƣƿǂƣƣƹ
ƺƨƹƫƿƫƺƹᄕƤƤƣơƿᄕƞƹƢƺƹƞƿƫƺƹᏻᇴᇹᇳ
Bronislaw Czarnocha and Peter Liljedahl

҆ѷ҈Ҋም
Bisociation and Theories of Learning

ᇳᇳ  ƫƾƺơƫƞƿƫƺƹᄕƽƣƞƿƫǁƫƿDŽᄕƞƹƢ ƹƿƣƽƫƺƽƫDžƞƿƫƺƹᏻᇵᇲᇳ

William Baker

ᇳᇴ  ǂƺƿƞƨƣƩƞƹƨƣƾƫƹƹƿƫơƫƻƞƿƫƺƹᄘƺƨƹƫƿƫǁƣƺǀƽơƣƾƺƤƩƞᄛ
ƺƸƣƹƿƾᏻᇵᇴᇳ
Ron Tzur

ᇳᇵ ƩƞᄛƺƸƣƹƿƾᄕƫƾƺơƫƞƿƫƺƹᄕƞƹƢǀƶƿƫƤƺơƞƶƿƿƣƹƿƫƺƹᏻᇵᇶᇷ
John Mason and Bronislaw Czarnocha

҆ѷ҈Ҋሞ
Bisociativity from Without

ᇳᇶ ƩƣƩƞᄛƺƸƣƹƿƞƿƿƩƣƣǃǀƾƺƤƫƹƢƞƹƢƽƞƫƹᏻᇵᇸᇷ
Stephen R. Campbell

ᇳᇷ  ƫƾƺơƫƞƿƫǁƣƿƽǀơƿǀƽƣƾᏻᇵᇻᇺ
Hannes Stoppel and Bronislaw Czarnocha
ѹ‫ ئاءؘاءآ‬ ‫؜؜ة‬

ᇳᇸ ƺƹơƶǀƾƫƺƹƾᏻᇶᇴᇷ
Bronislaw Czarnocha

ᇳᇹ  ƺƶƶƣơƿƫƺƹƺƤƩƞᄛƺƸƣƹƿƾᏻᇶᇶᇳ
Bronislaw Czarnocha

ƶƺƾƾƞƽDŽᏻᇶᇸᇳ
ƹƢƣǃᏻᇶᇸᇸ
Preface

The presented volume introduces a new approach to mathematical creativi-

ty via the theory of bisociation formulated in the Act of Creation by Arthur
ƺƣƾƿƶƣƽᄬᇳᇻᇸᇶᄭᄙƩƣƿƩƣƺƽDŽƺƤƟƫƾƺơƫƞƿƫƺƹƢƣƽƫǁƣƾƤƽƺƸƺƣƾƿƶƣƽᅷƾƞƹƞƶDŽƾƫƾƺƤ
the insight phenomenon called Aha! moment or eureka experience conducted
in the domain of humor, scientific discovery, and art. The wide familiarity of
the phenomenon to the general student population as that sudden moment
when everything becomes clear, the definition of creativity through the Aha!
moment gives us the basis for the concept of creativity of and for all.
Ʃƣ ǁƺƶǀƸƣ Ʃƞƾ ƿǂƺ ƺƟưƣơƿƫǁƣƾᄘ ᄬᇳᄭ ƿƺ ƫƹǁƣƾƿƫƨƞƿƣ ơƶƞƾƾƽƺƺƸ Ƥƞơƫƶƫƿƞƿƫƺƹᄕ
emergence, and depth of knowledge assessment of an Aha! moment insight,
ƞƹƢᄬᇴᄭƿƺƫƹǁƣƾƿƫƨƞƿƣƽƣƶƞƿƫƺƹƾƩƫƻƾƟƣƿǂƣƣƹƟƫƾƺơƫƞƿƫƺƹƿƩƣƺƽDŽǂƫƿƩƿƩƣƤƫƣƶƢ
of creativity and learning theories. The summary of both investigations is pre-
sented in the Conclusions together with new research questions generated by
the work of different authors in different chapters of the book. Two of the re-
ƾǀƶƿƾƤƽƺƸƿƩƣƺƹơƶǀƾƫƺƹƾƾƿƞƹƢƺǀƿᄘᄬᇳᄭƤƺƽƸǀƶƞƿƫƺƹƺƤƿƩƣƟƞƾƫƾƤƺƽƩƞᄛƻƣƢ-
agogy, whose aim is to introduce facilitation of bisociative creativity at every
ƶƣǁƣƶƺƤƸƞƿƩƣƸƞƿƫơƞƶƢƣǁƣƶƺƻƸƣƹƿᄕƞƹƢᄬᇴᄭƤƺƽƸǀƶƞƿƫƺƹƺƤƿƩƣƟƞƾƫƾƤƺƽƿƩƣ
theory of learning-through-creativity of Aha! moments.
ƿƫƾƾƿƽƫƴƫƹƨƿƺƹƺƿƣƿƩƣǂƣƞƶƿƩƺƤơƺƹƹƣơƿƫƺƹƾƟƫƾƺơƫƞƿƫƺƹƸƞƴƣƾǂƫƿƩƢƫƤ-
ferent domains and theories of learning presented in the volume: from the
ƸƞƿƩƣƸƞƿƫơƾơƶƞƾƾƽƺƺƸᅷƾƩƞᄛƸƺƸƣƹƿƾƿƺƿƩƣƹƣǀƽƞƶƹƣƿǂƺƽƴƾƺƤƞƽƿƫƤƫơƫƞƶƫƹ-
telligence, through neuroscience to computer creativity and bisociative search
engines, from the psychology of affect to the psychology of conation. Bisocia-
tion easily networks with constructivist theories of learning, which leads us to
conjecture the possibility of creativity-based learning and teaching of mathe-
matics.
The editors of the volume hope to facilitate new moments of useful reflec-
tion among readers upon the fundamental role of creativity in learning and
teaching mathematics in our classrooms.
Acknowledgements

The editors of the book want to express deep appreciation to the whole writing
team of the book for the commitment to deeply investigate different aspects
of the Aha! moment and its role in the development of mathematical creativi-
ty by mathematics students. Thank you, Stephen Campbell, Olen Dias, Gerald
Goldin, Peter Liljedahl, John Mason, Benjamin Rott, Edme Soho, Hector Soto,
Hannes Stoppel, David Tall, Ron Tzur and Lauren Wolf.
We want to express our gratitude to Mr. Jose Garcia, the Art Director at Hos-
tos ѹѹ, who designed the cover, the copy editors Pamela and Ariela Fuchs, and
Ed Hatton; to students and Peer Leaders of the mathematics remedial interme-
ƢƫƞƿƣƞƶƨƣƟƽƞơƶƞƾƾƺƤƻƽƫƹƨᇴᇲᇳᇹǂƩƺƩƞǁƣƻƞƽƿƫơƫƻƞƿƣƢƫƹƿƩƣƩǀƹƿƤƺƽƩƞᄛ
Moments Teaching-Experiment and experienced five Aha! insights discussed
in the book.
ƣǂƞƹƿƿƺƺƤƤƣƽƿƩƞƹƴƾƿƺƽᄙƽǀƹƢƞƽƞƟƩǀᄬᇳᇻᇸᇳᅬᇴᇲᇳᇵᄭǂƩƺᄕƞƾƿƩƣƤƫƽƾƿ
among us, had grasped the role of bisociativity in her experimental classroom
of the teaching experiment Problem Solving in Remedial Arithmetic—A Jump-
ƾƿƞƽƿƿƺƣƤƺƽƸᄬᇴᇲᇳᇲᄭᄙƣƞƽƣƤƺƶƶƺǂƫƹƨƿƩƣƻƞƿƩǂƞDŽơƽƣƞƿƣƢƟDŽƩƣƽƢƫƾơƺǁƣƽDŽᄙ
Figures and Tables

Figures

ѿᄙᇳ ƿƞƹƢƞƽƢƿƣƞơƩƫƹƨᅟƽƣƾƣƞƽơƩơDŽơƶƣᄬƺǀƿƣƽᄭƞƹƢơƽƣƞƿƫǁƣƿƣƞơƩƫƹƨᅟƽƣƾƣƞƽơƩơDŽơƶƣ
ᄬƫƹƹƣƽᄭᄙᏻᇻ
ѿᄙᇴ ƽƫƻƿDŽơƩᅟƟƞƾƣƢƾƿǀƢƣƹƿƞƾƾƫƨƹƸƣƹƿᄙᏻᇳᇻ
ᇳᄙᇳ ƺƣƾƿƶƣƽƿƽƫƻƿDŽơƩᄬƤƽƺƸƺƣƾƿƶƣƽᄕᇳᇻᇸᇶᄕƫƹƾƫƢƣơƺǁƣƽᄭᄙᏻᇵᇴ
ᇳᄙᇴ ƹƣǁƣƹƿƟƫƾƺơƫƞƿƣƢǂƫƿƩƿǂƺƻƶƞƹƣƾƺƤƿƩƫƹƴƫƹƨᄬƤƽƺƸƺƣƾƿƶƣƽᄕᇳᇻᇸᇶᄕƻᄙᇵᇷᄭᄙᏻᇶᇲ
ᇳᄙᇵ ƫƹƨƞƹƢDŽƞƹƨƾDŽƸƟƺƶᄙᏻᇶᇸ
ᇵᄙᇳ ƣƿƤƺƽơƺƹƤƣơƿƫƺƹƞƽDŽƟƺǃᄬƤƽƺƸƞƽƹƣƾᄕᇴᇲᇲᇲᄕƻᄙᇵᇷᄭᄙᏻᇺᇻ
ᇶᄙᇳ ƣǁƣƶƾƺƤƿƩƫƹƴƫƹƨƫƹƶƺƺƸƿƞǃƺƹƺƸDŽƞƹƢƣƟƟᅷƾƢƣƻƿƩƺƤƴƹƺǂƶƣƢƨƣᄬơƽƣƞƿƣƢ
ƟDŽƣƟƟƫƣƣƽƴƫƹƾᄕᇴᇲᇲᇺᄭᄙᏻᇳᇳᇸ
ᇶᄙᇴ ƫƸᅷƾƻƽƺƟƶƣƸᄙᏻᇳᇴᇶ
ᇶᄙᇵ ƿƞƨƣƾƫƹƿƩƣƤƫƽƿƽƣƣƢƣǁƣƶƺƻƸƣƹƿᄙᏻᇳᇴᇸ
4.4 Algebra tile model for 2xሕናᇵǃናᇳᄙᏻᇳᇵᇵ
ᇹᄙᇳ ƽƺơƣƣƢƫƹƨƺƤƿƩƣơƺǀƽƾƣƾᄙᏻᇴᇲᇻ
ᇹᄙᇴ ǃơƣƽƻƿƺƤƻƽƺưƣơƿƣƶƞƟƺƽƞƿƫƺƹƺƤᄴᇳᄵᄬƞᄭƺƤƿDŽƻƣᄬᇳᄭƞƹƢᄴᇴᄵᄬƟᄭƺƤƿDŽƻƣ
ᄬᇴᄭᄙᏻᇴᇳᇳ
ᇹᄙᇵ ƽƫƢƨƫƹƨƨƽƞƻƩƾƟDŽơƺƹơƣƻƿƾᄬƤƽƺƸƣƽƿƩƺƶƢᄕᇴᇲᇳᇴᄕƻᄙᇶᄭᄙᏻᇴᇳᇴ
ᇹᄙᇶ ƩƞƹƨƣƾƫƹƿƩƣƾƿƞƿǀƾᄬᄕᄭƤƽƺƸ ƹƿƣƽǁƫƣǂƿƺ ƹƿƣƽǁƫƣǂᄬƾƣƣƞƟƶƣᇹᄙᇴƤƺƽ
the frequencies at both t቞ and tበᄭᄙᏻᇴᇳᇻ
ᇺᄙᇳ ƩƣƟƽƞƫƹƤƽƺƸƞƟƺǁƣᄙᏻᇴᇴᇺ
ᇺᄙᇴ ơƽƺƾƾᅟƾƣơƿƫƺƹƞƶǁƫƣǂƺƤƿƩƣƟƽƞƫƹƤƽƺƸƿƩƣƶƣƤƿƾƫƢƣᄙᏻᇴᇴᇻ
ᇺᄙᇵ ƶƺƿƿƫƹƨƿƩƣƾƶƺƻƣƤǀƹơƿƫƺƹƾƤƺƽƾƫƹᄬxᄭƞƹƢơƺƾᄬxᄭᄙᏻᇴᇵᇴ
ᇺᄙᇶ ǀƶƿǀƽƞƶƿƽƞƹƾƫƿƫƺƹƟƣƿǂƣƣƹƢƫƤƤƣƽƣƹƿơƺƸƸǀƹƫƿƫƣƾᄬƤƽƺƸƞƶƶᄕᇴᇲᇳᇻƞᄭᄙᏻᇴᇵᇷ
ᇺᄙᇷ ƣƽƾƺƹƞƶƿƽƞƹƾƫƿƫƺƹƟƣƿǂƣƣƹƢƫƤƤƣƽƣƹƿƸƞƿƩƣƸƞƿƫơƞƶơƺƹƿƣǃƿƾᄬƤƽƺƸƞƶƶᄕ
ᇴᇲᇳᇻƞᄭᄙᏻᇴᇵᇸ
ᇺᄙᇸ ƸƺƿƫƺƹƞƶƽƣƞơƿƫƺƹƾƿƺƨƺƞƶƾƞƹƢƞƹƿƫᅟƨƺƞƶƾᄬƤƽƺƸƞƶƶᄕᇴᇲᇳᇵᄕƻᄙᇳᇴᇲᄭᄙᏻᇴᇵᇺ
ᇺᄙᇹ ƞƶơǀƶƞƿƫƹƨᇵƿƫƸƣƾᇴᇵᄕǁƫƾǀƞƶƶDŽƞƹƢƾDŽƸƟƺƶƫơƞƶƶDŽᄙᏻᇴᇵᇻ
ᇺᄙᇺ ƩƣƿƩƽƣƣǂƺƽƶƢƾƤƽƞƸƣǂƺƽƴᄙᏻᇴᇶᇷ
ᇺᄙᇻ ƹƤƫƹƫƿƣƸƞƨƹƫƤƫơƞƿƫƺƹƺƤƞƶƺơƞƶƶDŽƾƿƽƞƫƨƩƿƨƽƞƻƩᄙᏻᇴᇶᇹ
ᇺᄙᇳᇲ ƺƽƣƾƺƻƩƫƾƿƫơƞƿƣƢƣƸƟƺƢƫƸƣƹƿƞƹƢƾDŽƸƟƺƶƫƾƸᄙᏻᇴᇶᇺ
ᇳᇲᄙᇳ ƫƸᅷƾƻƽƺƟƶƣƸƿƺƾƺƶǁƣᄙᏻᇴᇹᇳ
ᇳᇴᄙᇳ ƞƽᄬƤƫǁƣƣƼǀƞƶƻƞƽƿƾᄭᄕƞƽᄬƨƽƞDŽƻƫƣơƣᄭᄕƞƹƢƞƽᄬƨƽƞDŽƻƫƣơƣƫƿƣƽƞƿƣƢƿƩƽƣƣ
ƿƫƸƣƾᄭᄙᏻᇵᇴᇵ
ᇳᇴᄙᇴ ƩƫƾƫƾᇵᄧᇷƺƤƞơƩƺơƺƶƞƿƣƟƞƽᄙƽƺƢǀơƣƿƩƣǂƩƺƶƣƟƞƽƞƹƢƣǃƻƶƞƫƹDŽƺǀƽ
ƞƹƾǂƣƽᄙᏻᇵᇴᇶ
ᇳᇵᄙᇳ ƣƞƽơƩƫƹƨƤƺƽƞƽƣƶƞƿƫƺƹƾƩƫƻᄙᏻᇵᇷᇲ
‫؜؜ث‬ Ѽ‫ؗءؔئؘإبؚ؜‬Ҋؔؕ‫ئؘ؟‬

ᇳᇶᄙᇳ ƞƨƫƿƿƞƶᄬƶƣƤƿᄭƞƹƢƸƫƢƾƞƨƫƿƿƞƶᄬƽƫƨƩƿᄭǁƫƣǂƾƺƤƞƢƫƾƾƣơƿƣƢƩǀƸƞƹƟƽƞƫƹᄙᏻᇵᇸᇸ
ᇳᇶᄙᇴ ƺƽƿƫơƞƶơƺƶǀƸƹƾơƺƹƾƫƾƿƫƹƨƺƤƻDŽƽƞƸƫƢƞƶơƣƶƶƾᄬƤƽƺƸ ƽƞDŽᄕᇳᇻᇳᇺᄕƻᄙᇺᇶᇸᄭᄙᏻᇵᇸᇹ
ᇳᇶᄙᇵ ƞƾƾƫǁƣƸDŽƣƶƫƹƞƿƣƢƞǃƺƹƫƹƿƣƽơƺƹƹƣơƿƫǁƫƿDŽƟƣƿǂƣƣƹƢƫƤƤƣƽƣƹƿƟƽƞƫƹ
ƽƣƨƫƺƹƾᄙᏻᇵᇸᇹ
ᇳᇶᄙᇶ DŽƣƶƫƹƞƿƣƢƞǃƺƹƿƽƞơƿƾƽƣǁƣƞƶƣƢǀƾƫƹƨƢƫƤƤǀƾƫƺƹƿƣƹƾƺƽƫƸƞƨƫƹƨᄬơƺǀƽƿƣƾDŽ
ƺƤ ƺƽƢƺƹƫƹƢƶƸƞƹƹƞƿƿƩƣơƫƣƹƿƫƤƫơƺƸƻǀƿƫƹƨƞƹƢ Ƹƞƨƫƹƨ ƹƾƿƫƿǀƿƣᄕ
ƹƫǁƣƽƾƫƿDŽƺƤƿƞƩᄕƞƹƢƹƢƽƣǂƶƣǃƞƹƢƣƽᄕᄙᄙƣơƴƞƟƺƽƞƿƺƽDŽ
Ƥƺƽ ǀƹơƿƫƺƹƞƶƽƞƫƹ ƸƞƨƫƹƨƞƹƢƣƩƞǁƫƺƽᄕƹƫǁƣƽƾƫƿDŽƺƤƫƾơƺƹƾƫƹᅟ
ƞƢƫƾƺƹᄭᄙᏻᇵᇸᇺ
ᇳᇶᄙᇷ ƽƺƢƸƞƹƹƞƽƣƞƾƟƞƾƣƢƺƹơDŽƿƺƞƽơƩƫƿƣơƿǀƽƞƶƢƫƤƤƣƽƣƹơƣƾƺƤƹƣǀƽƺƹƞƶ
ƞƾƾƣƸƟƶƞƨƣƾᄬƤƽƺƸƞƹƾƺƹᄕᇳᇻᇴᇲᄕƻᄙᇴᇺᇺᄭᄙᏻᇵᇸᇺ
ᇳᇶᄙᇸ ƫǁƣƾƿƞƨƣƾƺƤƿƩƣơƽƣƞƿƫǁƣƻƽƺơƣƾƾᄬƤƽƺƸƞƢƶƣƽᅟƸƫƿƩᄕᇴᇲᇳᇷᄕƻᄙᇵᇶᇸᄭᄙᏻᇵᇹᇴ
ᇳᇶᄙᇹ ƩƣơƽƣƞƿƫǁƣƻƽƺơƣƾƾƞƾᅸƨƽƞƢƣƾƺƤơƺƹƾơƫƺǀƾƹƣƾƾᅺᄬƤƽƺƸƞƢƶƣƽᅟƸƫƿƩᄕᇴᇲᇳᇷᄕ
ƻᄙᇵᇶᇺᄭᄙᏻᇵᇹᇴ
ᇳᇶᄙᇺ ǀƸƞƹѻѻѽƤƽƣƼǀƣƹơDŽƟƞƹƢƾᄙᏻᇵᇹᇶ
ᇳᇶᄙᇻ ƢƢƟƞƶƶƾƿƫƸǀƶǀƾƾƶƫƢƣƾᄬƤƽƺƸƣƩƞƣƹƣƣƿƞƶᄙᄕᇴᇲᇲᇸᄭᄙᏻᇵᇺᇳ
ᇳᇶᄙᇳᇲ ƞƻƿǀƽƫƹƨƞƹƩƞᄛƸƺƸƣƹƿǁƫƞƿƩƣƫƹƿƣƨƽƞƿƫƺƹƞƹƢƿƫƸƣᅟƾDŽƹơƩƽƺƹƫDžƞƿƫƺƹƺƤ
ƻƩDŽƾƫƺƶƺƨƫơƞƶƞƹƢƟƣƩƞǁƫƺƽƞƶƺƟƾƣƽǁƞƿƫƺƹƾᄙᏻᇵᇺᇴ
ᇳᇶᄙᇳᇳ ƣƿƞƫƶƣƢƣDŽƣƿƽƞơƴƫƹƨƺƤƿƩƣƩƞᄛƸƺƸƣƹƿᄙᏻᇵᇺᇴ
ᇳᇶᄙᇳᇴ ƫƸƣƾDŽƹơƩƽƺƹƫDžƫƹƨƻƩDŽƾƫƺƶƺƨƫơƞƶƞƹƢƟƣƩƞǁƫƺƽƞƶƢƞƿƞƾƣƿƾᄙᏻᇵᇺᇶ
ᇳᇶᄙᇳᇵ ƣƤƿᄘѻѻѽƫƹƾƫƨƩƿƣƤƤƣơƿᄬƤƽƺƸǀƹƨᅟƣƣƸƞƹƣƿƞƶᄙᄕᇴᇲᇲᇶᄕƻᄙᇷᇲᇷᄭᄙƫƨƩƿᄘ
An independent analysis component of our ѻѻѽ data corresponds to a
phenomenon they have identified with the ѻѻѽƫƹƾƫƨƩƿƣƤƤƣơƿᄬƤƽƺƸƺǀƹƫƺƾѵ
ƣƣƸƞƹᄕᇴᇲᇲᇻᄕƻᄙᇴᇳᇳᄭᄙᏻᇵᇺᇷ
ᇳᇶᄙᇳᇶ  ƹƢƣƻƣƹƢƣƹƿơƺƸƻƺƹƣƹƿƾƺƤƟƽƞƫƹƞơƿƫǁƫƿDŽƞƾƾƺơƫƞƿƣƢǂƫƿƩƽƣƞƾƺƹƫƹƨᄕ
ơƺƸƻƽƣƩƣƹƾƫƺƹᄕƞƹƢƫƹƾƫƨƩƿᄙᏻᇵᇺᇷ
ᇳᇶᄙᇳᇷ ƽƞƫƹƞơƿƫǁƫƿDŽơƺǀƻƶƣƢǂƫƿƩƣDŽƣƿƽƞơƴƫƹƨƿƣƶƶƾƿƩƣƾƿƺƽDŽᄬƾƣƣ ƫƨǀƽƣƾᇳᇶᄙᇳᇳᅬ
ᇳᇶᄙᇳᇶᄭᄙᏻᇵᇺᇹ
ᇳᇷᄙᇳ ᅸƞƶƴƫƹƨƞƽƺǀƹƢƿƩƣƸƞƿƽƫǃᅺᄙᏻᇶᇲᇴ
ᇳᇷᄙᇴ ƹƣǁƣƹƿƟƫƾƺơƫƞƿƣƢǂƫƿƩƿǂƺƻƶƞƹƣƾƺƤƿƩƫƹƴƫƹƨᄬƤƽƺƸƺƣƾƿƶƣƽᄕᇳᇻᇸᇶᄕƻᄙᇵᇷᄭᄙᏻᇶᇲᇶ
ᇳᇷᄙᇵ ƩǀƸƺƽƺǀƾƹƞƽƽƞƿƫǁƣƺƾơƫƶƶƞƿƫƹƨƟƣƿǂƣƣƹƿǂƺƻƶƞƹƣƾƺƤƽƣƤƣƽƣƹơƣᄬƤƽƺƸ
ƺƣƾƿƶƣƽᄕᇳᇻᇸᇶᄕƻᄙᇵᇹᄭᄙᏻᇶᇲᇷ
ᇳᇷᄙᇶ ƺƸƟƫƹƞƿƫƺƹƺƤƸƞƿƽƫơƣƾᄙᏻᇶᇲᇸ
ᇳᇷᄙᇷ ƺƹƾƿƽǀơƿƫƺƹƺƤƞƸƞƿƽƫǃᄙᏻᇶᇳᇲ
ᇳᇷᄙᇸ ƺƹƾƿƽǀơƿƫƺƹƫƹƞǀƹƫƺƹƺƤƸƞƿƽƫơƣƾᄙᏻᇶᇳᇳ
ᇳᇷᄙᇹ ƽƫƢƨƫƹƨƟDŽƞƾƫƹƨƶƣơƺƹơƣƻƿᄬƤƽƺƸʢƿƿƣƽѵƣƽƿƩƺƶƢᄕᇴᇲᇳᇴᄕƻᄙᇶᇷᄭᄙᏻᇶᇳᇷ
ᇳᇷᄙᇺ ƶƨƣƟƽƞƫơơƺƹưǀƨƞƿƫƺƹƞƾƿƩƣƾƫƹƨƶƣƟƽƫƢƨƫƹƨơƺƹơƣƻƿᄙᏻᇶᇳᇸ
ᇳᇷᄙᇻ ƽƫƢƨƫƹƨƨƽƞƻƩƾƟDŽơƺƹơƣƻƿƾᄬƤƽƺƸƣƽƿƩƺƶƢᄕᇴᇲᇳᇴᄕƻᄙᇶᄭᄙᏻᇶᇳᇹ
ᇳᇷᄙᇳᇲ ƽƫƢƨƫƹƨƨƽƞƻƩƺƤƿƩƽƣƣƞƶƨƣƟƽƞƫơƢƺƸƞƫƹƾᄙᏻᇶᇳᇺ
ᇳᇷᄙᇳᇳ ƽƫƢƨƫƹƨƨƽƞƻƩƾƟDŽƾƿƽǀơƿǀƽƞƶƾƫƸƫƶƞƽƫƿDŽᄬƤƽƺƸƣƽƿƩƺƶƢᄕᇴᇲᇳᇴᄕƻᄙᇷᄭᄙᏻᇶᇳᇻ
ᇳᇷᄙᇳᇴ ƿƽǀơƿǀƽƞƶƾƫƸƫƶƞƽƫƿDŽƺƤƣƶƣơƿƽƺƸƞƨƹƣƿƫƾƸƞƹƢƨƣƹƣƽƞƶƽƣƶƞƿƫǁƫƿDŽᄙᏻᇶᇴᇳ
Ѽ‫ؗءؔئؘإبؚ؜‬Ҋؔؕ‫ ئؘ؟‬ ‫؜؜؜ث‬

ᇳᇹᄙᇳ ƿƞƨƣƾƺƤƿƩƣ ƫƽƽƣƣƞƾƾƫƨƹƸƣƹƿᄙᏻᇶᇶᇹ

ᇳᇹᄙᇴ ƶƨƣƟƽƞƿƫƶƣƸƺƢƣƶƤƺƽᇴǃሿናᇵǃናᇳᄙᏻᇶᇷᇷ
ᇳᇹᄙᇵ ƹƣƶƶᅷƾƞǂᄘƹaƾƫƹ஘a = nbƾƫƹ஘bᄙᏻᇶᇷᇹ
ᇳᇹᄙᇶ ஘aኙ஘bና஘cᄙᏻᇶᇷᇹ
ᇳᇹᄙᇷ ஘bኙᄧᇴᄙᏻᇶᇷᇺ

Tables

ѿᄙᇳ ƽƞƹƾƶƞƿƫƺƹƺƤƿƣƽƸƾƟƣƿǂƣƣƹƟƫƾƺơƫƞƿƫƺƹƿƩƣƺƽDŽƞƹƢƫƞƨƣƿƫƞƹƿƩƣƺƽƫƣƾᄙᏻᇴᇴ
ᇶᄙᇳ ǀƸƣƽƫơƞƶƽƣƶƞƿƫƺƹƾƩƫƻƾƢƫƾơƺǁƣƽƣƢƞƿƣƞơƩƾƿƞƨƣƺƤƿƩƣ ƫƽƽƣƣƩƞᄛ
ƸƺƸƣƹƿᄙᏻᇳᇴᇹ
ᇹᄙᇳ  ƹƿƣƽƻƽƣƿƞƿƫƺƹƺƤƿƩƣƾƿƞƿǀƾƣƾᄬᄕᄭƺƤƣƹƞơƿƣƢơƽƣƞƿƫǁƫƿDŽᄬᄭƞƹƢƣƾƻƺǀƾƣƢ
ơƽƣƞƿƫǁƫƿDŽᄬᄭᄙᏻᇴᇳᇸ
ᇹᄙᇴ ƟƾƺƶǀƿƣƤƽƣƼǀƣƹơƫƣƾƺƤƾƿƞƿǀƾᄙᏻᇴᇳᇹ
ᇳᇲᄙᇳ ƹƞƶDŽƾƫƾƺƤƫƸᅷƾƩƞᄛƸƺƸƣƹƿᄙᏻᇴᇹᇸ
ᇳᇴᄙᇳ ƞƿƣƨƺƽƫƣƾƺƤƩƞᄛƸƺƸƣƹƿƾƟƞƾƣƢƺƹƣƤᅚ ᄙᏻᇵᇵᇸ
ᇳᇵᄙᇳ ƩƣƿƞƟƶƣƺƤƹƞƹƢᄬƹᄭᄙᏻᇵᇶᇹ
ᇳᇷᄙᇳ ƺƸƻƞƽƫƾƺƹƺƤƞƾƾƺơƫƞƿƫƺƹƞƹƢƟƫƾƺơƫƞƿƫƺƹᄙᏻᇶᇲᇴ
ᇳᇷᄙᇴ ƾƾƺơƫƞƿƫƺƹƾƟƣƿǂƣƣƹƿƩƣơƶƞƾƾƫƤƫơƞƿƫƺƹƾƺƤƺƢƣƹƞƹƢƺƣƾƿƶƣƽᄙᏻᇶᇳᇴ
ᇳᇷᄙᇵ ƾƾƺơƫƞƿƫƺƹƾƟƣƿǂƣƣƹƾƿǀƢƣƹƿƾᅷƻƣƽơƣƻƿƫƺƹƺƤơƽƣƞƿƫǁƫƿDŽᄕƿƩƣƣǃƿƣƹƾƫƺƹƞƹƢ
ơƺƸƟƫƹƞƿƫƺƹƺƤƸƞƿƽƫơƣƾᄕƞƹƢƿƩƣơƶƞƾƾƫƤƫơƞƿƫƺƹƾƺƤƺƢƣƹƞƹƢƺƣƾƿƶƣƽᄙᏻᇶᇳᇵ
ᇳᇹᄙᇳ ǀƸƣƽƫơƞƶƽƣƶƞƿƫƺƹƾƩƫƻƾƢƫƾơƺǁƣƽƣƢƞƿƣƞơƩƾƿƞƨƣƺƤƿƩƣ ƫƽƽƣƣƩƞᄛ
ƸƺƸƣƹƿᄙᏻᇶᇶᇹ
Notes on Contributors

William Baker
ƺƤ ƺƾƿƺƾ ƺƸƸǀƹƫƿDŽ ƺƶƶƣƨƣ ᄬƫƿDŽ ƹƫǁƣƽƾƫƿDŽ ƺƤ ƣǂ ƺƽƴᄭ ƿƣƞơƩƣƾ ƞ Ƥǀƶƶ
range of mathematics course, from developmental mathematics through to
calculus sequences. As a member of the teaching-research team, he is inter-
ested in how educational research can inspire creativity in his teaching meth-
odology and his students. He believes that a guided-discovery method should
be used flexibly to encourage participation and to give students a feel for the
beauty of mathematics. As a teacher he struggles to balance the need to cover
the curricula yet leave enough time and space for students to reason with and
discover mathematics.

Stephen R. Campbell
is an associate professor in the Faculty of Education at Simon Fraser University,
British Columbia. His scholarly focus is on the historical and psychological de-
velopment of mathematical thinking from an embodied perspective informed
ƟDŽ ƞƹƿᄕ ǀƾƾƣƽƶᄕ ƞƹƢ ƣƽƶƣƞǀᅟƺƹƿDŽᄙ ƫƾ ƽƣƾƣƞƽơƩ ƫƹơƺƽƻƺƽƞƿƣƾ ƸƣƿƩƺƢƾ ƺƤ
psychophysics and cognitive neuroscience as a means for operationalizing af-
fective and cognitive models of math anxiety and concept formation.

Bronislaw Czarnocha
ƺƤ ƺƾƿƺƾƺƸƸǀƹƫƿDŽƺƶƶƣƨƣᄬƫƿDŽƹƫǁƣƽƾƫƿDŽƺƤƣǂƺƽƴᄭƫƾƞƿƣƞơƩƣƽᅟƽƣ-
searcher and a quantum physicist turned mathematics educator. His present
ƫƹƿƣƽƣƾƿƫƾƫƹƢƣǁƣƶƺƻƫƹƨƿƣƞơƩƫƹƨᅟƽƣƾƣƞƽơƩᄬҊ҈ᄭƫƹƿƺƞƤǀƶƶᅟƤƶƣƢƨƣƢƫƹƾƿƽǀơƿƫƺƹ-
al methodology in the context of Aha! pedagogy as well as in understanding
and expanding the application of bisociative creativity to various domains of
intellectual and artistic endeavors. He was co-recipient of a grant from the Na-
ƿƫƺƹƞƶơƫƣƹơƣ ƺǀƹƢƞƿƫƺƹᄬ҄҉ѼᄭƿƺƢƣǁƣƶƺƻƹƣǂƞƻƻƽƺƞơƩƣƾƿƺƫƹơƺƽƻƺƽƞƿƫƹƨ
indivisibles into calculus instruction. He was also awarded a Socrates grant
ᄬƹƺǂơƞƶƶƣƢ ƽƞƾƸǀƾᄭƤǀƹƢƣƢƟDŽƿƩƣ ǀƽƺƻƣƞƹƹƫƺƹƤƺƽƫƹƿƣƽƹƞƿƫƺƹƞƶƻƽƺƤƣƾ-
sional development of teacher-researchers.

Olen Dias
is a professor of mathematics at Hostos Community College of the City Uni-
ǁƣƽƾƫƿDŽƺƤƣǂƺƽƴᄙƩƣƻƞƽƿƫơƫƻƞƿƣƢƫƹƿǂƺѹҋ҄ҏ-wide developmental math-
ematic projects and likes to teach from developmental mathematics through
to calculus sequence. She was a co-founder of supplemental instruction at the
college and is a member of Teaching Research Team of the Bronx. She is in-
volved in creating co-req. model course, flipped classes, and development of
҄‫ءآئؘاآ‬ѹ‫ ئإآابؕ؜إاءآ‬ ‫ةث‬

ƻƣƹ Ƣǀơƞƿƫƺƹƞƶƣƾƺǀƽơƣƾᄬ҅ѻ҈ᄭƸƞƿƣƽƫƞƶƤƺƽƻƽƣᅟơƞƶơǀƶǀƾᄙƽᄙƫƞƾƫƹơƺƽ-
porates different pedagogical approaches in her classes for improvement of
teaching and learning.

Gerald A. Goldin
is a distinguished professor of mathematics education, mathematics, and
ƻƩDŽƾƫơƾƞƿǀƿƨƣƽƾƹƫǁƣƽƾƫƿDŽᄕƣǂƣƽƾƣDŽᄙ ƫƾƽƣƾƣƞƽơƩƫƹơƶǀƢƣƾƺǁƣƽᇴᇲᇲƻǀƟ-
lications embracing these three fields. He directed several major ҉Ҋѻ҃ educa-
ƿƫƺƹƻƽƺưƣơƿƾᄕƫƹơƶǀƢƫƹƨƣǂƣƽƾƣDŽᅷƾƿƞƿƣǂƫƢƣDŽƾƿƣƸƫơ ƹƫƿƫƞƿƫǁƣƞƹƢƣƿƽƺ-
ƞƿƩᄘƩƣƣƹƿƣƽƤƺƽƞƿƩƣƸƞƿƫơƾƫƹƸƣƽƫơƞᅷƾƫƿƫƣƾᄙ ƣƫƾƞƽƣơƫƻƫƣƹƿƺƤƿƩƣ
Humboldt Research Prize for work in quantum physics. His current education-
al research focuses on affect and engagement in mathematical learning and
ƻƽƺƟƶƣƸᅟƾƺƶǁƫƹƨᄙ ƣƞƶƾƺơƺᅟƞǀƿƩƺƽƣƢᄬǂƫƿƩƣƹƹƫƤƣƽᄙƺƩƣƽƿDŽᄭƿǂƺƫƶƶǀƾƿƽƞƿ-
ed storybooks for young children, The Mouse of GoldᄬᇴᇲᇲᇸᄭƞƹƢThe Fierce and
Gentle WolfᄬᇴᇲᇳᇳᄭᄕƻǀƟƶƫƾƩƣƢƫƹơƺƿƶƞƹƢƟDŽƣƽƞƤƫƹƞƽƣƾƾᄙ

Peter Liljedahl
is a professor of mathematics education in the Faculty of Education at Simon
ƽƞƾƣƽ ƹƫǁƣƽƾƫƿDŽᄕ ƽƫƿƫƾƩ ƺƶǀƸƟƫƞᄙ ƣ ƫƾ ƿƩƣ ƤƺƽƸƣƽ ƻƽƣƾƫƢƣƹƿ ƺƤ ƿƩƣ ƹƿƣƽ-
ƹƞƿƫƺƹƞƶ ƽƺǀƻ Ƥƺƽ ƿƩƣ ƾDŽơƩƺƶƺƨDŽ ƺƤ ƞƿƩƣƸƞƿƫơƾ Ƣǀơƞƿƫƺƹ ᄬ҆҃ѻᄭ ƞƹƢ ƫƾ
the current president of the Canadian Mathematics Education Study Group
ᄬѹ҃ѻ҉ѽᄭᄕƞƾǂƣƶƶƞƾƞƾƣƹƫƺƽƣƢƫƿƺƽƤƺƽƿƩƣInternational Journal of Science and
Mathematics Education ᄬѿҀ҉҃ѻᄭᄙ ƣƿƣƽ ƫƾ ƞ ƤƺƽƸƣƽ ƩƫƨƩ ƾơƩƺƺƶ ƸƞƿƩƣƸƞƿƫơƾ
teacher who has kept his research interest and activities close to the classroom.
He consults regularly with teachers, schools, school districts, and ministries of
education on issues of teaching and learning, assessment, and numeracy.

John Mason
is professor emeritus at the Open University and Honorary Research Fellow
ƞƿƿƩƣƹƫǁƣƽƾƫƿDŽƺƤǃƤƺƽƢᄙ ƣƾƻƣƹƿᇶᇲDŽƣƞƽƾƞƿƿƩƣƻƣƹƹƫǁƣƽƾƫƿDŽǂƽƫƿƫƹƨ
distance-learning courses in mathematics and in mathematics education. He
ƫƾƿƩƣƞǀƿƩƺƽƺƤƸƺƽƣƿƩƞƹᇴᇷƟƺƺƴƾƞƹƢƹǀƸƣƽƺǀƾƻƞƻƣƽƾƺƹƿƣƞơƩƫƹƨƞƹƢ
learning mathematics. He engages in mathematical thinking with an eye to
locating and refining useful tasks for bringing to the surface the human powers
that underpin mathematical thinking, and the ubiquitous themes of mathe-
matics. He is particularly interested in the role played in learning mathematics
by mental imagery and attention.

Benjamin Rott
ƢƫƢƩƫƾƩƫƹᇴᇲᇳᇴƫƹ ƞƹƺǁƣƽᄕ ƣƽƸƞƹDŽᄕǂƞƾƞƻƺƾƿƢƺơƞƿƿƩƣƹƫǁƣƽƾƫƿDŽƺƤ
Ƣǀơƞƿƫƺƹ ƽƣƫƟǀƽƨǀƹƿƫƶᇴᇲᇳᇶƞƹƢƞƹƞƾƾƫƾƿƞƹƿƻƽƺƤƣƾƾƺƽƞƿƿƩƣƹƫǁƣƽƾƫƿDŽƺƤ
‫؜ةث‬ ҄‫ءآئؘاآ‬ѹ‫ئإآابؕ؜إاءآ‬

ǀƫƾƟǀƽƨᅟ ƾƾƣƹǀƹƿƫƶᇴᇲᇳᇹᄙ ƣƫƾƹƺǂƞƤǀƶƶƻƽƺƤƣƾƾƺƽƤƺƽƸƞƿƩƣƸƞƿƫơƾƣƢǀơƞ-

tion at the University of Cologne, Germany. His research interests are mathe-
ƸƞƿƫơƞƶƻƽƺƟƶƣƸᅟƾƺƶǁƫƹƨᄕƟƣƶƫƣƤƾᄕƞƹƢƨƫƤƿƣƢƹƣƾƾᄬƫƹơƶǀƢƫƹƨơƽƣƞƿƫǁƫƿDŽᄭᄙ

Edme Soho
is an assistant professor in the Department of Mathematics at Hostos Com-
ƸǀƹƫƿDŽƺƶƶƣƨƣᄬƫƿDŽƹƫǁƣƽƾƫƿDŽƺƤƣǂƺƽƴᄭᄙ ƣƫƾƞƹƞƻƻƶƫƣƢƸƞƿƩƣƸƞƿƫơƫƞƹ
with experience using and instructing others on the use of mathematical sta-
tistical and computational modeling tools in multiple fields. He enjoys collab-
orative, interdisciplinary research with professionals of diverse backgrounds.
His primary research interests lie in mathematical modeling, dynamical sys-
tems, dynamics of infectious diseases, population dynamics, epidemiology,
and immunology.

Hector Soto
of the Public Policy and Law Unit of the Behavioral & Social Sciences Depart-
Ƹƣƹƿƞƿ ƺƾƿƺƾƺƸƸǀƹƫƿDŽƺƶƶƣƨƣᄬƫƿDŽƹƫǁƣƽƾƫƿDŽƺƤƣǂƺƽƴᄭƩƞƾƟƣƣƹ
referred to by many community activists as a true educational warrior be-
cause of his lifetime commitment to the service of communities of color and
progressives. He is a founder of the Center for Neighborhood Leadership and
Community Learning Partnership, a national organization that promotes the
development of community change degree programs. Prof. Soto has worked
to expand the debate in intellectual circles over civic engagement. He is also a
member of the Hostos Community College research team, studying creativity
in education to improve academic interest and motivation among Hispanic,
minority and female students in the criminal justice system and how it affects
their lives.

Hannes Stoppel
ƢƫƢƩƫƾƩƫƹᇴᇲᇳᇻƫƹ˦ƹƾƿƣƽᄕ ƣƽƸƞƹDŽᄙ ƽƺƸᇴᇲᇲᇲƿƺᇴᇲᇳᇵƩƣǂƞƾƞƿƣƞơƩƣƽƺƤ
mathematics, physics, and computer science at the Max-Planck-Gymnasium
ƫƹ ƣƶƾƣƹƴƫƽơƩƣƹᄙ ƽƺƸᇴᇲᇳᇵƿƺᇴᇲᇳᇺƩƣǂƞƾƞƿƣƞơƩƣƽƞƿƿƩƣƫƹƾƿƫƿǀƿƣƤƺƽƸƞƿƩ-
ƣƸƞƿƫơƾƞƹƢƫƿƾƣƢǀơƞƿƫƺƹƞƿƿƩƣƹƫǁƣƽƾƫƿDŽƺƤ˦ƹƾƿƣƽƞƹƢƫƾƹƺǂƿƣƞơƩƣƽƺƤ
mathematics, physics and computer science at the Max-Planck-Gymnasium
in Gelsenkirchen. He attends to the provision of scholarships of outstanding
students. His research interests are beliefs and creativity.

David Tall
is emeritus professor of Mathematical Thinking at the University of Warwick
in Coventry and visiting professor at Loughborough University London. His
publications include How Humans Learn to Think Mathematicallyᄬѹҋ҆ᄕᇴᇲᇳᇵᄭᄕ
҄‫ءآئؘاآ‬ѹ‫ ئإآابؕ؜إاءآ‬ ‫؜؜ةث‬

Advanced Mathematical ThinkingᄬƶǀǂƣƽᄕᇳᇻᇻᇳᄭᄕƿƩƽƣƣơƶƞƾƾƫơƿƣǃƿƟƺƺƴƾǂƫƿƩ

ƞƹ ƿƣǂƞƽƿ ƺƹ Foundations ᄬᇴƹƢ ƣƢᄙᄕ ҅ҋ҆ᄕ ᇴᇲᇳᇶᄭᄕ Algebraic Number Theory
ᄬᇶƿƩƣƢᄙᄕѹ҈ѹƽƣƾƾᄕᇴᇲᇳᇷᄭƞƹƢComplex AnalysisᄬᇴƹƢƣƢᄙᄕѹҋ҆ᄕᇴᇲᇳᇺᄭᄕƾƺƤƿǂƞƽƣ
Ƥƺƽ ƽƞƻƩƫơƞƶơǀƶǀƾƞƹƢƺǁƣƽᇴᇷᇲƻƞƻƣƽƾƫƹƸƞƿƩƣƸƞƿƫơƾƞƹƢƸƞƿƩƣƸƞƿƫơƾ
education. His recent interests are in developing a comprehensive theory of
long-term growth of mathematical thinking including cognitive, affective, his-
torical, cultural, and technological aspects.

Ron Tzur
ƫƾƞƻƽƺƤƣƾƾƺƽƺƤƸƞƿƩƣƸƞƿƫơƾƣƢǀơƞƿƫƺƹƞƿƿƩƣƹƫǁƣƽƾƫƿDŽƺƤƺƶƺƽƞƢƺƣƹǁƣƽᅷƾ
School of Education and Human Development. He completed his PhD at the
ƹƫǁƣƽƾƫƿDŽƺƤ ƣƺƽƨƫƞᄬƿƩƣƹƾᄭᄙ ƫƾƽƣƾƣƞƽơƩƤƺơǀƾƣƾƺƹơƩƫƶƢƽƣƹᅷƾơƺƹƾƿƽǀơƿƫƺƹ
ƺƤƣƞƽƶDŽƹǀƸƟƣƽƞƹƢƤƽƞơƿƫƺƹƞƶƴƹƺǂƶƣƢƨƣᄕƺƹƿƣƞơƩƣƽƾᅷƻƽƺƤƣƾƾƫƺƹƞƶƢƣǁƣƶƺƻ-
ment, and on linking mathematical thinking/learning with brain processes.
ƣ Ʃƞƾ Ɵƣƣƹ ƾƣƽǁƫƹƨ ƞƾ ƞ ƻƽƫƹơƫƻƞƶ ƫƹǁƣƾƿƫƨƞƿƺƽ ƺƹ ƿƩƣ ƤƺǀƽᅟDŽƣƞƽᄕ ᇣᇵ Ƹƫƶƶƫƺƹᄕ
҄҉Ѽ-funded project, “Student-Adaptive Pedagogy for Elementary Teachers.”
This project implements and studies a professional development intervention
ƢƣƾƫƨƹƣƢƿƺƾƩƫƤƿǀƻƻƣƽƣƶƣƸƣƹƿƞƽDŽƿƣƞơƩƣƽƾᅷƸƞƿƩƣƸƞƿƫơƾƿƣƞơƩƫƹƨƿƺǂƞƽƢƞ
ơƺƹƾƿƽǀơƿƫǁƫƾƿƞƻƻƽƺƞơƩƞƹƢƸƣƞƾǀƽƣƫƸƻƞơƿƺƹƾƿǀƢƣƹƿƾᅷƶƣƞƽƹƫƹƨᄧƺǀƿơƺƸƣƾᄙ

Lauren Wolf
ƫƾƞƹƞƾƾƫƾƿƞƹƿƻƽƺƤƣƾƾƺƽƺƤƸƞƿƩƣƸƞƿƫơƾƞƿ ƺƾƿƺƾƺƸƸǀƹƫƿDŽƺƶƶƣƨƣᄬƫƿDŽ
ƹƫǁƣƽƾƫƿDŽƺƤƣǂƺƽƴᄭᄙƽᄙƺƶƤƫƾƾƺǀƨƩƿƞƤƿƣƽƤƺƽƩƣƽǀƹƫƼǀƣƿƣƞơƩƫƹƨƾƿDŽƶƣ
and activist approach. She teaches everything from developmental algebra to
graduate-level mathematics. She taught in the prison for seven years and has
experience in many different teaching environments but found her place in
the South Bronx. Her research interest includes teaching math to prison in-
mates as well as understanding how her students in the South Bronx relate to
mathematics and encouraging them into undergraduate ҉Ҋѻ҃ research.
Introduction
Bronislaw Czarnocha

The book we offer readers for their consideration, enjoyment, and intellectual
stimulation focuses attention on that sudden moment of insight many of us
experience when, suddenly and unexpectedly, our mind is enlightened with
the solution to or a new understanding of a problem that had been bothering
us for some time. Everything becomes clear, and pleasurably clear. This is an
Aha! moment, sometimes called a Eureka experience, and it was named by
ƽƿƩǀƽƺƣƾƿƶƣƽᄬᇳᇻᇸᇶᄭƞƾƿƩƣᅸƞơƿƺƤơƽƣƞƿƫƺƹᄙᅺ
Our focus of attention on this manifestation of human creativity brings forth
ƫƿƾơƣƹƿƽƞƶơƺƹơƣƻƿƺƤƺƣƾƿƶƣƽᅷƾƿƩƣƺƽDŽᄕƿƩƣơƺƹơƣƻƿƺƤƟƫƾƺơƫƞƿƫƺƹƞƾƿƩƣơƺƨƹƫ-
tive/affective mechanism underlying the dynamics of the act of creation. Biso-
ciation, distinct from association, describes the situation when a new entity, a
new concept, or a new joke arises out of dialectical interaction between two
ƻƽƣǁƫƺǀƾƶDŽƾƣƻƞƽƞƿƣǂƞDŽƾƺƤƿƩƫƹƴƫƹƨᄕƤƽƞƸƣƾƺƤƽƣƤƣƽƣƹơƣᄕƺƽᄙƞƾƺƣƾƿƶƣƽơƞƶƶƾ
ƿƩƣƸᄕᅸƸƞƿƽƫơƣƾƺƤƣǃƻƣƽƫƣƹơƣᅺᄬƻᄙᇶᇷᄭᄙƺƽƣƻƽƣơƫƾƣƶDŽᄕƿƩƽƺǀƨƩƺǀƿƿƩƣƟƺƺƴǂƣ
are guided by the following definition:

The bisociation act is the spontaneous leap of insight that connects pre-
viously unconnected matrices of experienceሾ through the discovery of a
“hidden analogy.”

ƹƢ ƞƶƿƩƺǀƨƩ ƺƣƾƿƶƣƽ ƫƾᄕ ƿƩƽƺǀƨƩƺǀƿ Ʃƫƾ ƿƽƣƞƿƫƾƣᄕ ƾƴƫƶƶƤǀƶƶDŽ ƻƺƫƹƿƫƹƨ ƿƺ ƿƩƣ
hidden analogies in a different example of big C creativityሿ showing the biso-
ciative nature of the discovery, nonetheless he understood quite well that the
creative act goes beyond the recognition of hidden similarity or hidden like-
ness. “But where does the hidden likeness hide, and how is it found?” he asks.

ᄴ ᄵƹƸƺƾƿƿƽǀƶDŽƺƽƫƨƫƹƞƶƞơƿƾƺƤƢƫƾơƺǁƣƽDŽƿƩƣᅸƾƣƣƫƹƨᅺƫƾƫƹƤƞơƿƫƸƞƨƫƹ-
ƫƹƨᄖƫƿƫƾƢƺƹƣƫƹƿƩƣƸƫƹƢᅷƾᄕƞƹƢƸƺƾƿƶDŽƿƩƣǀƹơƺƹƾơƫƺǀƾƸƫƹƢᅷƾƣDŽƣᄙƩƣ
analogy between the life of one kind of microbe inside a cow and another
ƴƫƹƢƺƤƸƫơƽƺƟƣƫƹƞƤƺƽƨƺƿƿƣƹơǀƶƿǀƽƣƿǀƟƣᄴƺƣƾƿƶƣƽƽƣƤƣƽƾƩƣƽƣƿƺƞƾ-
ƿƣǀƽᅷƾ Ƣƫƾơƺǁƣƽƫƣƾᄵ ǂƞƾ ƹƺƿ ᅸƩƫƢƢƣƹᅺ ƞƹDŽǂƩƣƽƣᄖ ƫƿ ǂƞƾ ᅸơƽƣƞƿƣƢᅺ ƟDŽ ƿƩƣ
imagination; and once an analogy has been created, it is of course there
Ƥƺƽƞƶƶƿƺƾƣƣᄙᄬƻᄙᇴᇲᇲᄭ

ᇙ ‫ةء؟؟؜إؘؕ؞؝؜؟؞ء؜ءآ؞‬ᄕ‫ؘ҄ؗ؜ؘ؟‬ᄕሦሤሦሥᏺᄩᏺѺ҅ѿᄘሥሤᄙሥሥሪሧᄧርራሬርሤሤረረረሪረሧረᇇሤሤሥ
ሦ ѹ‫ؔ؛ؖآءإؔح‬

ƩƞƿᅷƾǂƩDŽƿƩƣƢƫƾơƺǁƣƽDŽƺƤƿƩƣᅸƩƫƢƢƣƹƞƹƞƶƺƨDŽᅺᄬƻᄙᇵᇴᇲᄭƫƾƿƩƣơƽƣƞƿƫǁƣƻƽƺ-
cess, the creative act, which brings the creative product for everyone to see:
creation of the bridge between two separated matrices of experience. Thus,
ƺƣƾƿƶƣƽᅷƾƢƣƤƫƹƫƿƫƺƹƺƤƟƫƾƺơƫƞƿƫǁƣơƽƣƞƿƫǁƫƿDŽơƺƹƤƶƞƿƣƾᄕƞƾƺƢƣƹᄬᇴᇲᇲᇶᄭƾƞDŽƾᄕ
the process aspect of creativity, that is, the act of making a connection—with
its novel aspect, the connection—which gives us a unified view of the creative
ƞơƿᄙƩƞƿᅷƾǂƩƣƽƣƫƿƾƽƫơƩƹƣƾƾƽƣƾƫƢƣƾᄕƟǀƿƫƿƫƾƞƶƾƺƞƿƽƞƻƿƩƞƿƺƤƿƣƹƶƣƞƢƾƿƺƿƩƣ
separation of its dynamic and structural aspects.
Despite the seeming precision of the definition, there are several ways
of interpreting it. One way is by considering bisociation as the spontaneous
moment of insight together with the connected structure it brings about, as
most of the examples of insight inform. However, there is also a consistent
interpretation that focuses the meaning of bisociation solely on the outcome.
ƣƽƿƩƺƶƢᄬᇴᇲᇳᇴᄭƞƾƾƣƽƿƾƿƩƞƿƫƿƫƹƤƺƽƸƞƶƶDŽơƞƹƟƣƾƣƣƹƞƾᅸᄬƾƣƿƾƺƤᄭơƺƹơƣƻƿƾƿƩƞƿ
ƟƽƫƢƨƣƿǂƺƺƿƩƣƽǂƫƾƣƹƺƿᅭƺƽƺƹƶDŽǁƣƽDŽƾƻƞƽƾƣƶDŽᅭơƺƹƹƣơƿƣƢƢƺƸƞƫƹƾᅺᄬƻᄙᇴᄭᄙ
ƺƸƻƞƽƫƹƨƿƩƫƾǂƫƿƩƺƣƾƿƶƣƽᅷƾƢƣƤƫƹƫƿƫƺƹᄕǂƣƹƺƿƣƿƩƣƞƟƾƣƹơƣƺƤƿƩƣƻƩƽƞƾƣ
“spontaneous leap of insight.”
ƹƾƿƣƞƢ ƺƤ ƫƹƾƫƨƩƿ ǂƣ Ʃƞǁƣ ƫƿƾ ƻƽƺƢǀơƿᄘ ƿƩƣ ƾƣƿ ƺƤ ơƺƹơƣƻƿƾ ƿƩƞƿ ơƺƹƹƣơƿƾ
or bridges previously unconnected matrices/domains. We have also lost the
ƾƻƺƹƿƞƹƣƺǀƾƶƣƞƻƺƤƺƣƾƿƶƣƽᅷƾƢƣƤƫƹƫƿƫƺƹᄕƾƺƿƩƞƿƟƫƾƺơƫƞƿƫǁƣƴƹƺǂƶƣƢƨƣƢƫƾ-
covery employs only the mechanical, that is, no spontaneous aspects inherent
in connecting two different structures. This method is the basis of the artificial
ƫƹƿƣƶƶƫƨƣƹơƣ ᄬѷѿᄭ ǀƹƢƣƽƾƿƞƹƢƫƹƨ ƺƤ ƟƫƾƺơƫƞƿƫƺƹᅭơƺƸƻǀƿƣƽƾ Ƣƺ ƹƺƿ ƾƣƣƸ ƿƺ
ƩƞǁƣƩƞᄛƸƺƸƣƹƿƾᄙƺƽƣƢƣƿƞƫƶƣƢƢƫƾơǀƾƾƫƺƹƾơƞƹƟƣƨƶƞƹơƣƢƞƿƫƹƩƞƻƿƣƽᇳᇷᄙ
ƺƽƣƺǁƣƽᄕơƺƹƾƫƢƣƽƞƿƫƺƹƾƺƤƞƴƣƽᄬƩƞƻƿƣƽᇳᇳᄭƾǀƨƨƣƾƿƞƾƿƫƶƶƢƫƤƤƣƽƣƹƿǂƞDŽƿƺ
interpret bisociation, not through connecting two matrices or skills but rather
through disconnecting them and through that disconnection creating a new
ƞƟƾƿƽƞơƿƣƢơƺƹơƣƻƿᄬƾƣƣƢƫƾơǀƾƾƫƺƹƾƺƤƞƟƾƿƽƞơƿƫƺƹƫƹƩƞƻƿƣƽƾᇳᇳƞƹƢᇳᇵᄭᄙ
This interpretation of the bisociative frame introduces its inverse, one start-
ing from, for example, the two components tightly connected within the rea-
ƾƺƹƫƹƨƺƤƢƫǁƫƾƫƺƹƺƤƤƽƞơƿƫƺƹƾǂƫƿƩƿƩƣƾƞƸƣƢƣƹƺƸƫƹƞƿƺƽƾᄬƩƞƻƿƣƽᇳᇵᄭᄙƾ
time progresses, the new, not yet fully abstracted, connection, the short-cur-
tailed algorithm, emerges and separates itself from the original method,
thereby creating the beginning of the bisociative frame. The continuation of
the process takes place within that emerging bisociative frame until the rea-
soning between the two is unconsciously forgotten and consciously disre-
garded, creating the new relation of abstraction. This interpretation suggests
abstraction as the inverse bisociative process, in some contexts.
ѿ‫ءآ؜اؖبؗآإاء‬ ሧ

1 Two Objectives of the Writing Project

The volume of inquiries into the creativity of an Aha! moment was initiated by
ƸƣƸƟƣƽƾƺƤƿƩƣƣƞơƩƫƹƨᅟƣƾƣƞƽơƩƣƞƸᄬҊ҈ƣƞƸᄭƺƤƿƩƣƽƺƹǃᄕƞƨƽƺǀƻƺƤ
mathematics faculty from ѹҋ҄ҏ community colleges in the Bronx borough of
ƣǂƺƽƴƫƿDŽᄙ
The Ҋ҈ Team has been systematically studying classroom mathemati-
cal insights since conducting the collaborative teaching experiment Prob-
ƶƣƸᅟƺƶǁƫƹƨƫƹƣƸƣƢƫƞƶƽƫƿƩƸƣƿƫơᄘǀƸƻƾƿƞƽƿƿƺƣƤƺƽƸƫƹᇴᇲᇳᇲƾǀƻƻƺƽƿƣƢƟDŽ
a ѹҋ҄ҏ ѹቀѿ҈ѽᇹƨƽƞƹƿᄬƺƶƶƞƟƺƽƞƿƫǁƣƺƸƸǀƹƫƿDŽƺƶƶƣƨƣ ƹơƣƹƿƫǁƣƣƾƣƞƽơƩ
ƽƞƹƿᇱᇹᄭᄙƽǀƹƢƞƽƞƟƩǀᄕቀ a member of the Ҋ҈ Team of the Bronx, observed
many Aha! moments in her remedial algebra experimental classroom that
ƾƩƣơƺƺƽƢƫƹƞƿƣƢǂƫƿƩƺƣƾƿƶƣƽᅷƾƿƩƣƺƽDŽᄕƿƞƴƫƹƨƿƩƣƤƫƽƾƿƾƿƣƻƾƺƹƿƩƣƻƞƿƩƿƩƞƿ
took us to our present multifaceted inquiry into the creativity of mathematical
insight.
The central skeleton of that pathway has been the integration of classroom
practice with adequate theories of learning. The design of the volume reflects
the integrative process. The initial part, Bisociation in the Classroom, takes us
into a discussion of teaching practice, the results of classroom facilitation, and
ƿƩƣƫƹǁƣƾƿƫƨƞƿƫƺƹƺƤƞƹƩƞᄛƸƺƸƣƹƿƫƹƾƫƨƩƿƨǀƫƢƣƢƟDŽƺƣƾƿƶƣƽᅷƾƟƫƾƺơƫƞƿƫƺƹᄕ
primarily from the cognitive point of view. That part is followed immediately
by the second part, The Aha! Moment and Affect, where several chapters delve
into the depth of the relationship between cognition and affect in the context
ƺƤƿƩƣƟƫƾƺơƫƞƿƫƺƹᄬDžƞƽƹƺơƩƞᄕᇴᇲᇳᇶᄭᄙ
ƩƣƿƩƫƽƢƻƞƽƿᄕƫƾƺơƫƞƿƫƺƹƞƹƢƩƣƺƽƫƣƾƺƤƣƞƽƹƫƹƨᄕƢƣǁƣƶƺƻƾƞƴƣƽᅷƾᄬᇴᇲᇳᇸᄭ
conjecture that bisociative creativity can be identified and found within many
theories of learning, particularly in the constructivist theories. The fourth part,
Bisociativity from Without, offers several views from the outside of the strictly
educational domain, from neuroscience and from artificial intelligence, which
has recently created a new subdomain of computer creativity.
Hostos Community College, the present site of the Ҋ҈ Team of the Bronx,
ǂƞƾƣƾƿƞƟƶƫƾƩƣƢƫƹᇳᇻᇸᇺƫƹƽƣƾƻƺƹƾƣƿƺƢƣƸƞƹƢƾƸƞƢƣƟDŽƿƩƣơƺƸƸǀƹƫƿDŽƺƤƿƩƣ
South Bronx—at the time, and for many years after,ቁ the poorest congressio-
nal district in the United States. The college population has traditionally been
predominately Latino and female, and the college serves a multicultural South
ƽƺƹǃƻƺƻǀƶƞƿƫƺƹƺƤǂƺƽƴƫƹƨᅟơƶƞƾƾƺƽƫƨƫƹƾᄙƻƿƺᇺᇷነƺƤƤƽƣƾƩƸƣƹƹƣƣƢƿƺƿƞƴƣ
ƟƞƾƫơƸƞƿƩᄕƺƤƿƣƹƾƿƞƽƿƫƹƨƞƿƿƩƣƶƣǁƣƶƺƤƞƽƫƿƩƸƣƿƫơᄖƺƹƶDŽᇴᇹነƺƤƾƿǀƢƣƹƿƾơƺƸ-
plete their degree.
ረ ѹ‫ؔ؛ؖآءإؔح‬

The dire conditions of education in the community impelled concerned fac-

ulty to focus their research and teaching on the improvement of learning among
students of the college and more broadly among urban students, referred to
in this volume as rank-and-file or underserved and underrepresented. That is
why one of the central aims is to introduce facilitation, understanding, and
assessment of creative efforts at the lowest levels of learning—the level at
which many students in our study find themselves in basic math classes.
The Creativity of the Aha! Moment and Mathematics Education has two
objectives.

1.1 Objective 1
The first objective is to formulate an approach to creativity in mathemat-
ics learning which addresses itself to all students: typically achieving, rank-
and-file students of any mathematics classroom, high-achieving, and gifted
ƾƿǀƢƣƹƿƾᄙ ƿƾƞƫƸƫƾƿƺƢƣǁƣƶƺƻƞƹƩƞᄛƻƣƢƞƨƺƨDŽƺƤƸƞƿƩƣƸƞƿƫơƾƟƞƾƣƢƺƹƢƫƤ-
ferent methods of designing creative learning environments in the classroom
and facilitating Aha! moments. Several researchers have pointed to the dearth
of educational research on creativity within the general population.
ƽƫƽƞƸƞƹƣƿƞƶᄙᄬᇴᇲᇳᇳᄭƾƿƞƿƣƾƿƩƞƿᅸᄴƿᄵƩƣƽƺƶƣƺƤơƽƣƞƿƫǁƫƿDŽǂƫƿƩƫƹƸƞƿƩƣƸƞƿƫơƾ
education with students who do not consider themselves gifted is essentially
ƹƺƹᅟƣǃƫƾƿƣƹƿᅺᄬƻᄙᇳᇴᇲᄭᄙƩƞƸƟƣƽƶƫƹᄬᇴᇲᇳᇵᄭƞƾƾƣƽƿƾƿƩƞƿ

Missing is information on what initiatives are in place to develop and

facilitate mathematical creativity in underserved and under-identified
populations. This type of discussion would be informative to the field of
gifted education and counter the criticism that the field is not inclusive.
ᄬƻᄙᇺᇷᇸᄭ

ƹƿƩƫƾǁƺƶǀƸƣᄕǂƣƻƽƺƻƺƾƣƟƫƾƺơƫƞƿƫƺƹᄕƿƩƣƿƩƣƺƽDŽƺƤƿƩƣƩƞᄛƸƺƸƣƹƿᄕƞƾƿƩƣ
approach for the creativity of all students. The reason is that the Aha! moment
is a phenomenon known and experienced by the general population—a phe-
ƹƺƸƣƹƺƹƿƩƞƿǀƹƿƫƶƹƺǂƩƞƾƹᅷƿƽƣơƣƫǁƣƢƞƤǀƶƶᄕƞƻƻƽƺƻƽƫƞƿƣƿƽƣƞƿƸƣƹƿƫƹƶƫƿƣƽƞ-
ture on creativity in mathematics.
We derive the theoretical support and justification for this proposal from
the following:
ᅬ ƺƣƾƿƶƣƽᅷƾ ƺƟƾƣƽǁƞƿƫƺƹ ƿƩƞƿ ᅸƞƹDŽ ƾƣƶƤᅟƿƞǀƨƩƿ ƹƺǁƣƶƿDŽ ƫƾ ƞ Ƹƫƹƺƽ Ɵƫƾƺơƫƞƿƫǁƣ
ƞơƿᅺᄬƻᄙᇸᇷᇹᄭƾƺƿƩƞƿᅸƸƫƹƺƽᄕƾǀƟưƣơƿƫǁƣƟƫƾƺơƫƞƿƫƺƹƻƽƺơƣƾƾƣƾᄚƞƽƣƿƩƣƸƞƫƹ
ǁƣƩƫơƶƣ ƺƤ ǀƹƿǀƿƺƽƣƢ ƶƣƞƽƹƫƹƨᅺ ᄬƻᄙ ᇸᇷᇺᄭᄙ ƹƿǀƿƺƽƣƢ ƶƣƞƽƹƫƹƨ ƫƾ ƶƣƞƽƹƫƹƨ ƟDŽ
oneself, a self-taught process essentially different from the process of assim-
ilation of information given by a tutor. Guided-discovery methods provide
ѿ‫ءآ؜اؖبؗآإاء‬ ሩ

the methodology which can well approximate “untutored learning” in class-

room conditions.
ᅬ ƞƢƞƸƞƽƢᅷƾᄬᇳᇻᇶᇷᄭǁƫƣǂƿƩƞƿ “ᄴƟᄵƣƿǂƣƣƹƿƩƣǂƺƽƴƺƤƿƩƣƾƿǀƢƣƹƿǂƩƺƿƽƫƣƾ
to solve a problem in geometry or algebra and a work of invention, one can
say that there is only the difference of degree, the difference of a level, both
works being of similar natureᅺᄬƻᄙᇳᇲᇶᄕƣƸƻƩƞƾƫƾƞƢƢƣƢᄭᄙ
ᅬ ǃƻƣƽƫƣƹơƣƢ ƸƞƿƩƣƸƞƿƫơƾ ƿƣƞơƩƣƽƾ ƻƻƶƣƟƞǀƸ ƞƹƢ ƞǀƶ ᄬᇴᇲᇲᇻᄭ ƞƾƾƣƽƿ
that “remedial mathematics students can exhibit creativity as often and as
clearly as an advanced calculus student,” confirming their own experience
teaching basic mathematics.
ᅬ The developments in artificial intelligence suggests, according to Boden
ᄬᇴᇲᇲᇶᄭᄕƿƩƞƿƿƩƣƹƞƿǀƽƣƺƤơƽƣƞƿƫǁƣƫƹƾƫƨƩƿƫƾƞƨƣƹƣƽƞƶơƩƞƽƞơƿƣƽƫƾƿƫơƺƤƿƩƣ
human brain and mind.

These observations suggest that from the cognitive point of view, there is no
difference between mathematical invention of a general character and solving
a mathematical problem by a student of any level. Bisociation is the common
ƸƣơƩƞƹƫƾƸᄙƩƣƢƫƤƤƣƽƣƹơƣƫƾƫƹƿƩƣƫƹƿƣƹƾƫƿDŽƞƹƢƢƣƻƿƩƺƤƴƹƺǂƶƣƢƨƣᄬƺᄭ
reached independently, whether the originality of the insight has an objective,
social significance, or solely a subjective one, for the learner.
We take note here of the distinction between big C, or historical, creativity,
the act of creation that impacted the population and society at large, and lit-
tle C, or personal, creativity, the creativity whose product is new and original
for the learner, even if known to others.ቂ Cognitive unity between the creative
efforts of a mathematician and the creative efforts of the student solving math-
ƣƸƞƿƫơƞƶƻƽƺƟƶƣƸƾƫƾƫƸƻƺƽƿƞƹƿᄙ ƿƾǀƨƨƣƾƿƾƞơƺƸƸƺƹƞƻƻƽƺƞơƩƿƺƞƶƶƾƿǀƢƣƹƿƾᄕ
rank-and-file students, and gifted ones. The complexity and the nature of the
hints, questions, and problems asked will of course be different; however, the
nature of the cognitive act and effort is similar.
The role of creativity, especially of the creativity of an Aha! moment, among
students who come from families or a social strata that have not had contact
with higher education, is fundamental because of its connection with affect.
We can interest and motivate students toward mathematics through positive
affect while working with the subject.
ƩƞƻƿƣƽᇻƢƫƾơǀƾƾƣƾƢƣƣƻƣƽƾƿƽǀơƿǀƽƣƾƺƤƿƩƣƟƺƹƢƫƹƨƻƽƺơƣƾƾǂƫƿƩƸƞƿƩƣ-
matics through the concept of conation, that is, by connecting the practice of
ƸƞƿƩƣƸƞƿƫơƾǂƫƿƩƿƩƣƟƞƾƫơƩǀƸƞƹƹƣƣƢƾƺƤƞƾƿǀƢƣƹƿᄙƩƞƻƿƣƽᇳᇲơƺƹƤƫƽƸƾƿƺ
us that students do bond with mathematics by becoming pleasurably aware,
through the distinct pleasure of the moment of insight, of their own potential
and thus are motivated to pursue the subject within the horizon of success.
ሪ ѹ‫ؔ؛ؖآءإؔح‬

The experience of Aha! moments creates the emotional basis for the pur-
suit of mathematics in classrooms and beyond. As several researchers have
observed above, our knowledge and understanding of the creativity of every
person is lacking. The research methods are adapted to the creativity of the
gifted, which has been given a lot of attention in mathematics education.
ƽƞƟƩǀ ƞƹƢ DžƞƽƹƺơƩƞ ᄬᇴᇲᇳᇶᄭ ƻƽƺƻƺƾƣƢ ƺƣƾƿƶƣƽᅷƾ Ɵƫƾƺơƫƞƿƫƺƹ ƞƾ ƿƩƣ ƹƣǂ
definition of creativity in our field, which allows for the process of its democ-
ratization. An Aha! moment is a common experience in the general popula-
tion including both rank-and-file members as well their gifted and highly able
counterparts. Bisociation theory offers a new cognitive tool and instrument
that make possible exploration of the creativity of everyone.

1.2 Objective 2
The second objective of this book is to investigate the relationship of bisocia-
tion with the field of creativity and learning research.
Certain components of the relationship are known: bisociation takes place
ƞƶƺƹƨƿƩƣƻƞƿƩǂƞDŽƤƽƺƸƿƩƣƫƹơǀƟƞƿƫƺƹƿƺƿƩƣƫƶƶǀƸƫƹƞƿƫƺƹƾƿƞƨƣƺƤƞƶƶƞƾᅷƾ
ᄬᇳᇻᇴᇸᄭ ƣƾƿƞƶƿᅟƟƞƾƣƢƿƩƣƺƽDŽᄙƩƣƣƸƻƩƞƾƫƾƺƹƺƽƫƨƫƹƞƶƫƿDŽơƺƹƹƣơƿƾƫƿǂƫƿƩƿƩƣ
Guilford and the Torrance approaches. One of the main differences is the con-
nection of bisociativity with affect, which forms the cognitive/emotional dual-
ƫƿDŽƺƤƿƩƣƩƞᄛƸƺƸƣƹƿᄬDžƞƽƹƺơƩƞᄕᇴᇲᇳᇶᄭᄙ
The central focus of the second objective is the relationship of bisociation
with different theories of learning with the aim to investigate the conjecture that
the creativity of the Aha! moment is present at every conceptual act of learning.
ƞƴƣƽᄬᇴᇲᇳᇸᄖƩƞƻƿƣƽᇳᇳᄭƩƞƾƻƺƾƫƿƫƺƹƣƢƿƩƣƟƫƾƺơƫƞƿƫǁƣƤƽƞƸƣƺƤƿǂƺǀƹơƺƹƹƣơƿƣƢ
ƻƶƞƹƣƾƺƤƽƣƤƣƽƣƹơƣǂƫƿƩƫƹƿƩƣƻƽƺưƣơƿƫƺƹƾƿƞƨƣƺƤƽƣƤƶƣơƿƫǁƣƞƟƾƿƽƞơƿƫƺƹᄬƫƞƨƣƿѵ
ƞƽơƫƞᄕᇳᇻᇺᇻᄭᄙƹƿƩƞƿƟƞƾƫƾᄕƣǃƻƶƺƽƣƢƸƺƽƣƢƣƣƻƶDŽƫƹƩƞƻƿƣƽᇳᇳᄕǂƣơƺƹưƣơƿǀƽƣ
the presence here of two parallel intertwined dynamic processes through which
the concept development takes place, reflective abstraction and bisociation.
The two theories translate here one into another but with one significant
difference: the dynamic of reflective abstraction is incremental gradual move-
ƸƣƹƿᄬƽƹƺƹƣƿƞƶᄙᄕᇴᇲᇳᇶᄕƻᄙᇳᇸᇴᄭǂƩƫƶƣƿƩƣƢDŽƹƞƸƫơƺƤƟƫƾƺơƫƞƿƫƺƹƫƾƢƫƾơƽƣƣƿᄕ
ƿƩƽƺǀƨƩƶƣƞƻƾᄙƩƞƻƿƣƽᇳᇳƣǃƿƣƹƢƾƿƩƫƾƢƫƾơǀƾƾƫƺƹƿƺƞƶƶƶƣǁƣƶƾƺƤƶƣƞƽƹƫƹƨᄕƫƹǁƣƾ-
ƿƫƨƞƿƫƹƨƿƩƣƹƞƿǀƽƣƺƤƿƩƣơƺƹƹƣơƿƫƺƹƟƣƿǂƣƣƹƿƩƣƿǂƺᄙ ƤƫƹƢƣƣƢơƽƣƞƿƫǁƫƿDŽƫƾƾƺ
ơƶƺƾƣƶDŽƽƣƶƞƿƣƢƿƺƶƣƞƽƹƫƹƨƞƾƩƞƻƿƣƽᇳᇳƾǀƨƨƣƾƿƾᄕǂƣƩƞǁƣƞƸǀơƩƾƿƽƺƹƨƣƽƽƣƞ-
son to demand creativity—in particular, the creativity of an Aha! moment—as
the basis for the design of the mathematics curriculum.
Objective 2 of the book leads to the investigation of how the integrative
ƤƺơǀƾƺƤƿƩƣƹƣǂƢƣƤƫƹƫƿƫƺƹƩƣƶƻƾǀƾƿƺǀƹƢƣƽƾƿƞƹƢᄬᇳᄭƿƩƣƸƣơƩƞƹƫƾƸƺƤơƽƣ-
ƞƿƫǁƫƿDŽᅸƫƹǁƫǁƺᅺƺƤƿƩƣƾƻƺƹƿƞƹƣƺǀƾƶƣƞƻƞƹƢᄬᇴᄭƫƿƾƽƺƶƣǂƫƿƩƫƹƺƿƩƣƽƿƩƣƺƽƫƣƾ
of creativity and learning discussed in different chapters.
ѿ‫ءآ؜اؖبؗآإاء‬ ራ

The new definition of creativity has a specific feature of focusing attention

ƺƹƿƩƣƻƽƺơƣƾƾƺƤơƺƹƹƣơƿƫƹƨƢƫƤƤƣƽƣƹƿᄕƾƣƻƞƽƞƿƣơƺƸƻƺƹƣƹƿƾƺƤƞƿƩƫƹƴƣƽᅷƾƺƽ
ƞƹƞƽƿƫƾƿᅷƾƴƹƺǂƶƣƢƨƣᄙ ƿƾƣƞƽơƩƣƾƤƺƽƿƩƣƾDŽƹƿƩƣƾƫƾƺƤǀƹƫƤƫơƞƿƫƺƹƽƞƿƩƣƽƿƩƞƹ
analytical separation.
ƩƞƻƿƣƽᇳƫƹƿƽƺƢǀơƣƾƟƫƾƺơƫƞƿƫƺƹƞƹƢƢƫƾơǀƾƾƣƾƫƿƾƾơƺƻƣᄙ

1.3 Chapter 1, Arthur Koestler’s Bisociation Theory

The chapter introduces bisociativity along several avenues of thought. First,
ƫƿƨƽƺǀƹƢƾƿƩƣƢƣƤƫƹƫƿƫƺƹƺƤƿƩƣơƺƹơƣƻƿƿƩƽƺǀƨƩƿƩƣƺƣƾƿƶƣƽƿƽƫƻƿDŽơƩᄕǂƩƫơƩ
shows the changing nature of creativity by the changes in the emotional cli-
mate while moving the attention from humor to scientific discovery and to art.
At the same time the logical structure of creativity that is bisociation stays the
same throughout the passage along the different domains.
Second, the chapter places bisociation in the context of two major
approaches to creativity, that of the structural Gestalt approach and the Guil-
ford/Torrance phenomenological view originating in the Guilford understand-
ing of creativity through divergent and convergent thinking.
ƩƫƽƢᄕ Ʃƞƻƿƣƽ ᇳ Ƣƫƾơǀƾƾƣƾ Ʃƺǂ ƺƣƾƿƶƣƽᅷƾ ƣƸƻƩƞƾƫƾ ƺƹ ƿƩƣ ơƺƹƹƣơƿƫǁƫƿDŽ
of unconnected frames of reference as the spontaneous nature of the Aha!
moment begins the third general approach to understanding creativity lead-
ing through the JanusianቃƿƩƫƹƴƫƹƨƺƤƺƿƩƣƹƟƣƽƨᄬᇳᇻᇹᇻᄭƿƺƿƩƣơƺƹƹƣơƿƫǁƫƿDŽ
of neural networks, which constitute the basis of the ѷѿ approach to computer
ơƽƣƞƿƫǁƫƿDŽᄬƺƢƣƹᄕᇴᇲᇲᇶᄭᄙ
The discussion of several creative moments known from intellectual history
provides the background for the discussion of the nature of bisociative think-
ing, whose characteristic feature is the presence of the bisociative frame—one
of the central concepts throughout the volume. The discussion of the relation-
ship between bisociation, association, and a habit, which starts in this chapter,
ƤƫƹƢƾ ƫƿƾ ƣơƩƺ ƫƹ ƾƣǁƣƽƞƶ ƺƤ ƿƩƣ Ƥƺƶƶƺǂƫƹƨ ơƩƞƻƿƣƽƾᄙ Ʃƞƻƿƣƽ ᇳ ơƶƺƾƣƾ ǂƫƿƩ ƞƹ
extensive discussion of bisociation as the third pathway to creativity.

2 Teaching-Research Methodology

Ʃƣ ƿƣƞơƩƫƹƨᅟƽƣƾƣƞƽơƩ ᄬҊ҈ᄭ ƸƣƿƩƺƢƺƶƺƨDŽ ơƞƶƶƣƢ ƿƩƣƣƞơƩƫƹƨᅟƣƾƣƞƽơƩ ƣǂ

ƺƽƴ ƫƿDŽ ᄬҊ҈ᄧƫƿDŽᄭ ƸƺƢƣƶ ᄬDžƞƽƹƺơƩƞᄕ ᇴᇲᇳᇸᄭ ǀƹƢƣƽƶƫƣƾ ƿƩƣ Ƣƣƾƫƨƹ ƺƤ ƿƩƣ
ǁƺƶǀƸƣƻƽƣƾƣƹƿƣƢƩƣƽƣᄙƩƣƸƣƿƩƺƢƺƶƺƨDŽƫƾƟƞƾƣƢǀƻƺƹƿǂƺƻƽƫƹơƫƻƶƣƾᄘᄬᇳᄭƿƩƣ
ƟƞƶƞƹơƣƺƤƿƣƞơƩƫƹƨƻƽƞơƿƫơƣƞƹƢƣƢǀơƞƿƫƺƹƞƶƽƣƾƣƞƽơƩƞƹƢᄬᇴᄭƿƩƣƨƺƞƶƺƤƿƩƣ
improvement of learning.
ƶƞƾƾƽƺƺƸ ƿƣƞơƩƫƹƨ ƣǃƻƣƽƫƸƣƹƿƾ ᄬDžƞƽƹƺơƩƞᄕ ᇳᇻᇻᇻᄖ DžƞƽƹƺơƩƞ ѵ ƽƞƟƩǀᄕ
ᇴᇲᇲᇸᄖDžƞƽƹƺơƩƞѵƞưᄕᇴᇲᇲᇺᄭƺƤƤƣƽƣƢƞǀƹƫƼǀƣƿƺƺƶᄕǂƫƿƩƫƹǂƩƫơƩƿƣƞơƩƫƹƨƞƹƢ
ሬ ѹ‫ؔ؛ؖآءإؔح‬

research found mutually nourishing ground and led to the formulation of the
Ҋ҈ᄧƫƿDŽƸƺƢƣƶᄙƣƞơƩƫƹƨᅟƽƣƾƣƞƽơƩƺƤƤƣƽƣƢƞơƺƹƾƫƾƿƣƹƿƸƣƿƩƺƢƺƤơƺƹƹƣơƿ-
ing and integrating teaching and research in the search of maximally effective
methods for the improvement of learning.
Ҋ҈ᄧƫƿDŽƺƽƨƞƹƫDžƣƢƫƿƾơƶƞƾƾƽƺƺƸƫƹǁƣƾƿƫƨƞƿƫƺƹǂƺƽƴƞƶƺƹƨƞƿƣƞơƩƫƹƨᅟƽƣ-
ƾƣƞƽơƩ ᄬҊ҈ᄭ ơDŽơƶƣ ƸƣƿƩƺƢƺƶƺƨDŽ ᄬDžƞƽƹƺơƩƞ ƣƿ ƞƶᄙᄕ ᇴᇲᇳᇸᄭ ǂƫƿƩ Ƥƺǀƽ ƹƺƢƣƾ ƺƤ
diagnosis: design of intervention, implementation with the collection of data,
ƞƹƢ ƿƣƞơƩƫƹƨᅟƽƣƾƣƞƽơƩ ƞƹƞƶDŽƾƫƾ ƺƤ ƿƩƣ Ƣƞƿƞ ǂƩƫơƩ ơƺƹƾƫƢƣƽƾ ƿƣƞơƩƣƽƾᅷ ơƽƞƤƿ
knowledge, and the relevant research results. The aim of the analysis was to
establish the degree of effectiveness of the intervention and design leading to
its improved version for the next cycle. The by-product of the cycle or of the
iterative series of cycles are the research observations and results. Thus, the
teaching-research cycle produces two outcomes, new teaching methods and
new research results.
New teaching methods are the focus of the second, upper-right node, where
the intervention design process is adapted to the state of knowledge of the
class. The new research results are the focus of the third, a left-lower node. This
ƹƺƢƣƫƾơƣƹƿƽƞƶƿƺƿƩƣơDŽơƶƣƸƣƿƩƺƢƺƶƺƨDŽƟƣơƞǀƾƣƫƿƺƤƤƣƽƾƞƟƫƾƺơƫƞƿƫǁƣᄬƩƞƻ-
ƿƣƽᇳᄭƻƺƾƾƫƟƫƶƫƿDŽƺƤơƽƣƞƿƫǁƫƿDŽƤƺƽƿƩƣƫƹƾƿƽǀơƿƺƽƾǂƩƺƻƽƞơƿƫơƣƫƿᄙ ƿƫƾƿƩƣƹƺƢƣ
where teaching practice meets research knowledge, often producing new,
ǀƹƣǃƻƣơƿƣƢ ƽƣƾƣƞƽơƩ ƽƣƾǀƶƿƾ ƺƽ ƿƣƞơƩƫƹƨ ƸƣƿƩƺƢƾᄙ ƹ ƿƩƫƾ ƹƺƢƣᄕ ƿƩƣ Ɵƫƾƺơƫƞ-
tive frames grounded in two components, teaching practice and research, are
being formed, underlying the creative Aha! moments of teacher-researchers.
Due to their separation, the interface between research and practice is at pres-
ƣƹƿƻƽƣƨƹƞƹƿǂƫƿƩƿƩƣƻƺƾƾƫƟƫƶƫƿƫƣƾƺƤƩƞᄛƸƺƸƣƹƿƾᅷơƽƣƞƿƫǁƣƫƹƾƫƨƩƿƾƿƩƽƺǀƨƩ
which both can be joined.
ƩƣƻƽƺơƣƾƾƺƤƫƹƿƣƽƞơƿƫƺƹƺƤƽƣƾƣƞƽơƩǂƫƿƩƿƣƞơƩƫƹƨƻƽƞơƿƫơƣƫƾƿǂƺƤƺƶƢᄘᄬᇳᄭ
ƿƻƽƺơƣƣƢƾƤƽƺƸƻƽƞơƿƫơƣᄕƿƩƞƿƫƾᄕƤƽƺƸƿƩƣƢƣƾƫƨƹƟƞƾƣƢƺƹƿƩƣƺƟƾƣƽǁƞƿƫƺƹƾƺƤ
ƻƽƞơƿƫơƣᄙ ƿƣƹơƺǀƹƿƣƽƾƽƣƾƣƞƽơƩƞƹƢƶƣƞƽƹƫƹƨƿƩƣƺƽƫƣƾƞƶƺƹƨƿƩƣƿƩƫƽƢƹƺƢƣᄙ
fundamental question at that stage is which learning theory or research results
ƤƫƿƫƹƿƺƿƩƣƿƣƞơƩƣƽᅷƾơƶƞƾƾƽƺƺƸƺƟƾƣƽǁƞƿƫƺƹƞƹƢƞƹƞƶDŽƾƫƾƺƤƢƞƿƞᄙᄬᇴᄭ ƿƻƽƺơƣƣƢƾ
from research. Here the question is how to adapt the learning environment
and teaching methodology to the chosen theory of learning.
Both decisions can facilitate pedagogical creativity, and both are based upon
familiarity with the process of practice/theory coordination and integration.
The generalization of that process—the theory/theory coordination and
ƫƹƿƣƨƽƞƿƫƺƹᄬƺƽƹƣƿǂƺƽƴƫƹƨƺƤƿƩƣƺƽƫƣƾᄭǀƹƢƣƽƶƫƣƾƞƹƢơƺƹƾƿƫƿǀƿƣƾƿƩƣƿƩƣƺƽƣƿ-
ƫơƞƶƤƽƞƸƣǂƺƽƴƤƺƽƸƞƹDŽơƺƹƾƫƢƣƽƞƿƫƺƹƾƺƤƿƩƣƻƽƣƾƣƹƿƣƢǁƺƶǀƸƣᄬƾƣƣƟƣƶƺǂᄭᄙ
Ʃƣ ƶƣƹƨƿƩ ƺƤ ƞ ƿƣƞơƩƫƹƨᅟƽƣƾƣƞƽơƩ ơDŽơƶƣ ǁƞƽƫƣƾᄙ ƿ ơƞƹ Ɵƣ ƞ ƻƞƽƿ ƺƤ ƞ ƾƫƹ-
gle class time, several consecutive classes of a course, or the full semester or
 ѿ‫ءآ؜اؖبؗآإاء‬

‫ ؘإبؚ؜ؙ‬ѿᄙᇳᏻƿƞƹƢƞƽƢƿƣƞơƩƫƹƨᅟƽƣƾƣƞƽơƩơDŽơƶƣᄬƺǀƿƣƽᄭƞƹƢơƽƣƞƿƫǁƣƿƣƞơƩƫƹƨᅟƽƣƾƣƞƽơƩơDŽơƶƣᄬƫƹƹƣƽᄭ
ር
ሥሤ ѹ‫ؔ؛ؖآءإؔح‬

ƞơƞƢƣƸƫơDŽƣƞƽᄙ ƿƣƽƞƿƫƺƹƺƤƞƹƫƹƿƣƽǁƣƹƿƫƺƹƿƩƽƺǀƨƩƾƣǁƣƽƞƶƾǀơƩơDŽơƶƣƾƞƶƶƺǂƾ
for a high level of its teaching-research refinement.
During our nine-year-long work on the creativity of an Aha! moment, the
notion of the teaching-research cycle generalized to multiyear cycles, which
focused its teaching-research attention on classroom creativity of students and
ƿƣƞơƩƣƽƾᄙ ƞơƩƾǀơƩơƽƣƞƿƫǁƣƿƣƞơƩƫƹƨᅟƽƣƾƣƞƽơƩᄬѹҊ҈ᄭơDŽơƶƣƫƹơƶǀƢƣƾᄘᄬᇳᄭƞƿƶƣƞƾƿ
ƺƹƣƾƣƸƣƾƿƣƽƺƽƞDŽƣƞƽᅟƶƺƹƨơƶƞƾƾƽƺƺƸƿƣƞơƩƫƹƨƣǃƻƣƽƫƸƣƹƿᄖᄬᇴᄭƞƾƣƽƫƣƾƺƤҊ҈
classroom investigations of the theme similar to that presented in Chapter 6,
the work of the Ҋ҈ƣƞƸᄘơƽƣƞƿƫǁƫƿDŽᄖᄬᇵᄭƞƾƣƽƫƣƾƺƤƽƣƶƞƿƣƢƻƽƣƾƣƹƿƞƿƫƺƹƾƞƹƢ
ƻǀƟƶƫơƞƿƫƺƹƾᄖƞƹƢᄬᇶᄭƿƩƣƻƽƺơƣƾƾƺƤƟƺƺƴǂƽƫƿƫƹƨƞƟƺǀƿƿƩƣƫƹǁƣƾƿƫƨƞƿƣƢƿƩƣƸƣᄙ
The book-writing process plays the role of the third node in the classical Ҋ҈
cycle discussed above, and it is the manifestation of the long-term search for
ƸƞƿƩƣƸƞƿƫơƞƶƸƣƞƹƫƹƨƢƫƾơǀƾƾƣƢƟDŽƞǁƫƢƞƶƶƫƹƩƞƻƿƣƽᇺᄙ
The book-writing process initiation time cannot be precisely planned within
the ѹҊ҈ cycle: it takes place at the moment the members of the Ҋ҈ Team rec-
ognize that the scope of the results and ideas developed needs a longer time
for reflection focused on restructuring and connecting the emerging themes
of classroom Ҋ҈ƫƹǁƣƾƿƫƨƞƿƫƺƹƾᄙ ƿƫƾƿƩƣƿƫƸƣǂƩƣƹƟƺƺƴᅟǂƽƫƿƫƹƨơƺƹƿƽƫƟǀƿƺƽƾᄕ
teachers, teacher-researchers, and researchers reach a new understanding,
making the new connections within the theme of creativity, often with the
ƩƣƶƻƺƤƩƞᄛƸƺƸƣƹƿƾᄬƩƞƻƿƣƽᇳᇴᄭᄙ
The first such ѹҊ҈ơDŽơƶƣơƺƸƸƣƹơƣƢƫƹᇴᇲᇳᇲƫƹƿƩƣơƺƹƿƣǃƿƺƤƿƩƣƿƣƞơƩƫƹƨ
experiment supported by a ѹҋ҄ҏ ѹቀѿѽ҈7 grant,ቄ when the idea of bisociation
appeared in the classroom of V. Prabhu. Our realization that the Ҋ҈ᄧƫƿDŽ
model constitutes a bisociative frame in the presence of the contemporary
ƢƫǁƫƢƣ Ɵƣƿǂƣƣƹ ƿƣƞơƩƫƹƨ ƞƹƢ ƽƣƾƣƞƽơƩ ᄬƤƺƽ ƣǃƞƸƻƶƣᄕ ƫƣƽƞƹ ƣƿ ƞƶᄙᄕ ᇴᇲᇳᇵᄭ ǂƞƾ
ƿƩƣ Ƹƞƫƹ ƿƩƣƸƣ ƺƤ DžƞƽƹƺơƩƞ ƣƿ ƞƶᄙ ᄬᇴᇲᇳᇸᄭᄕ ǂƩƣƽƣ ƺǀƽ ƽƣƤƶƣơƿƫƺƹƾ ǀƻƺƹ ƾƿǀ-
ƢƣƹƿƾᅷơƽƣƞƿƫǁƫƿDŽƞƹƢƺǀƽƽƺƶƣƫƹƫƿƾƤƞơƫƶƫƿƞƿƫƺƹơƺƞƶƣƾơƣƢƫƹƿƺƿƩƣƟƺƺƴƟDŽƿƩƣ
Ҋ҈ Team, The Creative Enterprise of Mathematics Teaching Research: Elements
of Methodology and Practice—From Teachers to Teachers.
The process of writing the book has been analogous to the left-bottom node
of the Ҋ҈ cycle, where the continuous teaching experience encounters intense
research reflection leading to the design, writing of the book, and births of
new points of view and approaches to be introduced into practice of the next
cycle. The first ѹҊ҈ cycle provided us with a new view upon our own Ҋ҈/
ƫƿDŽƸƣƿƩƺƢƺƶƺƨDŽƫƹƿƩƞƿǂƣƽƣƞƶƫDžƣƢƿƩƞƿƺǀƽƿƣƞơƩƫƹƨᅟƽƣƾƣƞƽơƩƞƻƻƽƺƞơƩ
had resulted in so many new ideas to write and to think about and to transform
the practice, because it is inherently bisociative joining two very disconnected
matrices of experience: mathematics teaching and research in mathematics
education.
ѿ‫ءآ؜اؖبؗآإاء‬ ሥሥ

That observation focused our attention on the design of teaching-research

investigations, particularly on the nature of the creative learning environ-
ƸƣƹƿᄬƽƞƟƩǀᄕᇴᇲᇳᇸᄭᄙƣƣƸƟƞƽƴƣƢǀƻƺƹƞƹƫƹǁƣƾƿƫƨƞƿƫƺƹƺƤƿƩƣƽƣƶƞƿƫƺƹƾƩƫƻ
between bisociation and Piagetian theories of learning in the conviction that
ơƽƣƞƿƫǁƫƿDŽƣƹƿƣƽƾƣǁƣƽDŽƾƿƣƻƺƤơƺƹơƣƻƿǀƞƶƢƣǁƣƶƺƻƸƣƹƿᄬƞƴƣƽᄕᇴᇲᇳᇸᄭᄙ
The second ѹҊ҈ cycle, whose left-bottom node is the design and writing of
the present volume, was initiated toward the final years of the previous cycle.
The moment when the conclusions of the previous cycle could be applied, ver-
ified, and developed in the teaching practice is the beginning of the second
ѹҊ҈ cycle, which has become focused on a more direct investigation of Aha!
ƸƺƸƣƹƿƾƫƹƺǀƽơƶƞƾƾƽƺƺƸᄕǀƾƫƹƨƿƩƣƶƣƹƾƣƾƺƤƺƣƾƿƶƣƽᄙ
The second creative cycle has included an extensive process of facilitat-
ing and collecting cognitively well-described Aha! moments. Three different
ƞơƿƫƺƹƾƩƞǁƣƟƣƣƹƫƹƫƿƫƞƿƣƢᄘᄬᇳᄭƞƻƫƶƺƿơƶƞƾƾƽƺƺƸƣǃƻƣƽƫƸƣƹƿǂƫƿƩƾƿǀƢƣƹƿƾᄧ
ƻƣƣƽƶƣƞƢƣƽƾƞƾƾƿǀƢƣƹƿᅟƽƣƾƣƞƽơƩƣƽƾƫƹƿƩƣơƶƞƾƾƽƺƺƸƾƺƤƽƣƸƣƢƫƞƶƞƶƨƣƟƽƞᄖᄬᇴᄭ
the hunt for Aha! moments organized by the publication Mathematics Teach-
ing-Research Journal OnlineᄖƞƹƢᄬᇵᄭƞѹҋ҄ҏ-wide conference called “Creativ-
ity in ҉Ҋѻ҃ᄕᅺǂƩƣƽƣƺƹƣƺƤƿƩƣƩƞᄛƸƺƸƣƹƿƾƺƤƿƩƣơƺƶƶƣơƿƫƺƹƫƹƩƞƻƿƣƽᇳᇹᄕ
Ʃƣƽƣ ƾƞƣơƿƺƽᄞᄕǂƞƾƣƹơƺǀƹƿƣƽƣƢᄙƞƿǀƽƞƶƶDŽᄕƞƶƶƿƩƣƞơƿƫƺƹƾǂƣƽƣƾǀƻƻƺƽƿƣƢ
by professional presentations and publications.
The effort to formulate principles of Aha! pedagogy to be introduced into
teaching practice at the next Ҋ҈ cycle of work will complete the second ѹҊ҈
cycle in agreement with the Ҋ҈ƸƣƿƩƺƢƺƶƺƨDŽᄙƞƽƿᇳᄕƫƾƺơƫƞƿƫƺƹƫƹƿƩƣƶƞƾƾ-
room, introduces readers to some of the results of the second ѹҊ҈ cycle.

Part 1: Bisociation in the Classroom

Chapter 2: Teaching-Research Analysis: The Constructivist Teaching Experiment

as a Methodology of Teaching

This chapter investigates the contradiction between the well-grounded con-

ƾƿƽǀơƿƫǁƫƾƿƞƻƻƽƺƞơƩƿƺƶƣƞƽƹƫƹƨƞƹƢƫƿƾƤƞƫƶƫƹƨơƶƞƾƾƽƺƺƸƫƸƻƶƣƸƣƹƿƞƿƫƺƹᄙ ƿ
shows the bisociative nature of teaching-research in the context of a construc-
tive teaching experiment methodology, which can be seen both as the research
instrument and as the constructivist methodology of teaching.
We identify the source of its failing implementation as the lack of recogni-
tion of the inherently constructivist teaching methodology within the frame of
the constructivist approach. We situate the absence of recognition within the
hierarchical social/institutional divide between academia and the teaching
profession. The chapter critiques scripted lesson plans that instruct teachers
ሥሦ ѹ‫ؔ؛ؖآءإؔح‬

what questions to ask and tells them what students might respond and how to
react as contradictory with constructivist principles.
The scripted lesson plans are liable to introduce a degree of automation
ƫƹ ƿƣƞơƩƣƽƾᅷ ƿƩƫƹƴƫƹƨ ƿƩƞƿ ơƺƹƿƽƞƢƫơƿƾ ƿƩƣ ơƺƹƾƿƽǀơƿƫǁƫƾƿ ƞƻƻƽƺƞơƩᄕ ǂƩƫơƩ ƫƾ
geared to independent thinking and problem-posing and problem-solving. Our
research suggests that teaching-research based on the goal of improvement of
classroom learning is fully consistent with the constructivist approach, and it
re-establishes the missing methodology of constructive teaching.

Chapter 3: Classroom Facilitation of Aha! Moment Insights

ƩƞƻƿƣƽᇵƻƺƫƹƿƾƿƺƿƩƣƢƫƤƤƣƽƣƹƿƸƣƿƩƺƢƺƶƺƨƫƣƾƫƹƾƿǀƢDŽƫƹƨƿƩƣơƽƣƞƿƫǁƫƿDŽƺƤ
gifted and rank-and-file students. The chapter discusses the role of the social
classroom creative environment in promoting student collaboration for facil-
ƫƿƞƿƫƹƨƩƞᄛƸƺƸƣƹƿƫƹƾƫƨƩƿƾᄙƣơƿƫƺƹƾᇵᄙᇵƞƹƢᇵᄙᇶƢƣƶǁƣƫƹƿƺƿƩƣƞƹƞƶDŽƾƫƾƺƤ
ƤƞơƫƶƫƿƞƿƫƺƹƸƣƿƩƺƢƾƣƹơƺǀƹƿƣƽƣƢƫƹƩƞƻƿƣƽᇳᇹᄬᅸƺƶƶƣơƿƫƺƹƺƤƩƞᄛƺƸƣƹƿƾᅺᄭ
and in several papers describing others. The two essentially different cases are
a classroom collaborative complex problem-solving environment and one-on-
one teacher/mentor scaffolding student understanding methods.
Different roles of the teacher within each of the methods are thoroughly
ƢƫƾơǀƾƾƣƢᄙƩƣ ƞƹƞƶDŽƾƫƾ ƺƤ ơƶƞƾƾƽƺƺƸ ƫƹƿƣƽƞơƿƫƺƹ ƢƣƾơƽƫƟƣƢ ƫƹ ƞƽƹƣƾ ᄬᇴᇲᇲᇲᄭ
reveals the relationship between internalization and interiorization; the anal-
ysis of different pathways leading to Aha! moment insight reveals that some
of them do not take place within problem-solving activity, but result out of
a drive for conceptual understanding. Those are the instances of conceptual
ƶƣƞƽƹƫƹƨᄕƞơƺƹơƣƻƿƫƹƿƽƺƢǀơƣƢƟDŽƫƸƺƹƣƿƞƶᄙᄬᇴᇲᇲᇶᄭᄙ

Chapter 4: Assessment of the Depth of Knowledge Acquired during an Aha!

Moment Insight

This chapter addresses institutional challenges that exclude underrepresented

and underserved students from the development of their creativity. The defi-
nition of this category of students appears in Section 4.2, while the analysis of
ƫƹƾƿƫƿǀƿƫƺƹƞƶơƩƞƶƶƣƹƨƣƾƫƾƫƹƣơƿƫƺƹᇶᄙᇵᄙƩƣƢƫƾơǀƾƾƫƺƹƻƺƫƹƿƾƿƺƿƩƣƹƣƣƢƿƺ
formulate alternative approaches and methods to foster creativity in regular
students, and Section 4.4 proposes such a method of analysis, leading to the
assessment of the nature of the connections made in Aha! moment creative
insights.
ƩƣƸƣƿƩƺƢƫƾƞƻƻƶƫƣƢƿƺƩƞƻƿƣƽᇳᇹᄕᅸƺƶƶƣơƿƫƺƹƺƤƩƞᄛƺƸƣƹƿƾᄕᅺǂƩƫơƩƞƽƣ
ơƶƞƾƾƫƤƫƣƢƫƹƿƺƿƩƽƣƣơƞƿƣƨƺƽƫƣƾᄕƸƫƶƢᄕƹƺƽƸƞƶᄕƞƹƢƾƿƽƺƹƨᄙ ƿƸƣƞƾǀƽƣƾƿƩƣƢƣƨƽƣƣ
ѿ‫ءآ؜اؖبؗآإاء‬ ሥሧ

of progress in understanding reached during the insight. While developed

originally with classroom mathematical insights, some of the big C creativity
Aha! moments of the collection fit neatly into the scheme. The new methodol-
ogy of assessment is geared to the creativity of rank-and-file students, who by
their low mathematical skill level have been excluded from being considered
creative.

Chapter 5: The Role of the Teacher in Facilitating the Aha! Moment

The role of the teacher involves acting as a mediator between student knowl-
edge, the actions that are viable for them, and the curriculum. The most uni-
versal aspect of this role is managing a social learning environment: classroom
ƢƫƾơƺǀƽƾƣᄙƺƾǀƻƻƺƽƿƞơƽƣƞƿƫǁƣƶƣƞƽƹƫƹƨƣƹǁƫƽƺƹƸƣƹƿᄕƿƩƣƿƣƞơƩƣƽᅷƾƽƺƶƣƫƾƿƺ
guide students to discover their own meaning for mathematics. This involves
a focus on soliciting student insight and responses and building upon these
insights to promote shared knowledge with a focus on reasoning and meaning,
not simply procedural rules and algorithms.
ƹ ƿƩƫƾ ƾƣƹƾƣᄕ ƿƩƣ ƿƣƞơƩƣƽᅷƾ ƸƣƢƫƞƿƫƺƹ ƫƹǁƺƶǁƣƾ Ɵƞƶƞƹơƫƹƨ ƺƽƫƣƹƿƞƿƫƺƹ ƿƺ
ensure students are exposed to and internalize the curriculum with the mind-
set that ultimately students must create or construct meaning themselves. This
chapter examines the role of the teacher in managing discourse in constructiv-
ist pedagogy, creativity research, and teaching research within the social set-
ting to examine the role of the teacher in promoting a culture of inquiry.
Central to this chapter is the translation of constructivist teaching exper-
iment methodology based upon guided discovery into the classroom. This
effort, which can be viewed as one of the basis of Aha! pedagogy, is contrasted
with the view that the reasoning of students along trajectories or pathways can
be scripted for classroom use.

Chapter 6: The Work of the Teaching-Research Team of the Bronx: Creativity

ƺƣƾƿƶƣƽ ᄬᇳᇻᇸᇶᄭ ƻƺƫƹƿƾ ƺǀƿ ƿƩƞƿ ƿƩƣ ƶƞơƴ ƺƤ Ƣƫƽƣơƿ ƣǃƻƣƽƫƣƹơƣ ǂƫƿƩ ƿƩƣ ơƽƣ-
ative-discovery process within mathematics and science has led to a robotic,
ƞƶƸƺƾƿƢƣƩǀƸƞƹƫDžƫƹƨƣƢǀơƞƿƫƺƹƞƶƣǃƻƣƽƫƣƹơƣᄙ ƹƿƩƫƾƶƫƨƩƿᄕƫƿƫƾƺƹƶDŽƿƩƣƣǃƻƣ-
rience of discovering math for themselves that will ultimately motivate stu-
dents who view mathematics as the memorization and application of rules
to appreciate the beauty involved in interpreting and resolving a problem sit-
ǀƞƿƫƺƹᄙ ƹƿƩƫƾƾƣơƿƫƺƹᄕǂƣƽƣǁƫƣǂƶƫƿƣƽƞƿǀƽƣƺƹơƽƣƞƿƫǁƫƿDŽǂƫƿƩƫƹƸƞƿƩƣƸƞƿƫơƾ
as it relates to classroom situations involving students who have not neces-
sarily been labeled gifted. More specifically, we review the notion of creative
ሥረ ѹ‫ؔ؛ؖآءإؔح‬

ƽƣƞƾƺƹƫƹƨ ƣƽƾƩƴƺǂƫƿDžƣƿƞƶᄙᄬᇴᇲᇳᇹᄭǀƾƣƢƿƺơƶƞƾƾƫƤDŽƾƿǀƢƣƹƿƫƹƾƫƨƩƿǂƫƿƩƫƹƿƩƣ
social discourse of the classroom.
We then present examples of student insight within the classrooms of our
team of teacher researchers and analyze them within our bisociative frame
ᄬƩƞƻƿƣƽ ᇳᄭᄙƩƣ ƞƹƞƶDŽƾƫƾ ƺƤ ƿƩƣƾƣ ƸƺƸƣƹƿƾ ƺƤ ƾƿǀƢƣƹƿ ơƽƣƞƿƫǁƫƿDŽ Ƥƺơǀƾƣƾ ƺƹ
ƿƩƣƿƩƽƣƣơƽƫƿƣƽƫƞƤƺƽơƽƣƞƿƫǁƫƿDŽƢƣǁƣƶƺƻƣƢƫƹƩƞƻƿƣƽᇳᇳᄙ ƫƽƾƿᄕƿƩƣƾƣƞƽơƩƻƽƺ-
cess leading up to the moment of insight; second, the connection made by the
student during the moment of insight; and third, the creative reasoning that
underlies the novel activity that results from such a connection.

Part 2: The Aha! Moment and Affect

ƩƣƫƸƻƞơƿƺƤƞƹƩƞᄛƸƺƸƣƹƿƺƹƞƶƣƞƽƹƣƽᅷƾƻƺƾƫƿƫǁƣƞƤƤƣơƿƫƾƢƫƾơǀƾƾƣƢƫƹ
ƸƞƹDŽơƶƞƾƾƽƺƺƸƢƣƾơƽƫƻƿƫƺƹƾƺƤƿƩƣƻƩƣƹƺƸƣƹƺƹᄬƤƺƽƣǃƞƸƻƶƣᄕƞƽƹƣƾᄕᇴᇲᇲᇲᄖ
ƫƶưƣƢƞƩƶᄕᇴᇲᇳᇵᄭᄙƩƞƿᅷƾƸƺƽƣᄕƿƩƣƽƺƶƣƺƤƾƺᅟƨƣƹƣƽƞƿƣƢƻƺƾƫƿƫǁƣƞƤƤƣơƿǀƻƺƹƾƿǀ-
ƢƣƹƿƾᅷƞƿƿƫƿǀƢƣƿƺƸƞƿƩƣƸƞƿƫơƾƩƞƾƟƣƣƹƺƟƾƣƽǁƣƢƟDŽƽƞƟƩǀᄬᇴᇲᇳᇸᄭƫƹƩƣƽƺƽƫƨƫ-
nal teaching experiment. Therefore, the following idea suggests itself: to design
a pedagogy based on the facilitation of an Aha! moment in order not only to
provide students with the real creative experience of insight and discovery, but
also to change their generally negative attitude to mathematics through the
ƻƽƺơƣƾƾƺƤƟƺƹƢƫƹƨǂƫƿƩƫƿᄬƣƣƶƶƫƾѵ ƺƶƢƫƹᄕᇴᇲᇲᇸᄭᄙƩǀƾᄕƿƩƣƿƞƾƴƺƤƞƽƿᇴᄘ
The Aha! Moment and Affect is to investigate the processes through which a
ƶƣƞƽƹƣƽᅷƾƟƺƹƢƫƹƨǂƫƿƩƸƞƿƩƣƸƞƿƫơƾƿƞƴƣƾƻƶƞơƣᄙ
A couple of words about the relationship between cognition and positive
ƞƤƤƣơƿƞƽƣƫƹƻƶƞơƣᄙƺǀƹƫƺƾƞƹƢƣƣƸƞƹᄬᇴᇲᇳᇷᄭᅭƿƩƣƿǂƺƽƣƾƣƞƽơƩƣƽƾǂƩƺƾƣ
teams designed very effective methods of neuroscientific investigation of Aha!
ƸƺƸƣƹƿ ƫƹƾƫƨƩƿ ᄬƩƞƻƿƣƽ ᇳᇶᄭᅭƫƹƤƺƽƸ ǀƾ ƞƟƺǀƿ ƿǂƺ Ƹƞưƺƽ ƽƣƾƣƞƽơƩ ƣƤƤƺƽƿƾ
establishing the fact that a good mood increases the frequency of insight:
ƾƩƟDŽƣƿƞƶᄙᄬᇳᇻᇻᇻᄭƞƹƢƸƞƟƫƶƣƣƿƞƶᄙᄬᇴᇲᇲᇷᄭᄙƩǀƾᄕǂƣƾƣƣƞǁƣƽDŽƫƹƿƣƽƣƾƿƫƹƨ
dialectical relationship: on the one hand, the positive mood increases the fre-
quency of insight, and, on the other hand, the experience of insight creates a
positive mood.
We see that mainstream neuroscience seems to be primarily interested in
the impact of a good mood upon insight, whereas classroom teaching requires
deep understanding of the inverse process and how insight produces a good
ƸƺƺƢᄕǂƩƫƶƣơƺƹƿƽƫƟǀƿƫƹƨƿƺƟƺƹƢƫƹƨǂƫƿƩƸƞƿƩƣƸƞƿƫơƾᄙƺǀƹƫƺƾƞƹƢƣƣƸƞƹ
ᄬᇴᇲᇳᇷᄕƻᄙᇳᇳᇻᄭƻƽƺǁƫƢƣƞƹƺƿƩƣƽƫƹƿƣƽƣƾƿƫƹƨƺƟƾƣƽǁƞƿƫƺƹᄘᅸƩƺƾƣƻƣƺƻƶƣƫƹƞƻƺƾ-
itive mood base their judgments on the overall pattern; those in a negative
mood base their judgments on the parts.” These observations agree with our
ơƶƞƾƾƽƺƺƸƾƫƿǀƞƿƫƺƹᄘǂƣơƞƹᅷƿǁƣƽDŽƸǀơƩơƺƹƿƽƺƶƿƩƣƸƺƺƢƺƤƺǀƽƾƿǀƢƣƹƿƾᄕƺƹ
ѿ‫ءآ؜اؖبؗآإاء‬ ሥሩ

one hand, and on the other, most rank-and-file students base their judgments
in classes of mathematics on the scattered parts, which suggests they are not,
ƨƣƹƣƽƞƶƶDŽᄕƫƹƞƨƺƺƢƸƺƺƢᄙƩƞƿᅷƾǂƩDŽƿƩƣƢǀƞƶƽƺƶƣƺƤƿƩƣƩƞᄛƸƺƸƣƹƿƫƾƾƺ
ƫƸƻƺƽƿƞƹƿ ᄬDžƞƽƹƺơƩƞᄕ ᇴᇲᇳᇶᄭᄙ ƿ ưƺƫƹƾ ƾƣƻƞƽƞƿƣ ƻƞƽƿƾ ƫƹƿƺ ƺƹƣ ƾƿƽǀơƿǀƽƣᄕ ƞƹƢ
ǂƩƫƶƣƢƺƫƹƨƫƿƶƫƤƿƾƞƶƣƞƽƹƣƽᅷƾƸƺƺƢᄙƿǀƢƣƹƿƾᅷǁƣƽƟƞƶƣǃƻƽƣƾƾƫƺƹƾƺƤƿƩƣƫƽƞƤƤƣơƿ
give us information about their basic human needs as they manifest while
doing mathematics, and that allows for the redesign of the instruction to make
it closer in agreement with those needs.
The structure of the part is interesting in that it starts from the impact of the
ƺǀƿƾƫƢƣǂƺƽƶƢǀƻƺƹƾƿǀƢƣƹƿƾᅷǀƹƢƣƽƾƿƞƹƢƫƹƨƺƤƿƩƣƫƽƺǂƹơƽƣƞƿƫǁƫƿDŽᄬƩƞƻƿƣƽ
ᇹᄭᄙƣǃƿᄕƩƞƻƿƣƽᇺƣǃƻƞƹƢƾƿƩƞƿƢƫƾơǀƾƾƫƺƹƿƺƣƸƻƩƞƾƫDžƣƿƩƣƽƺƶƣƺƤƿƩƣƻƺƾ-
itive Aha! and the negative Uh-huh! impact on the development of personal
ơƽƣƞƿƫƺƹ ƺƤ Ƹƣƞƹƫƹƨ ƫƹ ƸƞƿƩƣƸƞƿƫơƾᄙ Ʃƞƻƿƣƽ ᇻ ƻƽƣƾƣƹƿƾ ƞ ƹƣǂ ƿƩƣƺƽƣƿƫơƞƶ
framework for the discussion of affect in mathematics education involving the
ơƺƹơƣƻƿƺƤơƺƹƞƿƫƺƹᄕǂƩƫƶƣƩƞƻƿƣƽᇳᇲƞƢƢƽƣƾƾƣƾơƺƨƹƫƿƫƺƹᄕƞƤƤƣơƿᄕƞƹƢơƺƹƞ-
tion and develops the details of the relationship between cognition and affect,
ƻƺƫƹƿƫƹƨƿƺǂƫƢƣƣǁƫƢƣƹơƣƤƺƽƿƩƣƢƣǁƣƶƺƻƸƣƹƿƺƤƿƩƣƟƺƹƢƫƹƨƻƽƺơƣƾƾᄬƣƣƶ-
ƶƫƾѵ ƺƶƢƫƹᄕᇴᇲᇲᇸᄭᄙƣƤƫƹƢƩƣƽƣƞƾǀƽƻƽƫƾƫƹƨƞƨƽƣƣƸƣƹƿƟƣƿǂƣƣƹƿƩƣƿƩƣƺƽƣƿ-
ƫơƞƶƾǀƨƨƣƾƿƫƺƹƾƺƤ ƺƶƢƫƹᄬƩƞƻƿƣƽᇻᄭƞƹƢƿƩƣƣƸƻƫƽƫơƞƶƽƣƾǀƶƿƾƺƤƫƶưƣƢƞƩƶ
ᄬᇴᇲᇲᇶᄭƻƽƣƾƣƹƿƣƢƫƹƿƩƣơƩƞƻƿƣƽᄙ

Chapter 7: Creativity in the Eyes of Students: Espoused and Enacted Beliefs in

Mathematical Projects

Ʃƣ ơƩƞƻƿƣƽ ƫƹǁƣƾƿƫƨƞƿƣƾ ƾƿǀƢƣƹƿƾᅷ ƾƣƶƤᅟƞƾƾƣƾƾƸƣƹƿ ƺƤ ƿƩƣƫƽ ƺǂƹ ơƽƣƞƿƫǁƫƿDŽ ƫƹ
the context of a project-based learning high school course focused on coding
and cryptography. The central question of the teaching experiment was how
students understand their own creativity. The authors point out that within
the knowledge of creativity in the educational profession, there is no informa-
tion about how students view and assess their own creativity: solely “outside”
views of teachers and researchers are considered.
They emphasize that if teachers or lecturers expect creativity from their
students, they need to clarify their own understanding of creativity first. Con-
ƾƣƼǀƣƹƿƶDŽᄕƿƩƣƽƣƫƾƞƹƣƣƢƿƺƢƫƾƿƫƹƨǀƫƾƩƟƣƿǂƣƣƹƽƣƾƣƞƽơƩƣƽƾᅷƞƾƾƣƾƾƸƣƹƿƺƤ
ƾƿǀƢƣƹƿơƽƣƞƿƫǁƫƿDŽƞƹƢƾƿǀƢƣƹƿƾᅷƺǂƹƞƾƾƣƾƾƸƣƹƿᄙƫƾƺơƫƞƿƫǁƫƿDŽƿƩƣƺƽDŽƞƾƾƣƣƹ
ƟDŽƺƣƾƿƶƣƽᄬᇳᇻᇸᇶᄭƞƹƢƺƢƣƹᄬᇴᇲᇲᇶᄭơƞƹƟƣƩƣƶƻƤǀƶƫƹƢƣƶƫƹƣƞƿƫƹƨƿƩƣƹƞƿǀƽƣƺƤ
ƿƩƣƢƫƤƤƣƽƣƹơƣƾƟƣƿǂƣƣƹƾƿǀƢƣƹƿƾᅷƞƹƢƿƩƣƫƽƿƣƞơƩƣƽƾᅷƻƣƽơƣƻƿƫƺƹƾᄙ
ƞƾƣƢ ƺƹ ƾƿǀƢƣƹƿƾᅷ ƽƣƾƣƞƽơƩ Ƣƫƞƽƫƣƾᄕ ƿƩƣ ƞǀƿƩƺƽƾ ƢƫƾƿƫƹƨǀƫƾƩ Ɵƣƿǂƣƣƹ ƾƿǀ-
dent-espoused and student-enacted creativity and look for the relationship
ƟƣƿǂƣƣƹƿƩƣƸƿƩƽƺǀƨƩƺǀƿƿƩƣƻƽƺưƣơƿᄙƩƣƫƽƽƣƾƣƞƽơƩƼǀƣƾƿƫƺƹƾƞƽƣᄬᇳᄭƩƞƿ
ሥሪ ѹ‫ؔ؛ؖآءإؔح‬

ƞƽƣƾƿǀƢƣƹƿƾᅷƻƣƽơƣƻƿƫƺƹƾƺƤơƽƣƞƿƫǁƫƿDŽᅭƿƩƣƾƺᅟơƞƶƶƣƢƣƾƻƺǀƾƣƢơƽƣƞƿƫǁƫƿDŽᄞƞƹƢ
ᄬᇴᄭƩƫƶƣǂƺƽƴƫƹƨƺƹƸƞƿƩƣƸƞƿƫơƞƶƻƽƺưƣơƿƾᄕƢƺƾƿǀƢƣƹƿƾƞơƿƫƹƞơơƺƽƢƞƹơƣ
with their perception of creativity? This is the so-called enacted creativity.
Ʃƣ ơƩƞƻƿƣƽ ƿƽƞơƣƾ ơƩƞƹƨƣƾ ƫƹ ƾƿǀƢƣƹƿƾᅷ ƞƾƾƣƾƾƸƣƹƿ ƺƤ ơƽƣƞƿƫǁƫƿDŽ ǂƩƫƶƣ
ǂƺƽƴƫƹƨƺƹƿƩƣƻƽƺưƣơƿᄕƤƫƹƢƫƹƨƺǀƿƿƩƞƿᇳᇶƺǀƿƺƤᇴᇶƾƿǀƢƣƹƿƾƻƞƽƿƫơƫƻƞƿƫƹƨƫƹ
the study changed their views about their own creativity. The authors point
out that student self-regulation, a problem-solving orientation, and their own
perception of creativity affect each other.

Chapter 8: Building Long-term Meaning in Mathematical Thinking: Aha! and

Uh-huh!

This chapter focuses on how we humans make sense of mathematics in the

long term, which involves not only grasping the positive side that gives us
insight into understanding and creating more sophisticated mathematical
ideas, but also understanding the negative side that impedes our progress.
The chapter seeks to promote the positive development of mathematical
thinking, but this cannot be done while ignoring the negative aspects that arise
from personal difficulties with mathematics and emotions such as fear and
anxiety. The chapter begins with a study of the structure and operation of the
human brain sufficient to understand the relationship between mathemati-
cal thinking and personal aspects of emotional reactions and attitudes toward
mathematics. Then we consider the cultural development of mathematical
thinking to gain insight into how communities can hold very different views of
the nature of mathematics. The author emphasizes that the connection of pre-
viously unlinked frameworks in mathematics operates not only in the creation
of original ideas but also in the teaching and learning of mathematics, where
learners are faced with the need to make new connections in their own minds.
This involves not only the linking of different mathematical ideas, but also
ƞƽƞƹƨƣƺƤƞƿƿƫƿǀƢƣƾƞƹƢƣƸƺƿƫƺƹƾƻƣƽƾƺƹƞƶƿƺƣƞơƩƫƹƢƫǁƫƢǀƞƶᄙ ƹƿƩƣƤƫƹƞƶƾƣơ-
tions, the author presents his own Aha! moments of insight in the domain of
mathematics education: the personal Aha!s that have offered him insight into
ƿƩƣƢƣǁƣƶƺƻƸƣƹƿƺƤƸƞƿƩƣƸƞƿƫơƞƶƿƩƫƹƴƫƹƨᅭƾǀơƩƞƾơƺƹơƣƻƿƫƸƞƨƣᄬƞƶƶѵ
ƫƹƹƣƽᄕᇳᇻᇺᇳᄭᄕƿƩƣƹƺƿƫƺƹƺƤᅸƶƺơƞƶƾƿƽƞƫƨƩƿƹƣƾƾᅺƿƺƨƫǁƣƣƸƟƺƢƫƣƢƸƣƞƹƫƹƨƿƺ
ƿƩƣƢƣƽƫǁƞƿƫǁƣᄬƞƶƶᄕᇳᇻᇺᇷᄭᄕƸƞƿƩƣƸƞƿƫơƞƶƾDŽƸƟƺƶƾƫƹƿƣƽƻƽƣƿƣƢƤƶƣǃƫƟƶDŽƞƾƻƽƺ-
ơƣƾƾƞƹƢơƺƹơƣƻƿᄬƻƽƺơƣƻƿᄭᄬ ƽƞDŽѵƞƶƶᄕᇳᇻᇻᇶᄭᄕƿƩƽƣƣǂƺƽƶƢƾƺƤƸƞƿƩƣƸƞƿƫơƾ
ᄬƞƶƶᄕ ᇴᇲᇲᇶᄭᄕ ƾƿƽǀơƿǀƽƣ ƿƩƣƺƽƣƸƾ ƿƺ ƨƫǁƣ ƣƸƟƺƢƫƣƢ ƞƹƢ ƾDŽƸƟƺƶƫơ Ƹƣƞƹƫƹƨ ƿƺ
ƤƺƽƸƞƶƾƿƽǀơƿǀƽƣƾᄬƞƶƶᄕᇴᇲᇳᇵᄭᄕƞƹƢƸƞƴƫƹƨƾƣƹƾƣƺƤƸƞƿƩƣƸƞƿƫơƞƶƣǃƻƽƣƾƾƫƺƹƾ
ƿƩƽƺǀƨƩƾƻƺƴƣƹƞƽƿƫơǀƶƞƿƫƺƹᄬƞƶƶƣƿƞƶᄙᄕᇴᇲᇳᇹᄭᄙ
Ƹƻƺƽƿƞƹƿ ƾǀƨƨƣƾƿƫƺƹƾ Ƥƺƽ Ʃƞᄛ ƻƣƢƞƨƺƨDŽ ƢƣƽƫǁƣƢ ƤƽƺƸ ƿƩƣ ơƩƞƻƿƣƽᅷƾ ơƺƹ-
tent are as follows: Approaches that extensively incorporate facilitation of Aha!
ѿ‫ءآ؜اؖبؗآإاء‬ ሥራ

moments cannot use Aha! moments to form the whole substance of lessons, as
one sees in Japanese Lesson Study. A specific Aha! moment needs to be a high-
light in the teaching and learning which focuses on an important idea that gives
substantial insight. For this to happen, the teacher must be aware of the math-
ematical meaning, placed in a longer-term plan, with appropriate preparation,
time for quiet contemplation, and dedicated effort for consolidation of the ideas.

Chapter 9: A Conative Perspective on Aha! Moments

ƩƞƻƿƣƽᇻƻƽƣƻƞƽƣƾƿƩƣƨƽƺǀƹƢƤƺƽƿƩƣƢƫƾơǀƾƾƫƺƹƾƺƤơƺƨƹƫƿƫƺƹƞƹƢƞƤƤƣơƿƫƹƿƩƣ
follow-up chapter by including conation—a concept less well-known in the
ƣƢǀơƞƿƫƺƹƻƽƺƤƣƾƾƫƺƹᄙ ƿƻƣƽƿƞƫƹƾƿƺƿƩƣƹƣƣƢƾᄕƻǀƽƻƺƾƣƾᄕƫƹƿƣƹƿƫƺƹƾᄕƺƽǂƫƶƶƺƤ
ƿƩƣƫƹƢƫǁƫƢǀƞƶᅭƿƩƞƿƫƾᄕƫƿƣƹơƺƸƻƞƾƾƣƾƿƩƣǂƩDŽƺƤƩǀƸƞƹƞơƿƫǁƫƿDŽᄬƤƺƽƣǃƞƸ-
ƻƶƣᄕƹƺǂƣƿƞƶᄙᄕᇳᇻᇻᇸᄭᄙ ƣƽƣǂƣƴƣƣƻƫƹƸƫƹƢƿƩƽƣƣƼǀƣƾƿƫƺƹƾᄘᄬᇳᄭƩƞƿƫƾƫƿƿƩƞƿ
drivesƞƹƫƹƢƫǁƫƢǀƞƶƿƺǂƞƽƢƿƩƣƸƺƸƣƹƿƺƤƩƞᄛᄞᄬᇴᄭWhy are such moments
ƞơơƺƸƻƞƹƫƣƢƟDŽƣƸƺƿƫƺƹƾƺƤƫƹƿƣƹƾƣƻƺƾƫƿƫǁƣǁƞƶƣƹơƣᄞᄬᇵᄭƩƞƿƸƫƨƩƿƞơƺƹƞ-
tive perspective suggest for rethinking prevailing approaches to mathematics
education and for the role of Aha! moments in teaching?
The discussion of conation is anchored in consideration of basic human needs.
ƿƾƩƺǂƾƩƺǂƿƩƽƺǀƨƩƿƩƣƞƹƞƶDŽƾƫƾƺƤƿƣƽƸƾƢƣƾơƽƫƟƫƹƨƾƿǀƢƣƹƿƞƤƤƣơƿǂƣơƞƹơƺƹ-
clude about the personal needs or desires that drive student engagement, espe-
cially in-the-moment engagement. The chapter provides a model for describing
student mathematical engagement; it points to further development of the bond-
ƫƹƨƞƾƻƣơƿᄬƣƣƶƶƫƾѵ ƺƶƢƫƹᄕᇴᇲᇲᇸᄭᄕǂƩƫơƩǂƞƾƞƿƿƽƫƟǀƿƣƢƺƽƫƨƫƹƞƶƶDŽƿƺƿƩƣƫƹƿƣƽ-
action between positive outcome emotions and mathematical cognition.
Here, outcome emotions of the Aha! moment, serving an essential repre-
ƾƣƹƿƞƿƫƺƹƞƶƤǀƹơƿƫƺƹᄕƞƽƣƫƹƾƺƸƣǂƞDŽƣƹơƺƢƫƹƨƿƩƣƤǀƶƤƫƶƶƸƣƹƿƺƤƿƩƣƻƣƽƾƺƹᅷƾ
ƤǀƹƢƞƸƣƹƿƞƶƹƣƣƢƾᄙ ƿƫƾƫƹƿƩƫƾơƺƹƞƿƫǁƣƢƫƸƣƹƾƫƺƹƿƩƞƿƟƺƹƢƫƹƨǂƫƿƩƸƞƿƩƣ-
matics occurs. From the point of view of Aha! pedagogy, mathematics educators
should be aware of the many ways in which mathematics can meet fundamen-
tal needs—from satisfying curiosity to gaining in power, from achieving recog-
nition to participating fully in a community. And, ideally, we should provide a
variety of contexts offering opportunities to fulfill such at-the-moment needs
through mathematics.

Chapter 10: Illuminating Aha! Moments through the Relationships between Cog-
nition, Affect, and Conation

The chapter focuses attention on two essential components of Aha! moments:

ơƺƨƹƫƿƫǁƣƫƹƾƫƨƩƿƞƹƢƞƤƤƣơƿƫǁƣƫƸƻƞơƿᄙ ƿƶƫƾƿƾƢƫƤƤƣƽƣƹƿƢƣƤƫƹƫƿƫƺƹƾƺƤƿƩƫƾƻƩƣ-
ƹƺƸƣƹƺƹᄕǂƩƫơƩƽƣƤƶƣơƿƿƩƣƫƸƻƺƽƿƞƹơƣƺƤƫƿƾƢƫƤƤƣƽƣƹƿƞƾƻƣơƿƾᄙ ƹƨƣƹƣƽƞƶᄕƿƩƣ
ሥሬ ѹ‫ؔ؛ؖآءإؔح‬

definitions reflect the cognitive bent of the insight; however, observations from
the classrooms suggest the need to incorporate affect into its very definition.
ƩƣơƩƞƻƿƣƽƾƿƞƽƿƾǂƫƿƩǂƩƞƿᅷƾơƞƶƶƣƢƞƻƞƽƞƢƫƨƸƞƿƫơƣǃƞƸƻƶƣƺƤƿƩƣƫƹƾƫƨƩƿ
ᄬƾƣƣƿƩƣƫƸƩƞᄛƸƺƸƣƹƿƫƹƩƞƻƿƣƽᇳᇹᄭǂƩƫơƩơƶƣƞƽƶDŽƾƩƺǂƾƿƩƣƫƹƿƣƽƞơƿƫƺƹ
between both cognitive and emotional components.
ƣơƿƫƺƹ ᇳᇲᄙᇴ ƺƹ ơƺƨƹƫƿƫƺƹ ƽƣǁƫƣǂƾ ƿƩƣ ơƺƨƹƫƿƫǁƣ ƞƾƻƣơƿƾ ƺƤ ƿƩƣ ƫƹƾƫƨƩƿᄕ
ƻƺƫƹƿƫƹƨ ƿƺ ƢƫƤƤƣƽƣƹƿ ƶƣǁƣƶƾ ƺƤ ơƺƨƹƫƿƫǁƣ ơƺƸƻƶƣǃƫƿDŽ ƻƽƣƾƣƹƿ ƫƹ ƾƿǀƢƣƹƿƾᅷ ƞƹƢ
ƽƣƾƣƞƽơƩƣƽƾᅷ Ƣƣƾơƽƫƻƿƫƺƹƾᄙ ƿ ƣƸƻƩƞƾƫDžƣƾ ƿƩƣ ƻƺƾƾƫƟƫƶƫƿDŽ ƺƤ ƨƣƹƣƽƞƶƫDžƞƿƫƺƹ ƺƤ
ƟƫƾƺơƫƞƿƫƺƹƿƺƸǀƶƿƫƾƺơƫƞƿƫƺƹƫƸƻƶƫơƫƿƫƹ ƫƹƾƿƣƫƹᅷƾƢƣƾơƽƫƻƿƫƺƹƺƤƿƩƣƿƩƺǀƨƩƿ
ƻƽƺơƣƾƾᄬ ƫƹƾƿƣƫƹᄕᇳᇻᇶᇻᄭᄙƩƣơƩƞƻƿƣƽƢƫƽƣơƿƾƺǀƽƞƿƿƣƹƿƫƺƹƿƺƿƩƣƤƞơƿƿƩƞƿƿƩƣ
act of connecting unconnected matrices of thought suggests that creativity of
Aha! moments is the process of building the schema of thinking: the network
of relationships between relevant concepts. The ability to create such con-
nected networks and to move along them means the ability to think.
ƣơƿƫƺƹᇳᇲᄙᇵƺƹƞƤƤƣơƿƞƹƢơƺƨƹƫƿƫƺƹƻƽƺǁƫƢƣƾƢƞƿƞƤƽƺƸƿƩƣƿƣƞơƩƫƹƨƣǃƻƣƽ-
iment showing the large scope and richness of the impact of cognitive work
ƫƹƻƽƺƟƶƣƸᅟƾƺƶǁƫƹƨƺƹƾƿǀƢƣƹƿƣƸƺƿƫƺƹƾᄬƫƶưƣƢƞƩƶᄕᇴᇲᇳᇵᄭᄙƾƿƩƣƢƞƿƞƽƣơƺƽƢƾ
ƾƿǀƢƣƹƿƾᅷƣƸƺƿƫƺƹƾƞƤƿƣƽƿƩƣƣǃƻƣƽƫƣƹơƣƺƤƿƩƣƫƽƫƹƾƫƨƩƿᄕƸƺƾƿƽƣƾƻƺƹƾƣƾƫƹƢƫ-
cate the presence of positive emotions, although the presence of negative
emotions is noted, primarily in the early stages before the insight takes place.
The description of student affect is followed by its descriptions by research
mathematicians. Here their affect is more of a transcendental nature in their
descriptions of aesthetic and philosophical reflections upon the nature of
insight.
The chapter coalesces in the third section on the relationship between affect
and emotion, pointing to the high possibility of development of mathematical
ƫƹƿƫƸƞơDŽƞƹƢƾƿǀƢƣƹƿƟƺƹƢƫƹƨǂƫƿƩƸƞƿƩƣƸƞƿƫơƾᄬƣƣƶƶƫƾѵ ƺƶƢƫƹᄕᇴᇲᇲᇸᄭᄙ

3 Theoretical Framework: Networking of Theories

The natural theoretical framework for the work in the volume is the recently
ƤƺƽƸǀƶƞƿƣƢ ᄬƞƹƢ ƾƿƫƶƶ ƫƹ statu nascendiᄭ ƹƣƿǂƺƽƴƫƹƨ ƿƩƣƺƽƫƣƾ ƞƻƻƽƺƞơƩᄙ
ƫƴƹƣƽᅟƩƾƟƞƩƾ ƣƿ ƞƶᄙ ᄬᇴᇲᇳᇲᄭᄖ ƞ ƾƻƣơƫƞƶ ƫƾƾǀƣ ƺƤ Ѡъѓ: The International Jour-
nal on Mathematics Education on networking strategies for connecting the-
ƺƽƣƿƫơƞƶ ƞƻƻƽƺƞơƩƣƾ ᄬƽƣƢƫƨƣƽ ƣƿ ƞƶᄙᄕ ᇴᇲᇲᇺᄖ ƞƢƤƺƽƢᄕ ᇴᇲᇲᇺᄭᄖ ƞƹƢ ƿƩƣ ƣƢƫƿƣƢ
volume Networking of Theories as a Research Practice in Mathematics Educa-
tion ᄬƫƴƹƣƽᅟƩƾƟƞƩƾ ѵ ƽƣƢƫƨƣƽᄕ ᇴᇲᇳᇶᄭ ƞƽƣ ƿƩƣ Ƹƞƫƹ ƢƺơǀƸƣƹƿƾ ƾƻƣơƫƤDŽƫƹƨ
the parameters of the approach, whose aim is to provide a conceptual space
ѿ‫ءآ؜اؖبؗآإاء‬ ሥር

within which different theories are able to interact with each other. Prediger
ƞƹƢƫƴƹƣƽᅟƩƾƟƞƩƾᄬᇴᇲᇳᇶᄭƫƹƤƺƽƸǀƾƿƩƞƿᅸƟDŽƹƣƿǂƺƽƴƫƹƨǂƣƸƣƞƹƽƣƾƣƞƽơƩ
practices that aim at creating the dialogue and establishing relationships
between parts of theoretical approaches while respecting identity of each
ƞƻƻƽƺƞơƩᅺᄬƻᄙᇳᇳᇺᄭᄙƩǀƾᄕǂƣƾƣƣƿƩƞƿƺǀƽǂƺƽƴƺƹƫƹƿƣƨƽƞƿƫƹƨƿƩƣƟƫƾƺơƫƞƿƫƺƹ
theory of Aha! moment creativity with the processes and theories of learning
can be welcomed with the theoretical framework formulated within the last
decade, which precisely addresses our need of the moment.
Conceptually, networking and coordinating or combining theories is close
to the process of connecting unconnected matrices of thought—the subject of
bisociation theory itself. Consequently, our interest in coordinating the theory
of bisociation with the theory of learning of Piaget is aimed at finding creativ-
ƫƿDŽƫƹƣǁƣƽDŽƶƣǁƣƶƺƤƾơƩƣƸƞƢƣǁƣƶƺƻƸƣƹƿƞƾƾƣƣƹƤƽƺƸƿƩƣƫƞƨƣƿᅬ ƞƽơƫƞƽƫƞƢᄙ
Our work here focused on two integration processes of a different nature:
ᇳᄙ ƹƿƣƨƽƞƿƫƺƹ ƺƤ ƿƩƣ ƿƩƣƺƽDŽ ƺƤ Ɵƫƾƺơƫƞƿƫƺƹ ǂƫƿƩ ơƶƞƾƾƽƺƺƸ ƞƹƢ ƽƣƾƣƞƽơƩ
practice
2. ƹƿƣƨƽƞƿƫƺƹ ƺƤ ƿƩƣ ƿƩƣƺƽDŽ ƺƤ Ɵƫƾƺơƫƞƿƫǁƣ ơƽƣƞƿƫǁƫƿDŽ ǂƫƿƩ ƿƩƣ ƿƩƣƺƽƫƣƾ ƺƤ
learning

Regarding the integration of a theory or research with classroom practice, a

standard Ҋ҈ practice consists in identifying elements of the relevant class-
room mathematical situation with the concepts of the theory and using them
in understanding and coordinating classroom events. Thus, we not only coor-
dinate the concepts of the theory within classroom discourse but also use the
newly established theoretical connections to guide our classroom actions.
ƩƣǂƺƽƴƺƤƽƞƟƩǀᄬᇴᇲᇳᇸᄭᄕǂƩƺƟƽƺǀƨƩƿƺƣƾƿƶƣƽᅷƾƿƩƣƺƽDŽƿƺƿƩƣơƶƞƾƾƽƺƺƸᄕ
ƨƫǁƣƾ ǀƾ ƞƹ ƣǃƞƸƻƶƣ ƺƤ ƿƩƣ ƻƽƺơƣƾƾ ƺƤ ơƺƺƽƢƫƹƞƿƫƺƹᄙ ƸƸƣƢƫƞƿƣƶDŽ ƞƤƿƣƽ ƾƩƣ
understood its central component of focusing attention on the gap between
two subdomains in classroom mathematics, she designed an exercise based
ƺƹƺƣƾƿƶƣƽᅷƾƿƽƫƻƿDŽơƩᄕƞƾƴƫƹƨƾƿǀƢƣƹƿƾƿƺƢƫƾơǀƾƾƿƩƣƽƣƶƞƿƫƺƹƾƩƫƻƞƸƺƹƨƿƩƽƣƣ
different concepts of her statistics class:

Trailblazer Outlier Originality

‫ ؘإبؚ؜ؙ‬ѿᄙᇴᏻƽƫƻƿDŽơƩᅟƟƞƾƣƢƾƿǀƢƣƹƿƞƾƾƫƨƹƸƣƹƿ

Such triptych assignments, whose design has been suggested by bisociation

ƿƩƣƺƽDŽᄕ Ƥƞơƫƶƫƿƞƿƣ ƞ ƾƿǀƢƣƹƿᅷƾ ƾƣƞƽơƩ Ƥƺƽ ơƺƹƹƣơƿƫƺƹƾ Ɵƣƿǂƣƣƹ ᄬƺƤƿƣƹ Ƥƺƽ ƾƿǀ-
ƢƣƹƿƾᄭƾƣƻƞƽƞƿƣơƺƹơƣƻƿǀƞƶƾǀƟƢƺƸƞƫƹƾƞƹƢƻƽƺƸƺƿƣƞǂƞƽƣƹƣƾƾƺƤƿƩƣơƺƹ-
nections between relevant concepts. This results in progress of understanding.
ሦሤ ѹ‫ؔ؛ؖآءإؔح‬

ƺǂƣǁƣƽᄕǂƩƞƿᅷƾƸƺƽƣƫƸƻƺƽƿƞƹƿƫƾƿƩƞƿƿƩƣƾƣƞƾƾƫƨƹƸƣƹƿƾƤƞơƫƶƫƿƞƿƣơƶƞƾƾ-
ƽƺƺƸ Ƣƫƾơǀƾƾƫƺƹᄕ ǂƩƫơƩ Ʃƣƶƻƾ Ɵƽƣƞƴ ƿƩƣ ᅸ  ơƞƹƹƺƿ Ƣƺᅺ ƾDŽƸƻƿƺƸ ƺƤ ƾƿǀƢƣƹƿƾ
ƞƹƢƿƽƞƹƾƤƺƽƸƫƿƫƹƿƺƞƽƣƞƶƺƽƫƨƫƹƞƶƫƿDŽᄬƽƞƟƩǀᄕᇴᇲᇳᇸᄕƻᄙᇳᇳᇺᄭᄙƣƾƣƣƩƣƽƣƩƺǂ
through the process of establishing the connections and incorporating them
into the design of classroom learning, the teacher-researcher develops a richer
schema of thinking about the classroom events by incorporating the concepts
of the theory already grounded in classroom experience into his or her concep-
ƿǀƞƶƤƽƞƸƣǂƺƽƴᄕƤƺƽƸƫƹƨƞƹƣǂơƺƸƻƺƹƣƹƿƺƤƿƩƫƹƴƫƹƨƿƣơƩƹƺƶƺƨDŽᄬƽƞƟƩǀᄕ
ᇴᇲᇳᇸᄭᄙ
We become theoretically and practically guided by the concept of bisocia-
tion, the Aha! moment. Here the central identification is in finding the bisocia-
ƿƫǁƣƤƽƞƸƣᄬƺƽƣǁƣƹƸǀƶƿƫƾƺơƫƞƿƫǁƣƤƽƞƸƣᄭǂƫƿƩƫƹƿƩƣƸƞƿƩƣƸƞƿƫơƞƶᄧơƺƨƹƫƿƫǁƣ
content of the insight as reported by a student or more generally by an individ-
ual who experienced it and analyzing the cognitive connections made through
the insight, together with hidden analogies that might have brought them.
ᄬƺƾƿƩƞᄛƸƺƸƣƹƿƾƫƹƩƞƻƿƣƽᇳᇹƩƞǁƣƟƣƣƹƞƹƞƶDŽDžƣƢƫƹƢƫƤƤƣƽƣƹƿơƩƞƻƿƣƽƾ
ƞơơƺƽƢƫƹƨƿƺƟƫƾƺơƫƞƿƫǁƣƤƽƞƸƣƾƞƹƢƩƫƢƢƣƹƞƹƞƶƺƨƫƣƾᄙᄭƩƣơƣƹƿƽƞƶƢDŽƹƞƸƫơ
effect of such an integration by a teacher-researcher is the development of a
ƿƣƞơƩƣƽᅷƾƽƣƾƣƞƽơƩƞƹƢƻƽƞơƿƫơƣƫƹƿǀƫƿƫƺƹƤƺƽƤƞơƫƶƫƿƞƿƫƺƹƞƹƢƺƞƾƾƣƾƾƸƣƹƿ
ƺƤƩƞᄛƸƺƸƣƹƿƾᄬƩƞƻƿƣƽᇶᄭᄙ
The integration between two different theories of learning is more complex
but could be seen as the generalization of the standard Ҋ҈ practice of integrat-
ing teaching practice with research presented above. We look at bisociation
as a theory of learning-through-creativity of Aha! moments where learning is
ƾƣƣƹƞƾƺƣƾƿƶƣƽᅷƾƻƽƺƨƽƣƾƾƺƤǀƹƢƣƽƾƿƞƹƢƫƹƨᄬƩƞƻƿƣƽᇳᄭᄙ ƹƿƣƨƽƞƿƫƹƨƿƩƣƺƽƫƣƾ
of learning, each of them with a different conceptual vocabulary and differ-
ƣƹƿᄬƾƣƣƸƫƹƨƶDŽᄭơƶƞƾƾƽƺƺƸƣǁƣƹƿƾᄕƸƣƞƹƾƿƩƞƿǂƣƩƞǁƣƿƺơƺƹƢǀơƿƫƢƣƹƿƫƤƫơƞ-
tion not only of corresponding concepts but also of components of classroom
events which they refer to.
Ʃƫƾ ƻƽƺơƣƾƾ ƫƾ ƾƫƸƫƶƞƽ ƿƺ ƿƩƣ ǂƺƽƴ ƺƤ ƞƶǁƣƽƾơƩƣƫƢ ᄬᇴᇲᇲᇺᄭᄕ ǂƩƺƾƣ ƨƺƞƶᄕ
ƞơơƺƽƢƫƹƨ ƿƺ ƞƢƤƺƽƢ ᄬᇴᇲᇲᇺᄭᄕ ƫƾ ᅸƿƺ ƾƿǀƢDŽ ƞ ƻƞƽƿƫơǀƶƞƽ ƣƢǀơƞƿƫƺƹ ƻƽƺƟƶƣƸ ᄚ
through the use of elements from two different theories.” Halverscheid was
studying a modeling theory and a cognitive theory. We are studying Aha!
moments through the theory of bisociative creativity and the theory of the
ƫƞƨƣƿᅬ ƞƽơƫƞƽƫƞƢ ǂƫƿƩ ƿƩƣ ƨƺƞƶ ƺƤ ƾƩƺǂƫƹƨ ƿƩƣƫƽ ƻƞƽƞƶƶƣƶ ƾƿƞƹơƣƾ ǁƫƾᅟdžᅟǁƫƾ
concept development during the creative insight.
The process of integrating different theories of learning became the sub-
ưƣơƿƺƤƫƹƿƣƹƾƣƿƩƣƺƽƣƿƫơƞƶƫƹǁƣƾƿƫƨƞƿƫƺƹƾǂƫƿƩƫƹƿƩƣƶƞƾƿƢƣơƞƢƣᄬƽƣƢƫƨƣƽƣƿƞƶᄙᄕ
ᇴᇲᇲᇺᄖƽƣƢƫƨƣƽѵƫƴƹƣƽᅟƩƾƟƞƩƾᄕᇴᇲᇳᇶᄭᄙƫƴƹƣƽᅟƩƾƟƞƩƾƣƿƞƶᄙᄬᇴᇲᇳᇲᄭᄕƽƣƻƺƽƿ-
ing from the Research Forum on Networking of Theories in Mathematics
ѿ‫ءآ؜اؖبؗآإاء‬ ሦሥ

ƢǀơƞƿƫƺƹƞƿƿƩƣᇵᇶƿƩƺƹƤƣƽƣƹơƣƺƤƿƩƣ ƹƿƣƽƹƞƿƫƺƹƞƶ ƽƺǀƻƤƺƽƿƩƣƾDŽơƩƺƶ-

ƺƨDŽƺƤƞƿƩƣƸƞƿƫơƾ ƢǀơƞƿƫƺƹᄕƫƹƤƺƽƸǀƾƿƩƞƿᅸᄴƿᄵƩƣƹƣƿǂƺƽƴƫƹƨƺƤƿƩƣƺƽƫƣƾƫƾ
regarded as a systematic way to connect theories and to reflect about network-
ing processes and its outcomes leading to a dialogue of theories.” Radford, in
ƩƫƾơƺƸƸƣƹƿƾƺƹƿƩƣᇴᇲᇲᇺƾƻƣơƫƞƶƫƾƾǀƣƺƤѠъѓ on networking strategies for
ơƺƹƹƣơƿƫƹƨƿƩƣƺƽƣƿƫơƞƶƞƻƻƽƺƞơƩƣƾᄬƽƣƢƫƨƣƽƣƿƞƶᄙᄕᇴᇲᇲᇺᄭᄕƣǃƻƞƹƢƾƺƹƿƩƣƾǀƟ-
ject of the dialogue, agreeing, of course, with the assessment of its complexity
ƞƹƢƾǀƨƨƣƾƿƫƹƨƿƩƞƿᅸᄴƫᄵƹƺƽƢƣƽƿƺǀƹƢƣƽƾƿƞƹƢǂƩƞƿƫƾƾƞƫƢƫƹƿƩƣƶƞƹƨǀƞƨƣL of
ƞƿƩƣƺƽDŽ஥ᄕƞƿƩƣƺƽDŽ஥’ƩƞƾƿƺƿƽƞƹƾƶƞƿƣƫƿᄬƞƿƶƣƞƾƿƫƹƿƩƣƟƣƨƫƹƹƫƹƨᄭƫƹƿƺƫƿƾƺǂƹ
language L’ᅺᄬƞƢƤƺƽƢᄕᇴᇲᇲᇺᄕƻᄙᇵᇳᇺᄭᄙƣƞƨƽƣƣᄙƩƫƾƫƾƻƽƣơƫƾƣƶDŽǂƩƞƿᅷƾƩƞƻƻƣƹ-
ing in several chapters of the book, which ultimately is devoted to illuminat-
ing the phenomenon of the Aha! moment from several different theories and
points of view.
That is possible only if we can identify the presence of bisociation within
the theory or, more precisely, the presence of the bisociative frame. A biso-
ơƫƞƿƫǁƣƤƽƞƸƣᄬƩƞƻƿƣƽᇳᄭƫƾƞƻƞƫƽƺƤƢƫƾơƺƹƹƣơƿƣƢƻƶƞƹƣƾƺƤƽƣƤƣƽƣƹơƣǂƫƿƩƫƹ
which the connecting Aha! moment insight creating a novel conception takes
or may take place. Thus, the process of translation between one theory and the
other does not have to be global but may refer to certain relevant concepts of
ƿǂƺƿƩƣƺƽƫƣƾᄙ ƺƽƣǃƞƸƻƶƣᄕǂƫƿƩƫƹƿƩƣƢƫƾơǀƾƾƫƺƹƫƹƩƞƻƿƣƽᇳᇵᄕƿƩƣƫƾƾǀƣǂƞƾ
how to identify a bisociative frame within the student/researcher discourse
and how to position it within the shift of attention, the central concept of
ƞƾƺƹᅷƾƿƩƣƺƽDŽƺƤƞƿƿƣƹƿƫƺƹᄙ ƹƿƩƣơƺƹƿƣǃƿƺƤƿƩƣƢƫƾơǀƾƾƫƺƹƫƹƩƞƻƿƣƽᇳᇴᄕƿƩƣ
issue was how to identify, or maybe to recognize, a bisociative frame within
participatory and anticipatory stages of learning.
Thus, within each theoretical chapter there is a process of translating sen-
tences and concepts between bisociation and host theory to find a fit between
them, or more precisely to see how bisociation impacts the host theory and
how the integration with the host theory can modify bisociation itself. One of
the studies in Chapter 7 had to undertake a quite intensive process of trans-
ƶƞƿƫƹƨƿƩƣƣƶƣƸƣƹƿƾƺƤƺƣƾƿƶƣƽᅷƾƟƫƾƺơƫƞƿƫƺƹƞƹƢƺƢƣƹᅷƾᄬᇴᇲᇲᇶᄭǁƫƣǂƺƹơƽƣ-
ativity to be able to understand espoused creativity of classroom students
participating in a project-based learning course.
ƽƣƢƫƨƣƽƞƹƢƫƴƹƣƽᅟƩƾƟƞƩƾᄬᇴᇲᇳᇶᄭƺƤƤƣƽƞƶƞƹƢƾơƞƻƣƺƤƾƿƽƞƿƣƨƫƣƾƤƺƽơƺƹ-
necting theoretical approaches, which are ordered with respect to the degree of
integration for the theory in question: understanding and making understand-
able, comparing and contrasting, combining and coordinating and integrating
ƶƺơƞƶƶDŽᄕ ƞƹƢ ƾDŽƹƿƩƣƾƫDžƫƹƨᄙƩƣ ƻƽƺơƣƾƾƣƾ ƺƤ ƫƹƿƣƨƽƞƿƫƺƹ ƫƹ Ʃƞƻƿƣƽƾ ᇳᇴ ƞƹƢ ᇳᇵ
ƻƽƣƾƣƹƿƣǃƞƸƻƶƣƾƺƤƶƺơƞƶƫƹƿƣƨƽƞƿƫƺƹᄕǂƩƫƶƣƩƞƻƿƣƽᇳᇳƻƽƣƾƣƹƿƾƣƶƣƸƣƹƿƾƺƤ
ƿƩƣƾDŽƹƿƩƣƾƫƾƺƤƟƫƾƺơƫƞƿƫƺƹƿƩƣƺƽDŽǂƫƿƩƿƩƣƿƩƣƺƽDŽƺƤƿƩƣƫƞƨƣƿᅬ ƞƽơƫƞƽƫƞƢᄙ
ሦሦ ѹ‫ؔ؛ؖآءإؔح‬

ƩƞƻƿƣƽᇳᇳƫƾƸƺƽƣƞƸƟƫƿƫƺǀƾƤƽƺƸƿƩƣƻƺƫƹƿƺƤǁƫƣǂƺƤơƺƹƹƣơƿƫƹƨƿǂƺƿƩƣ-
ƺƽƫƣƾᄕƺƣƾƿƶƣƽᅷƾƟƫƾƺơƫƞƿƫƺƹƿƩƣƺƽDŽƞƹƢƫƞƨƣƿᅟƟƞƾƣƢƶƣƞƽƹƫƹƨƿƩƣƺƽƫƣƾᄙƩƣƞƫƸ
of the chapter is to support the premise that creativity enters into every level of
ơƺƹơƣƻƿǀƞƶƢƣǁƣƶƺƻƸƣƹƿǂƫƿƩƫƹƿƩƣƫƞƨƣƿᅬ ƞƽơƫƞƽƫƞƢᄕƾƻƣơƫƤƫơƞƶƶDŽƫƹƿƩƣƫƹƫƿƫƞƶ
level of interiorization by situating this process within the bisociative frame. By
ƤƺơǀƾƫƹƨƺƹƿƩƽƣƣơƽƫƿƣƽƫƞƿƩƽƺǀƨƩƿƩƣƿƽƫƞƢᄬƾƣƞƽơƩᄕƾƿƽǀơƿǀƽƞƶơƺƹƹƣơƿƫƺƹᄕƞƹƢ
ƹƺǁƣƶƻƽƺơƣƾƾᄭᄕǂƣƞƽƨǀƣƿƩƞƿƟƫƾƺơƫƞƿƫƺƹƣƹƿƣƽƾƣǁƣƽDŽƶƣǁƣƶƺƤƶƣƞƽƹƫƹƨƞƾƾƣƣƹ
through the lenses of the Piaget triad theory, in other words, that the creativity
of the Aha! moment is present in every act of concept development. That would
mean that creativity of an Aha! moment is irreducibly connected with learning.
Ʃƣ ƫƹƿƣƽᅟƿƩƣƺƽDŽ ƿƽƞƹƾƶƞƿƫƺƹ ƻƽƺơƣƾƾ ƢƣƾơƽƫƟƣƢ ƟDŽ ƞƢƤƺƽƢ ᄬᇴᇲᇲᇺᄭ ƿƞƴƣƾ ƞ
more extensive nature. Of course, the translation between the terms of both
theories takes place primarily for these concepts which are essential for the
introduction of creativity into learning processes:

‫ؘ؟ؕؔا‬ѿᄙᇳᏻᏺƽƞƹƾƶƞƿƫƺƹƺƤƿƣƽƸƾƟƣƿǂƣƣƹƟƫƾƺơƫƞƿƫƺƹƿƩƣƺƽDŽƞƹƢƫƞƨƣƿƫƞƹƿƩƣƺƽƫƣƾ

Bisociation theory Piagetian theories

Matrix with its codes Action schema

Searching process for hidden analogies Problem-solving environment
Progress in understanding Accommodation
Exercise of understanding Assimilation
Codes ƹǁƞƽƫƞƹƿƽƣƶƞƿƫƺƹƾƩƫƻƾ

ƿƾƞƫƸƫƾƹƺƿƺƹƶDŽƿƺơƺƺƽƢƫƹƞƿƣƸƣƞƹƫƹƨƫƹƢƫƤƤƣƽƣƹƿƿƩƣƺƽƫƣƾƟǀƿƞƶƾƺƿƺ
compare and identify the operation of their dynamic principles, that is, of
bisociation and of reflective abstraction. The coordination process presented
ƫƹ Ʃƞƻƿƣƽ ᇳᇳᄕ ǂƩƫơƩ ǀƾƣƾ ƹƣƿǂƺƽƴƫƹƨ ƾƿƽƞƿƣƨƫƣƾ ƺƤ ơƺƸƻƞƽƫƹƨᄧơƺƹƿƽƞƾƿƫƹƨ
ƶƣƞƢƫƹƨƿƺƶƺơƞƶƫƹƿƣƨƽƞƿƫƺƹᄬƫƴƹƣƽᅟƩƾƟƞƩƾƣƿƞƶᄙᄕᇴᇲᇳᇲᄭᄕƩƞƾƟƣƣƹƫƹƫƿƫƞƿƣƢƫƹ
ƞƴƣƽᄬᇴᇲᇳᇸᄭᄕǂƩƣƽƣƿƩƣƟƫƾƺơƫƞƿƫǁƣƤƽƞƸƣƩƞƾƟƣƣƹƫƢƣƹƿƫƤƫƣƢǂƫƿƩƫƹƿƩƣƻƽƺ-
ưƣơƿƫƺƹƾƿƞƨƣᄬƫƞƨƣƿѵ ƞƽơƫƞᄕᇳᇻᇺᇻᄭᄙ
We need to note the central role of the bisociative frame in the process of
introducing the theory of bisociation into elementary levels of learning. The
concept of a bisociative frame has been generalized during this process to
include not only two unconnected planes of reference but also the situation
when one of the planes of the bisociative frame emerges from the other, as often
ƿƞƴƣƾƻƶƞơƣƢǀƽƫƹƨƿƩƣƻƽƺơƣƾƾƺƤƞƟƾƿƽƞơƿƫƺƹᄬƩƞƻƿƣƽƾᇳᇳƞƹƢᇳᇵᄭᄙƩƣƢƫƾơǀƾ-
sion above introduces the concept of inverse bisociation, which describes that
ѿ‫ءآ؜اؖبؗآإاء‬ ሦሧ

process of emergence, from indistinguishable connection to separation of the

two components, forming by this virtue the new relationship of abstraction.
Bisociative frames have been identified along the following interfaces:
ᅬ Between internalization and interiorization
ᅬ Between participation and anticipation
ᅬ Within the projection stage, as discussed earlier

More detailed descriptions of chapters are below in the theoretical part.

Part 3: Bisociation and Theories of Learning

Chapter 11: Bisociation, Creativity, and Interiorization

An underlying premise of this work is that creativity occurs within all levels
of development, that is, whenever there is conceptual reasoning that leads
to insight and the construction of a novel interior structure. To support this
ƻƽƣƸƫƾƣᄕǂƣƤƫƽƾƿƽƣǁƫƣǂƣƞƽƶƫƣƽǂƺƽƴƫƹǂƩƫơƩǂƣƫƹƿƣƨƽƞƿƣƢƺƣƾƿƶƣƽᅷƾƟƫƾƺơƫƞ-
ƿƫƺƹƸƣơƩƞƹƫƾƸƺƤơƽƣƞƿƫǁƫƿDŽǂƫƿƩƫƞƨƣƿᅷƾƸƣơƩƞƹƫƾƸƺƤƞơơƺƸƸƺƢƞƿƫƺƹƞƹƢ
ƽƣƤƶƣơƿƫǁƣƞƟƾƿƽƞơƿƫƺƹᄬƞƴƣƽᄕᇴᇲᇳᇸᄭᄙ
Ʃƫƾ ƫƹƿƣƨƽƞƿƣƢ ƤƽƞƸƣǂƺƽƴ ƫƾ ƞ Ɵƫƾƺơƫƞƿƫǁƣ ƤƽƞƸƣ ᄬƩƞƻƿƣƽ ᇳᄭ ƫƹǁƺƶǁƫƹƨ
existing and emerging matrices, and we use this bisociative frame to analyze
and classify student insight at all levels of development. Our classification of
student insight within this bisociative frame focuses on three characteristics,
ƟƞƾƣƢ ǀƻƺƹ ƺǀƽ ǀƹƢƣƽƾƿƞƹƢƫƹƨ ƺƤ ƺƣƾƿƶƣƽᅷƾ ǂƺƽƴᄘ Ƥƫƽƾƿᄕ ƿƩƣ ƾƣƞƽơƩ ƻƽƺơƣƾƾ
leading to the insight; second, the connection made during the insight; and
third, the novel reasoned activity that results from the insight.
ƫƞƨƣƿƞƹƢ ƞƽơƫƞᄬᇳᇻᇺᇻᄭƢƣǁƣƶƺƻƣƢƿƩƽƣƣƾƿƞƨƣƾƺƽƶƣǁƣƶƾƺƤƾƿƽǀơƿǀƽƞƶƢƣǁƣƶ-
opment which we use to provide an overview based upon the structural devel-
opment resulting from moments of insight. However, this requires interpreting
the most elementary or initial stage form of reflective abstraction interioriza-
tion within the bisociative frame. Examples of student insight in this book and
from the literature on creativity and construction of meaning within mathemat-
ics are then reviewed using these three criteria at different levels of the triad.

Chapter 12: Two Stage Changes in Anticipation: Cognitive Sources of Aha! Moments

This chapter is an illustrative essay in showing the process of networking, more

precisely, of integrating two theories: the theory of participation and antici-
pation with the theory of bisociation. The chapter provides an explicit search
within host theory for those components or transitions points which could
ሦረ ѹ‫ؔ؛ؖآءإؔح‬

support bisociative frame. The author identifies two types of reflection where
ƿƩƣƩƞᄛƸƺƸƣƹƿơƺǀƶƢƟƣƾƫƿǀƞƿƣƢƞƹƢƩƞƾƟƣƣƹƺƟƾƣƽǁƣƢᄙ ƿƫƾƿƩƣƽƣƤƶƣơƿƫƺƹ
within the activity/effect dyad, which takes place when the anticipated effect
is different from the actual one.
ƩƣƾƣơƺƹƢƿDŽƻƣƺƤƽƣƤƶƣơƿƫƺƹƫƾƿƩƣƽƣƤƶƣơƿƫƺƹƞơƽƺƾƾƾƣǁƣƽƞƶƾǀơƩƢDŽƞƢƾᄙ ƹ
Piagetian language, it is of a higher order than the previous one and leads to
ǂƩƞƿƫƞƨƣƿơƞƶƶƾƿƩƣƿƽƞƹƾƾƿƞƨƣᄙ ƹƞƢƢƫƿƫƺƹᄕƿƩƣƞǀƿƩƺƽƫƢƣƹƿƫƤƫƣƾƿǂƺƿƽƞƹƾƫ-
ƿƫƺƹƾǂƫƿƩƫƹƿƩƣ ᅚƣƤƞƻƻƽƺƞơƩᄕǂƩƫơƩơƽƣƞƿƣƿƩƣƾƫƿǀƞƿƫƺƹƤƞǁƺƽƞƟƶƣƤƺƽ
Aha! moments, altogether coming with six possible categories of Aha! moment
insights. Besides the formal analysis of the integration process, the essay shows
that the term “Aha! moment” has entered the mainstream of the participation/
anticipation matrix of thinking.

Chapter 13: Aha! Moments, Bisociation, and Multifocal Attention

ƩƞƻƿƣƽᇳᇵᄕƶƫƴƣƩƞƻƿƣƽᇳᇴᄕƾƣƞƽơƩƣƾƤƺƽƿƩƣƹƣƿǂƺƽƴƫƹƨƞƹƢƫƹƿƣƨƽƞƿƫƺƹƺƤƿǂƺ
ƿƩƣƺƽƫƣƾᄕƿƩƣƿƩƣƺƽDŽƺƤƞƿƿƣƹƿƫƺƹᄬƞƾƺƹᄕᇳᇻᇺᇻᄕᇴᇲᇲᇵƞᄕᇴᇲᇲᇵƟᄕᇴᇲᇲᇺᄭƞƹƢƿƩƣƿƩƣ-
ƺƽDŽƺƤƟƫƾƺơƫƞƿƫƺƹᄙƫƾƺơƫƞƿƫƺƹƫƸƻƶƫƣƾƿƩƣƾƫƸǀƶƿƞƹƣƫƿDŽᄬƺƽƤƞƾƿƺƾơƫƶƶƞƿƫƺƹᄭƺƤ
attention to two components of the bisociative frame while the Aha! moment
insight is taking place. Consequently, the first guiding question in the chapter is
whether the Mason theory of attention can accommodate simultaneous or, as
can happen, a fast-oscillating multifocal attention to two separate focal frames.
Such an accommodation was found within dynamics of five different types
ƺƤ ƞƿƿƣƹƢƫƹƨ ᄬƞƾƺƹᄕ ᇴᇲᇲᇵƞᄕ ᇴᇲᇲᇵƟᄭᄘ ƸƺƹƞƢƫơᄕ ƢDŽƞƢƫơᄕ ƿƽƫƞƢƫơᄕ ƿƣƿƽƞƢƫơᄕ ƞƹƢ
pentadic thinking, which describe stages of conceptual development within
ƿƩƣƿƩƣƺƽDŽƺƤƞƿƿƣƹƿƫƺƹᄙ ƣƽƣᄕƺƣƾƿƶƣƽᅷƾƢƣƤƫƹƫƿƫƺƹƺƤƟƫƾƺơƫƞƿƫƺƹƞƾƞƾƻƺƹƿƞ-
neous leap of insight which connects two or more unconnected frames of ref-
erence suggests that an Aha! moment comprises a sudden transition between
ƢDŽƞƢƫơᄬƢƫƾơƣƽƹƸƣƹƿƞƹƢơƺƸƻƞƽƫƾƺƹᄭƞƹƢƿƽƫƞƢƫơƿƩƫƹƴƫƹƨᄬƞƻƻƽƣơƫƞƿƫƹƨƽƣƶƞ-
ƿƫƺƹƾƩƫƻƾᄭᄕƺƽƟƣƿǂƣƣƹƿƽƫƞƢƫơƞƹƢƿƣƿƽƞƢƫơƿƩƫƹƴƫƹƨᄙ ƿƻƽƺǁƫƢƣƾƢDŽƹƞƸƫơƾƺƤ
change in the structure of attention.
The second area of the fit between the two theories is within the shift of
ƞƿƿƣƹƿƫƺƹƿƩƞƿƿƞƴƣƾƻƶƞơƣƫƹƿƩƣƞƟƾƿƽƞơƿƫƺƹƻƽƺơƣƾƾᄬƞƾƺƹᄕᇳᇻᇺᇻᄭᄙƩƣƤƫƹƢƫƹƨ
is supported by the analysis of two examples of abstraction found in the work
ƺƤƫƸƺƹƣƿƞƶᄙᄬᇴᇲᇳᇲᄕᇴᇲᇳᇶᄭᄕǂƩƫơƩƶƣƢƿƺƿƩƣƫƢƣƹƿƫƤƫơƞƿƫƺƹƺƤƿƩƣƫƹǁƣƽƾƣƟƫƾƺ-
ciation described earlier.

Part 4: Bisociativity from Without

“Without” here means outside of mathematics and mathematics teaching.

More precisely, this part presents two related views, one from a neuroscientific
ѿ‫ءآ؜اؖبؗآإاء‬ ሦሩ

orientation; the other, from the domain of artificial intelligence. Both pose
wider questions, such as the role of different parts of the brain as well as differ-
ent aspects of consciousness participating in an Aha! insight.
ƩƞƻƿƣƽᇳᇶƢƫƾơǀƾƾƣƾƿƩƣƻƺƾƾƫƟƫƶƫƿDŽƺƤƣǃƿƣƹƢƫƹƨƿƩƣ ƣƾƿƞƶƿƾƿƞƨƣƞƻƻƽƺƞơƩ
through preparation, incubation, illumination, and verification to creativity
by adding a new stage of intimation, between incubation and illumination,
whose source is fringe consciousness. The description of the laboratory trac-
ƫƹƨƺƤƿƩƣƩƞᄛƸƺƸƣƹƿƿƩƽƺǀƨƩƣDŽƣƸƺǁƣƸƣƹƿƞƹƢƣƶƣơƿƽƺơƞƽƢƫƺƨƽƞƸᄬѻѹѽᄭ
instruments reveals the possibility of a slight delay in external manifestation of
the moment in relation to its actual occurrence.
ƩƞƻƿƣƽᇳᇷᄕƺƹƿƩƣƺƿƩƣƽƩƞƹƢᄕƻƽƣƾƣƹƿƾƿǂƺƾƿǀƢƫƣƾƺƤƟƫƾƺơƫƞƿƫǁƣƾƿƽǀơƿǀƽƣƾᄕ
which find their completion in the ѷѿƤƽƞƸƣǂƺƽƴᄙơơƺƽƢƫƹƨƿƺƺƢƣƹᄬᇴᇲᇲᇶᄭᄕ
the bisociative idea of connecting the unconnected as the central process par-
ticipating in progress of understanding correlates with the connectivism pro-
gram of ѷѿ with its neural networks.

Chapter 14: The Aha! Moment at the Nexus of Mind and Brain

We present a wide spectrum of neuroscientific considerations, theories, meth-

ods, and results from the study of creativity and insight as they pertain to the
Aha! moment. We frame these neuroscientific considerations within an ongo-
ƫƹƨƢƣƟƞƿƣƫƹƿƩƣƻƩƫƶƺƾƺƻƩDŽƺƤƾơƫƣƹơƣƻƽƣơƫƻƫƿƞƿƣƢƟDŽƽƿƩǀƽƺƣƾƿƶƣƽƞƹƢ
ơƺƶƶƣƞƨǀƣƾƟƣƿǂƣƣƹƻƽƣƢƺƸƫƹƞƹƿƶDŽƸƫƹƢᅟƟƞƾƣƢƻƾDŽơƩƺƾƺơƫƞƶᄬƞƹƿƫƽƣƢǀơƿƫƺƹ-
ƫƾƿᄭƞƹƢƟƽƞƫƹᅟƟƞƾƣƢƟƫƺᅟƹƣǀƽƺƶƺƨƫơƞƶᄬƽƣƢǀơƿƫƺƹƫƾƿᄭǁƫƣǂƾƺƤƩǀƸƞƹơƺƨƹƫƿƫƺƹᄙ
ƹ ƾƺ Ƣƺƫƹƨᄕ ǂƣ ǁƫƾƫƿ ƿƩƣ Ƥƺƶƶƺǂƫƹƨ Ƽǀƣƾƿƫƺƹƾ ƿƺ ƤǀƽƿƩƣƽ ƾƫƿǀƞƿƣ ƺƣƾƿƶƣƽᅷƾ
theory of bisociation and explore its potential usefulness in the classroom:
Are Aha! moments of insight and creativity more generally free creations of
the human mind? Or can such cognitive phenomena be fully accounted for
deterministically as an outcome of brain activity operating in accord with
natural laws? Perhaps there is a middle path to be found between these two
alternatives.

Chapter 15: Bisociative Structures

This chapter establishes the connection, or better, the relationship between

student creativity in our classrooms and the ѷѿ ƞƻƻƽƺƞơƩ ƿƺ ơƽƣƞƿƫǁƫƿDŽᄙ ƿ ƫƾ
composed of two studies, both of which find their completion in the bisocia-
tive creativity of the ѷѿƤƽƞƸƣǂƺƽƴƞƾƾƣƣƹƟDŽƺƢƣƹᄬᇴᇲᇲᇶᄭƞƹƢƿƩƣƟƫƾƺơƫƞƿƫǁƣ
ƴƹƺǂƶƣƢƨƣƢƫƾơƺǁƣƽDŽᄬѸҁѺᄭƺƤƣƽƿƩƺƶƢᄬᇴᇲᇳᇴᄭᄙ
The first study is interested in the investigation of the connections between
ƾƿǀƢƣƹƿƾᅷ ƺǂƹ ƞƾƾƣƾƾƸƣƹƿ ƺƤ ơƽƣƞƿƫǁƫƿDŽ ƞƹƢ ƿƩƣ ƞƾƾƣƾƾƸƣƹƿ ƺƤ ơƽƣƞƿƫǁƫƿDŽ ƟDŽ
ሦሪ ѹ‫ؔ؛ؖآءإؔح‬

observers of student project results. To do that, the author investigated the rela-
ƿƫƺƹƾƩƫƻƟƣƿǂƣƣƹƺƣƾƿƶƣƽᅷƾƞƹƢƺƢƣƹᅷƾƞƻƻƽƺƞơƩƣƾƞƹƢƣƾƿƞƟƶƫƾƩƣƢƿƩƣƶƺơƞƶ
translation between them. This coordination helps in establishing the explan-
atory framework for the differences in student understanding of espoused cre-
ativity in the context of the project-based learning course focused on coding
and cryptography described in Chapter 7, where the differences between stu-
dent-espoused and student-enacted creativity are discussed.
The second study compares the classification of Aha! moments obtained
in Chapter 4 with the types of structures obtained by ѸҁѺ and through com-
paring and contrasting strategies finds interesting similarities and differences
between the two. The author provides examples of connecting structures
found among the characteristic Aha! moments together with elements of the
ƫƹƾƫƨƩƿᅷƾƢƣƾơƽƫƻƿƫƺƹǂƩƣƽƣƿƩƣƾƣơƺƹƹƣơƿƫƺƹƾƞƽƣƾƿƞƿƣƢᄙ

Notes

ᇳ ƩƣƢƣƤƫƹƫƿƫƺƹǂƞƾƞƟƾƿƽƞơƿƣƢƤƽƺƸƿƩƣƤƺƶƶƺǂƫƹƨƤƽƞƨƸƣƹƿᄘ

There are two ways of escaping our more or less automatized routines of thinking and
behaving. The first, of course, is plunging into dreaming or dream-like states, when the
codes of rational thinking are suspended. The other way is also an escape—from bore-
dom, stagnation, intellectual predicaments, and emotional frustration—but an escape
ƫƹƿƩƣƺƻƻƺƾƫƿƣƢƫƽƣơƿƫƺƹᄖƫƿƫƾƾƫƨƹƞƶƶƣƢƟDŽƿƩƣƾƻƺƹƿƞƹƣƺǀƾƤƶƞƾƩᄴƶƣƞƻᄵƺƤƫƹƾƫƨƩƿ which
shows a familiar situation or event in a new light and elicits a new response to it. The biso-
ciative act connects previously unconnected matrices of experience; it makes us “under-
ƾƿƞƹƢǂƩƞƿƫƿƫƾƿƺƟƣƞǂƞƴƣᄕƿƺƟƣƶƫǁƫƹƨƺƹƾƣǁƣƽƞƶƻƶƞƹƣƾƞƿƺƹơƣᄙᅺᄬƺƣƾƿƶƣƽᄕᇳᇻᇸᇶᄕƻᄙᇶᇷᄭ

2 Big C creativity refers to creativity important and recognized in a society, while little C cre-
ativity is the personal creativity recognized as such. Later in the chapter we discuss the divi-
sion in more detail.
ᇵ ƽᄙƽǀƹƢƞƽƞƟƩǀƻƞƾƾƣƢƞǂƞDŽƻƽƣƸƞƿǀƽƣƶDŽƫƹƞƽơƩᇴᇲᇳᇵᄙ
ᇶ ƩƣᇴᇲᇳᇲƣƹƾǀƾơƺƹƤƫƽƸƾƿƩƞƿƸƺƽƣƿƩƞƹƞƼǀƞƽƿƣƽƺƤƞƸƫƶƶƫƺƹƻƣƺƻƶƣƫƹƿƩƣƺǀƿƩƽƺƹǃ
ƞƽƣƶƫǁƫƹƨƫƹƻƺǁƣƽƿDŽᄕƸƞƴƫƹƨƣƻᄙƺƾƣƣƽƽƞƹƺᅷƾᇳᇸƿƩơƺƹƨƽƣƾƾƫƺƹƞƶƢƫƾƿƽƫơƿƿƩƣƻƺƺƽƣƾƿƫƹƿƩƣ
ƹƞƿƫƺƹᄬƣƹƾǀƾǀƽƣƞǀᄕƣƻƿƣƸƟƣƽᇵᇲᄕᇴᇲᇳᇲᄭᄙ
ᇷ ƣǂƞƹƿƿƺƞơƴƹƺǂƶƣƢƨƣƿƩƣƤƺƶƶƺǂƫƹƨơƺƸƸƣƹƿƺƤƞƽƣǁƫƣǂƣƽᄘ

The book reads as if the real approach to creativity is the big C approach, the study of
moments where widely acclaimed original and useful ideas come up by bright individ-
ǀƞƶƾᄙᄚ ƫƽƾƿᄕƿƩƞƿơƽƣƞƿƫǁƫƿDŽƫƾǂƫƿƩƫƹƣƞơƩƫƹƢƫǁƫƢǀƞƶᄕƩƞƻƻƣƹƾƸƞƹDŽƿƫƸƣƾƢǀƽƫƹƨƿƩƣ
day, and is a subjective phenomenon, meaning that what is creative for one individual
may not be creative for another. These many moments of creativity may not be really
ơƺƹƾơƫƺǀƾƿƺƿƩƣƻƣƽƾƺƹƞƹƢƸƞDŽƹƺƿƟƣơƺƹƾƫƢƣƽƣƢƺƤǂƫƢƣƽǀƾƣƤǀƶƹƣƾƾƞƹƢǁƞƶǀƣᄙ ƿƫƾ
the heart of constructivist thinking and many have termed it little C. Besides little C there
has been another term, middle C, to convey the idea of conscious creative thoughts which
ѿ‫ءآ؜اؖبؗآإاء‬ ሦራ
are original and useful for the social context at hand, a solution to a problem which for
the student is original and useful to solve other problems but which already exists only
they do not know it.

ƹƿƣƞơƩƫƹƨƞƹƢƶƣƞƽƹƫƹƨƸƞƿƩƣƸƞƿƫơƾᄕǂƣƤƫƹƢǀƾƣƤǀƶƺƹƶDŽƿǂƺƺƤƿƩƣƿƣƽƸƾᄕƶƫƿƿƶƣƞƹƢ
ƟƫƨᄕǂƩƣƽƣƶƫƿƿƶƣơƫƹơƶǀƢƣƾƟƺƿƩƶƫƿƿƶƣƞƹƢƸƫƢƢƶƣơᅷƾᄙ

6 The term “Janusian” originates with Janus, the two-faced Roman god of beginnings and endings,
ᅸƿƩƣƞƹƫƸƫƾƿƫơƾƻƫƽƫƿƺƤƢƺƺƽǂƞDŽƾᄬjanuaeᄭƞƹƢƞƽơƩǂƞDŽƾᄬjaniᄭᅺᄬƩƿƿƻƾᄘᄧᄧǂǂǂᄙƟƽƫƿƞƹƹƫơƞᄙơƺƸᄧ
ƿƺƻƫơᄧƞƹǀƾᅟƺƸƞƹᅟƨƺƢᄭᄙ
7 ѹቀѿ҈ѽᇹᄬᇴᇲᇳᇲᄭƽƺƟƶƣƸᅟƾƺƶǁƫƹƨƫƹƣƸƣƢƫƞƶƽƫƿƩƸƣƿƫơᄘǀƸƻƾƿƞƽƿƿƺƣƤƺƽƸᄬᇣᇴᇺᄕᇲᇲᇲᄭǂƫƿƩ
V. Prabhu, W. Baker, O. Dias, Bronx ѹѹ, and Hostos ѹѹ, ѹҋ҄ҏ.

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ሦሬ ѹ‫ؔ؛ؖآءإؔح‬

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DžƞƽƹƺơƩƞᄕᄙᄕƞƴƣƽᄕᄙᄕƫƞƾᄕᄙᄕѵƽƞƟƩǀᄕᄙᄬ ƢƾᄙᄭᄙᄬᇴᇲᇳᇸᄭᄙThe creative enterprise of
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ƣƽƾƩƴƺǂƫƿDžᄕᄙᄕƞƟƞơƩᄕᄙᄕѵƽƣDŽƤǀƾᄕᄙᄬᇴᇲᇳᇹᄭᄙƽƣƞƿƫǁƣƽƣƞƾƺƹƫƹƨƞƹƢƾƩƫƤƿƾƺƤƴƹƺǂƶ-
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ѿ‫ءآ؜اؖبؗآإاء‬ ሦር
ƺǀƹƫƺƾᄕᄙᄕѵƣƣƸƞƹᄕᄙᄬᇴᇲᇳᇷᄭᄙThe eureka factor: Aha moments, creative insight, and
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ƫƶưƣƢƞƩƶᄕ ᄙ ᄬᇴᇲᇲᇶᄭᄙ The Aha! experience: Mathematical contexts, pedagogical experi-
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ƫƶưƣƢƞƩƶᄕᄙᄬᇴᇲᇳᇵᄭᄙ ƶƶǀƸƫƹƞƿƫƺƹᄘƹƞƤƤƣơƿƫǁƣƣǃƻƣƽƫƣƹơƣᄞZDM: The International Jour-
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For the Learning of Mathematics, 9ᄬᇴᄭᄕᇴᅬᇺᄙ
ƞƾƺƹᄕᄙᄬᇴᇲᇲᇵƞᄭᄙƹƿƩƣƾƿƽǀơƿǀƽƣƺƤƞƿƿƣƹƿƫƺƹƫƹƿƩƣƶƣƞƽƹƫƹƨƺƤƸƞƿƩƣƸƞƿƫơƾᄙThe
Australian Mathematics Teacher, 59ᄬᇶᄭᄕᇳᇹᅬᇴᇷᄙᄬƣƻƽƫƹƿƺƤƞƾƺƹᄕᇴᇲᇲᇵƟᄭ
ƞƾƺƹᄕᄙᄬᇴᇲᇲᇵƟᄭᄙƿƽǀơƿǀƽƣƺƤƞƿƿƣƹƿƫƺƹƫƹƿƩƣƶƣƞƽƹƫƹƨƺƤƸƞƿƩƣƸƞƿƫơƾᄙ ƹᄙƺǁƺƿ-
ƹLJᄬ ƢᄙᄭᄕProceedings of International Symposium Elementary Maths Teachingᄬƻƻᄙ
ᇻᅬᇳᇸᄭᄙƩƞƽƶƣƾƹƫǁƣƽƾƫƿDŽᄕ ƞơǀƶƿDŽƺƤ Ƣǀơƞƿƫƺƹᄙ
ƞƾƺƹᄕᄙᄬᇴᇲᇲᇺᄭᄙƣƫƹƨƸƞƿƩƣƸƞƿƫơƞƶǂƫƿƩƞƹƢƫƹƤƽƺƹƿƺƤƶƣƞƽƹƣƽƾᄘƿƿƣƹƿƫƺƹᄕƞǂƞƽƣ-
ness, and attitude as sources of differences between teacher educators, teachers
ƞƹƢƶƣƞƽƹƣƽƾᄙ ƹᄙƣƾǂƫơƴѵᄙƩƞƻƸƞƹᄬ ƢƾᄙᄭᄕInternational handbook of math-
ematics teacher education, Vol. 4: The mathematics teacher educator as a developing
professionalᄬᇴƹƢƣƢᄙᄕƻƻᄙᇵᇳᅬᇷᇷᄭᄙƣƹƾƣǀƟƶƫƾƩƣƽƾᄙ
ƫƾƾᄕᄙᄬᇳᇻᇻᇻᄭᄙƾƻƣơƿƾƺƤƿƩƣƹƞƿǀƽƣƞƹƢƾƿƞƿƣƺƤƽƣƾƣƞƽơƩƫƹƸƞƿƩƣƸƞƿƫơƾƣƢǀơƞƿƫƺƹᄙ
Educational Studies in Mathematics, 40ᄕᇳᅬᇴᇶᄙ
ƫƞƨƣƿᄕᄙᄕѵ ƞƽơƫƞᄕᄙᄬᇳᇻᇺᇻᄭᄙ Psychogenesis and the history of scienceᄬ ᄙ ƣƫƢƣƽᄕƽƞƹƾᄙᄭᄙ
Columbia University Press.
ƽƞƟƩǀᄕᄙ ᄬᇴᇲᇳᇸᄭᄙƩƣ ơƽƣƞƿƫǁƣ ƶƣƞƽƹƫƹƨ ƣƹǁƫƽƺƹƸƣƹƿᄙ ƹ ᄙ DžƞƽƹƺơƩƞᄕᄙ ƞƴƣƽᄕ ᄙ
ƫƞƾᄕѵᄙƽƞƟƩǀᄬ ƢƾᄙᄭᄕThe creative enterprise of mathematics teaching research:
Elements of methodology and practice—From teachers to teachers ᄬƻƻᄙ ᇳᇲᇹᅬᇳᇴᇸᄭᄙ
Sense Publishers.
ƽƞƟƩǀᄕᄙᄕ ѵ DžƞƽƹƺơƩƞᄕ ᄙ ᄬᇴᇲᇳᇶᄭᄙ ƣƸƺơƽƞƿƫDžƫƹƨ ƸƞƿƩƣƸƞƿƫơƞƶ ơƽƣƞƿƫǁƫƿDŽ ƿƩƽƺǀƨƩ
ƺƣƾƿƶƣƽᅷƾƟƫƾƺơƫƞƿƫƺƹƿƩƣƺƽDŽᄙ ƹᄙƫơƺƶᄕᄙƣƾƿƣƽƶƣᄕᄙƫƶưƣƢƞƩƶᄕѵᄙƶƶƞƹᄬ Ƣƾᄙᄭᄕ
Proceedings of the 38th Conference of the International Group for the Psychology of
Mathematics Education and the 36th Conference of the North American Chapter of the
Psychology of Mathematics Education, Vol. 5 ᄬƻƻᄙᇳᅬᇺᄭᄙ ᄙƩƿƿƻƾᄘᄧᄧǂǂǂᄙƻƸƣƹƞᄙƺƽƨᄧ
proceedings/
ƽƣƢƫƨƣƽᄕᄙᄕƽDžƞƽƣƶƶƺᄕ ᄙᄕƺƾơƩᄕᄙᄕѵƣƹƤƞƹƿᄕᄙᄬ ƢƾᄙᄭᄙᄬᇴᇲᇲᇺᄭᄙComparing, combining,
coordinating—Networking strategies for connecting theoretical approaches. Special
issue of ZDM: The International Journal on Mathematics Education, 40ᄬᇴᄭᄙ
ƽƣƢƫƨƣƽᄕᄙᄕѵƫƴƹƣƽᅟƩƾƟƞƩƾᄕᄙᄬᇴᇲᇳᇶᄭᄙ ƹƿƽƺƢǀơƿƫƺƹƿƺƹƣƿǂƺƽƴƫƹƨᄘƣƿǂƺƽƴƫƹƨƾƿƽƞƿ-
ƣƨƫƣƾƞƹƢƿƩƣƫƽƟƞơƴƨƽƺǀƹƢᄙ ƹᄙƫƴƹƣƽᅟƩƾƟƞƩƾѵᄙƽƣƢƫƨƣƽᄬ ƢƾᄙᄭᄕNetworking
of theories as a research practice in mathematics educationᄬƻƻᄙᇳᇳᇹᅬᇳᇴᇷᄭᄙƻƽƫƹƨƣƽᄙ
ƞƢƤƺƽƢᄕᄙᄬᇴᇲᇲᇺᄭᄙƺƹƹƣơƿƫƹƨƿƩƣƺƽƫƣƾƫƹƸƞƿƩƣƸƞƿƫơƾƣƢǀơƞƿƫƺƹᄘƩƞƶƶƣƹƨƣƾƞƹƢƻƺƾ-
sibilities. ZDM: The International Journal on Mathematics Education, 40ᄬᇴᄭᄕᇵᇳᇹᅬᇵᇴᇹᄙ
ሧሤ ѹ‫ؔ؛ؖآءإؔح‬

ƺƿƩƣƹƟƣƽƨᄕᄙᄬᇳᇻᇹᇻᄭᄙThe emerging goddess: The creative process in art, science, and

other fields. University of Chicago Press.
ƫƸƺƹᄕᄙᄙᄕƶƞơƞᄕᄙᄕѵǁƫƿDžǀƽᄕᄙᄬᇴᇲᇳᇶᄭᄙǂƺƾƿƞƨƣƾƺƤƸƞƿƩƣƸƞƿƫơƾơƺƹơƣƻƿƶƣƞƽƹ-
ƫƹƨᄘƢƢƫƿƫƺƹƞƶƞƻƻƶƫơƞƿƫƺƹƾƫƹƞƹƞƶDŽƾƫƾƺƤƾƿǀƢƣƹƿƶƣƞƽƹƫƹƨᄙ ƹᄙƫơƺƶᄕᄙƣƾƿƣƽƶƣᄕ
ᄙƫƶưƣƢƞƩƶᄕѵᄙƶƶƞƹᄬ ƢƾᄙᄭᄕProceedings of the 38th Conference of the International
Group for the Psychology of Mathematics Education and the 36th Conference of the
North American Chapter of the Psychology of Mathematics Education, Vol. 5 ᄬƻƻᄙᇴᇲᇳᅬ
ᇴᇲᇺᄭᄙ ᄙƩƿƿƻƾᄘᄧᄧǂǂǂᄙƻƸƣƹƞᄙƺƽƨᄧƻƽƺơƣƣƢƫƹƨƾᄧ
ƫƸƺƹᄕ ᄙᄕ ƞƶƢƞƹƩƞᄕ ᄙ ơƶƫƹƿƺơƴᄕ ᄙᄕ ƴƞƽᄕ ᄙ ᄙᄕ ƞƿƞƹƞƟƣᄕ ᄙᄕ ѵ ƣƸƟƶƞƿᄕ ᄙ ᄙ
ᄬᇴᇲᇳᇲᄭᄙƢƣǁƣƶƺƻƫƹƨƞƻƻƽƺƞơƩƿƺƾƿǀƢDŽƫƹƨƾƿǀƢƣƹƿƾᅷƶƣƞƽƹƫƹƨƿƩƽƺǀƨƩƿƩƣƫƽƸƞƿƩƣ-
matical activity. Cognition and Instruction, 28ᄬᇳᄭᄕᇹᇲᅬᇳᇳᇴᄙ
ƫƸƺƹᄕ ᄙ ᄙᄕDžǀƽᄕ ᄙᄕ ƣƫƹDžᄕ ᄙᄕ ѵ ƫƹDžƣƶᄕ ᄙ ᄬᇴᇲᇲᇶᄭᄙ ǃƻƶƫơƞƿƫƹƨ ƞ ƸƣơƩƞƹƫƾƸ Ƥƺƽ
conceptual learning: Elaborating the construct of reflective abstraction. Journal for
Research in Mathematics Education, 35ᄬᇷᄭᄕᇵᇲᇷᅬᇵᇴᇻᄙ
ƹƺǂᄕᄙ ᄙᄕƺƽƹƺᄕᄙᄕѵƞơƴƾƺƹᄕᄙᄕ ᄙᄬᇳᇻᇻᇸᄭᄙ ƹƢƫǁƫƢǀƞƶƢƫƤƤƣƽƣƹơƣƾƫƹƞƤƤƣơƿƫǁƣƞƹƢ
ơƺƹƞƿƫǁƣƤǀƹơƿƫƺƹƾᄙ ƹᄙᄙƣƽƶƫƹƣƽѵᄙᄙƞƶƤƣƣᄬ ƢƾᄙᄭᄕHandbook of educational
psychologyᄬƻƻᄙᇴᇶᇵᅬᇵᇳᇲᄭᄙƞơƸƫƶƶƞƹᄙ
ƽƫƽƞƸƞƹᄕᄙᄕƣƿƞƶᄙᄬᇴᇲᇳᇳᄭᄙƞƿƩƣƸƞƿƫơƞƶơƽƣƞƿƫǁƫƿDŽƞƹƢƸƞƿƩƣƸƞƿƫơƾƣƢǀơƞƿƫƺƹᄙ ƹᄙ
ƽƫƽƞƸƞƹѵᄙ ᄙƣƣᄬ ƢƾᄙᄭᄕThe elements of creativity and giftedness in mathematics
ᄬƻƻᄙᇳᇳᇻᅬᇳᇵᇲᄭᄙƣƹƾƣǀƟƶƫƾƩƣƽƾᄙ
ƞƶƶᄕᄙᄙᄬᇳᇻᇺᇷᄭᄙƹƢƣƽƾƿƞƹƢƫƹƨƿƩƣơƞƶơǀƶǀƾᄙMathematics Teaching, 10ᄕᇶᇻᅬᇷᇵᄙ
ƞƶƶᄕᄙᄙᄬᇴᇲᇲᇶᄭᄙ ƹƿƽƺƢǀơƫƹƨƿƩƽƣƣǂƺƽƶƢƾƺƤƸƞƿƩƣƸƞƿƫơƾᄙFor the Learning of Math-
ematics, 23ᄬᇵᄭᄙᇴᇻᅬᇵᇵᄙ
ƞƶƶᄕ ᄙ ᄙ ᄬᇴᇲᇳᇵᄭᄙ How humans learn to think mathematically. Cambridge University
Press.
ƞƶƶᄕᄙᄙᄕƞƶƶᄕᄙᄕѵƞƶƶᄕᄙᄬᇴᇲᇳᇹᄭᄙƽƺƟƶƣƸƻƺƾƫƹƨƫƹƿƩƣƶƺƹƨᅟƿƣƽƸơƺƹơƣƻƿǀƞƶƢƣǁƣƶ-
ƺƻƸƣƹƿƺƤƞƨƫƤƿƣƢơƩƫƶƢᄙ ƹᄙƿƣƫƹᄬ ƢᄙᄭᄕA life’s time for mathematics education
and problem solving: On the occasion of Andràs Ambrus’ 75th birthdayᄬƻƻᄙᇶᇶᇷᅬᇶᇷᇹᄭᄙ
WTM.
ƞƶƶᄕᄙᄙᄕѵƫƹƹƣƽᄕᄙᄬᇳᇻᇺᇳᄭᄙƺƹơƣƻƿƫƸƞƨƣƞƹƢơƺƹơƣƻƿƢƣƤƫƹƫƿƫƺƹƫƹƸƞƿƩƣƸƞƿƫơƾ
with particular reference to limits and continuity. Educational Studies in Mathemat-
ics, 12ᄕᇳᇷᇳᅬᇳᇸᇻᄙ
ƞƶƶƞƾᄕ ᄙᄬᇳᇻᇴᇸᄭᄙThe art of thought. Harcourt, Brace & Co.
 ѹѾѷ҆Ҋѻ҈ማ

Arthur Koestler’s Bisociation Theory

Bronislaw Czarnocha

1.1 Introduction

Creativity has always been a highly valued human trait, yet its source is still
ƶƞƽƨƣƶDŽơƶƺƞƴƣƢƫƹƿƩƣǀƹƴƹƺǂƹᄙ ƹƿƩƣƻƞƾƿᄕơƽƣƞƿƫǁƫƿDŽǂƞƾƞƿƿƽƫƟǀƿƣƢƿƺƿƩƣ
intervention of the gods. We are told that Archimedes sacrificed a hecatomb, a
hundred bulls, to the gods in gratitude for his discovery of the law of buoyancy.
ƩƞƻƿƣƽᇳᇹƫƹơƶǀƢƣƾƞƢƣƾơƽƫƻƿƫƺƹƺƤƿƩƣƸƞƾƾƫǁƣƩƞᄛƸƺƸƣƹƿƺƤƫƶƶǀƸƫƹƞƿƫƺƹ
by Appar, the 7th-century Tamil poet-philosopher. He attributed the sudden
access to creativity he experienced to the being who “disclosed on His own
accord His presence and essences” of the creativity secrets within the “Chaste
Tamil of illuminating verses and compose poems and lyrics with the same”
ᄬƩƞƻƿƣƽᇳᇹᄭᄙ
ƻƻƞƽᅷƾƽƣƤƣƽƣƹơƣƿƺƞbeing who discloses secrets of poetry points to the
unpredictable quality of creativity, over which we have no explicit control.
ƩƽƺǀƨƩƿƩƣDŽƣƞƽƾᄕƫƹƿƣƽƣƾƿƫƹơƽƣƞƿƫǁƫƿDŽƩƞƾƣǃƻƞƹƢƣƢᄙ ƹƞƢƢƫƿƫƺƹƿƺƾơƫƣƹƿƫƾƿƾ
and artists who experienced it directly, it attracted the interest of thinkers in
general, psychologists and, very slowly, teachers and researchers. How to facil-
itate creativity, whose occurrence is uncertain but whose benefits are critical
for pupils, has become one of the central motivations for contemporary inves-
tigations and the practice of creativity.
Our Ҋ҈ƣƞƸᅷƾƞƻƻƽƺƞơƩƩƞƾƟƣƣƹƫƹƤƶǀƣƹơƣƢƟDŽƽƿƩǀƽƺƣƾƿƶƣƽᅷƾƟƫƾƺơƫƞ-
ƿƫƺƹƿƩƣƺƽDŽƺƤơƽƣƞƿƫǁƫƿDŽᄙ ƹƩƫƾƟƺƺƴThe Act of Creationᄬᇳᇻᇸᇶᄭᄕ ƺƣƾƿƶƣƽƺƻƣƹƾ
his discussion with very broad strokes encompassing humor, science, and art
within three columns of the triptych shown below. He wanted to underscore
ƿƩƣƻƽƫƹơƫƻƶƣƿƩƞƿơƽƣƞƿƫǁƫƿDŽƫƹƣƞơƩƢƺƸƞƫƹƫƾƿƩƣƾƞƸƣƞƾƟƫƾƺơƫƞƿƫƺƹᄬƢƣƤƫƹƣƢ
ƟƣƶƺǂᄭᄕǂƩƫƶƣƿƩƣƶƞƹƨǀƞƨƣƺƤƣǃƻƽƣƾƾƫƺƹƞƹƢƣƸƺƿƫƺƹƞƶơƺƹƿƣƹƿơƩƞƹƨƣƾƞƾǂƣ
move from left to right side of the triptych.
ƹƺƣƾƿƶƣƽᅷƾǂƺƽƢƾᄘ

ƩƞǁƣơƺƫƹƣƢƿƩƣƿƣƽƸᅸƟƫƾƺơƫƞƿƫƺƹᅺƫƹƺƽƢƣƽƿƺƸƞƴƣƞƢƫƾƿƫƹơƿƫƺƹƟƣƿǂƣƣƹ
the routine skills of thinking on a “single” plane, as it were, and the cre-
ƞƿƫǁƣƞơƿᄕǂƩƫơƩᄕƞƾ ƾƩƞƶƶƿƽDŽƿƺƾƩƺǂᄕƞƶǂƞDŽƾƺƻƣƽƞƿƣƾƺƹƸƺƽƣƿƩƞƹƺƹƣ
ƻƶƞƹƣᄙᄬƻƻᄙᇵᇷᅬᇵᇸᄭ

ᇙ ‫ةء؟؟؜إؘؕ؞؝؜؟؞ء؜ءآ؞‬ᄕ‫ؘ҄ؗ؜ؘ؟‬ᄕሦሤሦሥᏺᄩᏺѺ҅ѿᄘሥሤᄙሥሥሪሧᄧርራሬርሤሤረረረሪረሧረᇇሤሤሦ
ሧሦ ѹ‫ؔ؛ؖآءإؔح‬

ƩƣƶƺƨƫơƞƶƻƞƿƿƣƽƹƺƤƿƩƣơƽƣƞƿƫǁƣƻƽƺơƣƾƾƫƾƿƩƣƾƞƸƣƫƹƞƶƶƿƩƽƣƣơƺƶǀƸƹƾᄙ ƿ
consists of the discovery of hidden similarities, but the emotional climate is
different in each panel. For example, in the triple comic comparison–objective
hidden analogy–poetic image, the comic simile has a touch of aggressiveness.
ƩƣƾơƫƣƹƿƫƾƿᅷƾƽƣƞƾƺƹƫƹƨƟDŽƞƹƞƶƺƨDŽƫƾƣƸƺƿƫƺƹƞƶƶDŽƢƣƿƞơƩƣƢᄬƫƾƹƣǀƿƽƞƶᄭᄖƿƩƣ
poetic image is sympathetic or admiring, inspired by a kind of positive emo-
ƿƫƺƹᄬƻᄙᇴᇹᄭᄙƿƿƩƣƾƞƸƣƿƫƸƣᄕƿƩƣƽƣƫƾƞơƺƸƸƺƹƿƩƽƣƞƢƺƤƸƣƞƹƫƹƨƿƩƞƿƻƞƾƾƣƾ
through all three qualities.
Bisociation is the spontaneous leap of insight that connects previously
unconnected frames of referenceሾ by “unearthing” hidden analogies.
ƺƣƾƿƶƣƽ ǀƾƣƾ ƾƣǁƣƽƞƶ ƢƫƤƤƣƽƣƹƿ ƿƣƽƸƾ ƫƹ ƞƢƢƫƿƫƺƹ ƿƺ ᅸƤƽƞƸƣƾ ƺƤ ƽƣƤƣƽƣƹơƣᅺᄘ
matrices of thought, different discourses, matrices of experience, or planes of
reference. All these terms convey a similar concept, perspective, or outlook.
Ʃƣƹ ƺƣƾƿƶƣƽ ᄬᇳᇻᇸᇶᄭ ƾƞDŽƾ ƿƩƞƿ ƢƫƾơƺǁƣƽDŽ ƿƩƽƺǀƨƩ ƿƩƣ ǀƹƣƞƽƿƩƫƹƨ ƺƤ ƞ ᅸƩƫƢ-
ƢƣƹƞƹƞƶƺƨDŽᅺᄬƻᄙᇵᇴᇲᄭƫƾᅸƹƣǀƿƽƞƶᄕᅺƩƣƸƣƞƹƾƿƩƞƿƫƿƫƾƞᅸƹƫơƣƶDŽƟƞƶƞƹơƣƢƞƹƢ
sublimated blend of motivations, where self-assertiveness is harnessed to the
task; and where on the other hand heady speculations about the Mysteries of
ƞƿǀƽƣƸǀƾƿƟƣƾǀƟƸƫƿƿƣƢƿƺƿƩƣƽƫƨƺǀƽƾƺƤƺƟưƣơƿƫǁƣǁƣƽƫƤƫơƞƿƫƺƹᅺᄬƻᄙᇺᇹᄭᄙ

‫ؘإبؚ؜ؙ‬ᇳᄙᇳᏻ
ƺƣƾƿƶƣƽƿƽƫƻƿDŽơƩᄬƤƽƺƸ
ƺƣƾƿƶƣƽᄕᇳᇻᇸᇶᄕƫƹƾƫƢƣơƺǁƣƽᄭ

As anyone who has experienced such a moment of insight knows, an Aha!

moment brings a thoroughly positive, hence hardly neutral emotion with its
ƣǃơƶƞƸƞƿƫƺƹƺƤᅸƩƞᄛᅺƺƣƾƿƶƣƽƢƫƾơƣƽƹƾƹƺƿƺƹƣƟǀƿƿǂƺƾƫƢƣƾƿƺƿƩƫƾƻƩƣƹƺƸᅟ
enon.
Discovering Diverse Content Through
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The Project Gutenberg eBook of Punch, or the
London Charivari, Vol. 108, March 30th 1895
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Title: Punch, or the London Charivari, Vol. 108, March 30th 1895

Author: Various

Editor: F. C. Burnand

Release date: July 19, 2013 [eBook #43253]

Most recently updated: October 23, 2024

Language: English

Credits: Produced by Punch, or the London Charivari, Malcolm

Farmer,
Ernest Schaal, and the Online Distributed Proofreading
Team at http://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK PUNCH, OR THE

LONDON CHARIVARI, VOL. 108, MARCH 30TH 1895 ***
 PUNCH,
OR THE LONDON CHARIVARI.
Vol. 108.
 March 30, 1895.

PUNCH, OR THE LONDON CHARIVARI.

VOL. 108.
March 30, 1895.

"ANIMAL SPIRITS."

No. IX.—Awkward position ofHippoliceman among the wild Bulls and Bears in
Throgmorton Street.
(Vide Papers, March 22.)
 AN ELECTION ADDRESS.
[Mr. Rider Haggard has become the accepted Conservative
candidate for a Norfolk constituency. The following is understood to
be an advance copy of his Address.]

Intelligent electors, may I venture to present

Myself as an aspirant for a seat in Parliament?
The views of those opponents who despise a novelist,
Are but the foggy arguments of People of the Mist!

No writer, I assure you, can produce a better claim,

A greater versatility, a more substantial fame;
My candidature, though opposed by all the yellow gang,
Has won the hearty sympathy of Mr. Andrew Lang.

And if what my opinions are you'd really like to know,

They're issued at a modest price by Longmans, Green, & Co.;
The Eight Hours Bill, for instance, I'm prepared to speak upon
From a practical acquaintance with the Mines of Solomon.

Whatever my intentions as to Woman's Rights may be,

I yield to none in honouring the great immortal She;
While, as to foreign policy, though Blue Books make you yawn,
You'll find the subject treated most attractively in Dawn.

When I am placed in Parliament, I'll speak with fluent skill,

And show (like Mr. Meeson) I've a most effective will;
And if there is a special point for which I mean to fight,
It is for legislation to protect my copyright.

If chance debate to matters in South Africa should tend,

My anecdotes will cause the Speaker's wig to stand on end;
And if an opportunity occurs, I'll rouse the lot
By perorating finely in impassioned Hottentot!
So, Gentlemen, I beg you, let my arguments prevail,
Shame would it be if such a cause through apathy should fail,
Shame on the false elector who his honest duty shirks!

Believe me, Yours.

The Author of She, Dawn, and other works.

Suggested Revival of an Old Form of Punishment for Future Obstrutionist

Speculators in Throgmortonian Kaffir Land.—"Put 'em in the Stocks."
 "WHEN ARTHUR FIRST AT COURT."
Last week the Court Theatre was advertised as a "Company,
Limited." The cast in the bill was given as Chairman, Arthur W. Pinero;
First Director, Sir Arthur Sullivan (with a song?); Second Director,
Herbert Bennett (Director also of Harrod's Stores, Limited, the success of
which establishment has been so great as to now out-Harrod Harrod);
and then Arthur Chudleigh (who was jointly lessee at one time with Mrs.
John Wood), as Director and Acting Manager. The Solicitor is down as
Arthur B. Chubb ("little fish are sweet"), and the Secretary is Mr. A.
(presumably Arthur?) S. Dunn. Most appropriate this name to finish
with; "and now my story's Dunn." Fortunate omen, too, that there are
two "n's" in Dunn, which otherwise is a word associated with a Court not
quite so cheerful as the Court Theatre.

But the curious note about it is the preponderance of "Arthurs."

Arthur Pinero, Arthur Sullivan, Arthur Chudleigh, Arthur Chubb, and Arthur
(?) Dunn. If they have power to add to their number, why not take in
Arthur Jones, Arthur Lloyd, and Arthur Roberts? That would make the
Dramatic Arthurs and the Musical Arthurs about equal.

Matilda Charlotte Wood is mentioned as having had an agreement

with one of the Arthurs yclept Chudleigh, and probably also a
disagreement too, as their once highly prosperous joint management
came to an end. But now "she will return," at least, everyone hopes so,
as, after her capital performance of the Sporting Duchess at Drury
Lane, she has shown us that she is as fresh and as great an attraction
as ever. Some of the Arthurs will write for her, one Arthur will compose
for her, two Arthurs will act and sing with her, and Arthur, the managing
director, will direct and manage her. May every success attend the
venture! But how about authors and composers offering their work to
so professional a board of directors? Doesn't Sir Fretful Plagiary's
objection to sending his play in to the manager of Drury Lane, namely,
that "he writes himself." hold good nowadays? Hum. A difficulty, most
decidedly; still, not absolutely insuperable.
 Which Settles It.
Over-enthusiastic Person (speaking confidentially of his absent
Friend to the young Lady to whom absent friend is going to propose).
Everybody speaks in his praise. He is an exceptionally good man.

Sharp Young Lady. Ah, then he is "too good to be true." I shall

refuse him!
[Exit separately.
 "MUSIC HATH CHARMS."

H.R.H. The Duke, accompanied by Drummer-boy Herbert Gladstone, leads the Sunday Park
Band.
 "The Duke of Cambridge takes the liveliest personal interest in the proposal made b
Mr. John Aird, and supported by Mr. Herbert Gladstone, First Commissioner of Works
that military bands should perform in the Royal Parks on suitable occasions during th
season."—Daily Telegraph, March 20.

QUITE A CATCH.

Young Splinter (driving Nervous Old Party to Covert). "Yes, I love a Bargain i
Horseflesh! Now, if you believe me, I picked this little Beggar up the other day for a mer
Song. Bolted with a Trap—kicked everything to smash. Bid the Fellow a Tenner for her, an
there she is!" [Old Party begins to feel that "'E don' know where 'e are," or will b
presently.
 "MUSIC HATH CHARMS."
A Song for a Summer Day, 1895.

(A Very Long Way after Dryden.)

["Mr. Herbert Gladstone, in reply to Mr. Aird, said he was glad to

tell the hon. gentleman that he had been informed by his Royal
Highness the Duke of Cambridge that arrangements were being
made for a military band to play in Hyde Park on certain days in
summer."—Parliamentary Report.]

I.

In harmony, in public harmony,

This bit of pleasant news began.
St. Stephen's underneath a heap
Of burning questions lay.
When Herbert raised his head
His tuneful voice was heard on high,
And this is what it said:
That Great George Ranger could descry
A chance of making a big leap
To pop-u-lar-i-ty.
That Music's power should have full summer sway,
And the bands begin to play!
With harmony, with general harmony,
Around the information ran
That harmony, sweet harmony,
Should stay mere rumpus with its rataplan,
And make Hyde Park a pleasant place to Man!

II.

What passion cannot Music raise and quell?

When Herbert thumps the side-drum well
The listening nursemaids well may stand around,
A-wondering at that curly swell,
A-worshipping the rattling sound.
Less than a dook they think can hardly dwell
In that drum major's toffy togs.
He startles even the stray dogs!
What passion cannot Music raise and quell?

III.

The brass band's loud clangour

The populace charms,
The kettledrum-banger
The baby alarms.
At the double, double, double beat
Of young Gladstone's drum
The Socialist spouters from back street and slum
Cry, "Hark! our foes come!
Way oh! We'ad better retreat!"

IV.

The shrill and sprightly flute

Startles the seculurist spouts and shovers.
The crowds of music-lovers
Flock to its sound and leave tub-thumpers mute.

V.

Dark Anarchists proclaim

Their jealous pangs and desperation,
Fury, frantic indignation,
Depths of spite and heights of passion.
Music mars their little game.

VI.
Yes, Music's art can teach
Better than savage ungrammatic speech.
Young Herbert let us praise,
"The dear Dook" let us love.
The weary wayfarer, the wan-faced slummer,
Beneath the spell of Music and the Drummer,
Feel rataplans and rubadubs to raise
Their souls sour spleen above.

VII.

"Orpheus could lead the savage race,

And trees uprooted left their place,
Sequacious of the lyre."—
Precisely, Glorious John! Yet 'twere no lark
To see the trees cavorting round the Park.
No! Our Cecilia's aim is even higher.
To soothe the savage (Socialistic) breast,
Set Atheist and Anarchist at rest,
And to abate the spouting-Stiggins pest
Young Herbert and grey George may well aspire.
The "Milingtary Dook"'s permission's given
That the Park-Public's breast, be-jawed and beered,
May by the power of harmony be cheered,
And lifted nearer heaven!

Grand Chorus.

(By a Grateful Crowd.)

"This 'ere's the larkiest of lays!

Things do begin to move!
'Erbert and Georgy let us praise,
And all the powers above.
We've spent a reglar pleasant 'our
Music like this the Mob devour.
Yah! Anerchy is all my heye.
That cornet tootles scrumptiously.
Go it, young Gladsting! Don't say die
Dear Dook, but 'ave another try.
'Armony makes disorder fly
And Music tunes hus to the sky!
 "THE 'KEY-NOTE'-ORIOUS MRS.
EBBSMITH."
Mr. Pinero's new play at the
Garrick Theatre is a series of
scenes in dialogue with only
one "situation," which comes at
the end of the third act, and
was evidently intended to be
utterly unconventional,
dreadfully daring, and thrillingly
effective. "Unconventional?"
Yes. "Daring?" Certainly; for to
burn a bible might have raised a
storm of sibilation. But why
dare so much to effect so little?
For at the reading, or during
rehearsal, there must have
The Dowdy Mrs. Ebbsmith makes it been very considerable
hot for her young man.
hesitation felt by everybody,
author included, as to the fate
of this risky situation—this "momentum unde pendet"—and for which
nothing, either in the character or in the previous history of the heroine,
has prepared us. Her earliest years have been passed in squalor; she
has made a miserable marriage; then she has become a Socialist ranter,
and hopes to achieve a triumph as a Socialist demagogue. Like Maypole
Hugh in Barnaby Rudge she would go about the world shrieking "No
property! No property!" and when, in a weak moment, she consents to
temporarily drop her "mission," she goes to another extreme and
comes out in an evening dress—I might say almost comes out of an
evening dress, so egregiously décolleté is it—to please the peculiar and,
apparently, low taste of her lover, who is a married man,—"which well
she knows it," as Mrs. Gamp observes,—but with whom she is living, and
with whom, like Grant Allen's The Woman who did (a lady whom in
many respects Mr. Pinero's heroine closely resembles), and who came to
grief in doing it, she intends to continue living. This man, her paramour,
she trusts will be her partner in the socialistic regeneration of the
human race. At the close of the third act Mrs. Ebbsmith, being such as
the author of her being has made her, is presented with a bible, and, in
a fit of ungovernable fury, she pitches it into the stove "with all her
might and main"; and then it suddenly occurs to her that she has
committed some terrible crime (more probably it occurred to the author
that he had committed the unpardonable sin of offending his audience)
—and so she shoots out her arm into a nice, cool-looking stove
(suggestive of no sort of danger to her or the book), and drags out the
pocket volume apparently quite as uninjured as is her own hand at the
moment, though this is subsequently carefully bound up with a white
handkerchief in the last act. Well—that's all. There is the situation. The
Key-note-orious Mrs. Ebbsmith is supposed to repent of her sins against
society; and off she goes to become the companion of the unmarried
parson and of the lively widow his sister. What the result of this
arrangement will be is pretty clear. The Key-note-orious One will soon
be the parson's bride; but "that is another story."

To carry out this drama of inaction, as it is schemed, should occupy

eight persons something under two hours; but it takes thirteen persons
three hours to carry it along. Five of these dramatis personæ are
superfluous; and much time is wasted on dialogues in Italian and
French that could be "faked up" from any conversation-book in several
languages, and evidently only lugged in under the mistaken impression
that thereby a touch of "local colour" is obtained.

As it is the audience wearies of the long speeches, and there is

nothing in the action that can rouse them as there was in The Second
Mrs. Tanqueray, a play that Mr. Pinero has not yet equalled, much less
surpassed.

But what is a real pleasure, and what will attract all lovers of good
acting, is, first of all, Mr. Forbes Robertson's admirable impersonation of
the difficult, unsympathetic rôle of a despicably selfish, self-conceited,
cowardly prig; and, secondly, to a certain extent, the rendering of the
heroine by Mrs. Patrick Campbell, who, however, does not come within
measurable distance of her former self as Mrs. Tanqueray—her "great
stove scene" being about the weakest point in her performance. But
there cannot be a divided opinion as to the perfect part given to Mr.
John Hare, and as to the absolutely perfect manner in which it is played
by this consummate artist in character. All the scenes in which he
appears are admirably conceived by the author, and as admirably
interpreted by the actor.

Mr. Hare's performance of

the Duke of St. Olpherts is a
real gem, ranking among the
very best things he has ever
done, and I may even add
"going one better." It is on his
acting, and on the acting of the
scenes in which he appears,
that the ultimate popularity of
the piece must depend. The
theatrical stove-cum-book
situation may tell with some
audiences better than with
others, but it is not an absolute
certainty; while every scene in
which the Duke of St. Olpherts
takes part, as long as this
character is played by Mr. Hare,
is in itself an absolute isolated Transformation Scene. The Rowdy-
triumph. Mr. Aubrey Smith, as the Dowdy Mrs. Ebbsmith fascinates the
modern young English Dook.
moustached parson, en voyage,
with his pipe, and bible in his
pocket (is he a colporteur of some Biblical Society, with a percentage on
the sale? otherwise the book is an awkward size to carry about,
especially if he has also a Murray with him), is very true to life, at all
events in manner and appearance; and Miss Jeffreys, as his sister, who
looks just as if she had walked out of a fashion-plate in The
Gentlewoman, or some lady's journal, plays discreetly and with
considerable self-repression. Of course it will remain one of the notable
pieces of the year; but what will keep it green in the memory of
playgoers is not the story, nor its heroine, nor its hero, but the
captivating impersonation of the Duke of St. Olpherts by Mr. John Hare.

SO LIKELY!

Scene—Bar of a Railway Refreshment Room.

Barmaid. "Tea, Sir?"
Mr. Boosey. "Tea!!! ME!!!!"
 THE GAME OF DRAUGHTS.
(By One who has Played it.)

Assume that I am living in Yokohama Gardens (before the pleasant

change from winter to spring), and that I am conscious of the near
approach of the North Pole. The fires in the grates seem to be
lukewarm, and even the coals are frozen. My servants have told me
that the milk had to be melted before it could adorn the breakfast-
table; and as for the butter, it is as hard as marble. There is only one
thing to do, to send for that worthy creature Mr. Lopside, an individual
"who can turn his hand to anything."

"Well Sir," Mr. Lopside arrives and observes after a few moments
spent in careful consideration of the subject from various points of view,
"of course you feel the cold because there is five-and-twenty degrees of
frost just outside."

I admit that Mr. Lopside's opinion is reasonable; and call his attention
to the fact that a newspaper which is lying on the floor some five yards
from a closed door is violently agitated.

"I see Sir," says he promptly. "If you will wait a moment I will tell
you more about it."

He takes off his coat, throws down a bag of tools (his chronic
companion), and lies flat on the floor. Then he places his right ear to
the ground and listens intently, pointing the while to the newspaper
that has now ceased to suffer from agitation.

"There you are, Sir!" he exclaims triumphantly. "There's a draught

there. I could feel it distinctly."

He rises from the ground, reassumes his overcoat, and once more
possesses himself of his bag of useful instruments.
 "Well, what shall I do?" I ask.

"Well, you see Sir, it's not for the likes of me to advise gentry folk
like you. I wouldn't think of presuming upon such a liberty."

"Not at all, Mr. Lopside," I explain with some anxiety.

"Then Sir—mind you, if it's not taking too much of a liberty—I

would, having draughts, get rid of them. And you have draughts about,
now haven't you?"

I hasten to assure him that I am convinced that my house is a

perfect nest of draughts.

"Don't you be too sure until I have tested them," advises Mr. Lopside.

Then the ingenious creature again divests himself of his overcoat

and workman's bag and commences his labours. He visits every door in
the house and tries it. He assumes all sorts of attitudes. Now he
appears like Jessie Brown at Lucknow listening to the distant slogan of
the coming Highlanders. Now like a colleague of Guy Fawkes noting the
tread of Lord Monteagle on the road to the gunpowder cellar beneath
the Houses of Parliament. His attitudes, if not exactly graceful, are full
of character.

"There are draughts everywhere," says Mr. Lopside, having come to

the end of his investigations.

"And what shall I do?" I ask for the second time. Again my worthy
inspector spends a few minutes in self-communing.

"It's not for the likes of a poor man like me, Sir, to give advice; but if
I were you, Sir, I would say antiplutocratic tubing."

"What is antiplutocratic tubing?"

"Well, Sir, it's as good a thing as you can have, under all the
circumstances. But don't have antiplutocratic tubing because I say so. I
may be wrong, Sir."
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