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Creativity is neither something learned by applying a formula nor is it the unfettered, chaotic product of a genius. Instead, creativity should be viewed as an individualized process that helps the creator find order within chaos (or vice versa). Creativity seems to emerge from multiple experiences, coupled with a well-supported development of personal resources, including a sense of freedom to venture beyond the known. To create is to "bring into or cause to come into existence; make; originate". I find most often that my creative product is my scholarship. Whether I compile a script, enact a performance art installation, or construct a fragmented review of a performance, I take a leap and then look around to see what I’ve gotten myself into. Although my scholarship takes many forms (screenplays; non- linear narratives; and combinations of video, sound, and movement pieces), initially my research resembles a puzzle, a collage of images and texts that do not seem to go together. I appear to have gotten into a mess, which is exactly where I had hoped to be. For me, creativity is a messy process that leads to the creation of "messy texts". I will provide you with my working definition of creativity. Next, I will discuss the concept of "messy texts," including a brief historical overview of how such expressive forms of scholarship developed. Third, I will explain how and why I wrote a messy text. Finally, I will challenge you to write a messy text of your own. Creativity is just something that’s always been a part of my life. Ever since I first drew cartoon heads in the margins of our family Bible, I have been labeled "creative". Infrequent name calling aside, I always embraced and welcomed the label. Teachers and family members encouraged it. I felt appreciated despite my perceived "kookiness" because some people valued my creative innovations and willingness to view things from multiple perspectives. This willingness to innovate is alluded to in self-growth guru Gail Sheehy’s book Pathfinders (1981). She suggests that we should think of creativity as a four-part process: 1 ) Preparation, 2) Incubation, 3) Immersion & Illumination, and 4) Revision. Although interesting, Sheehy’s description of the creative process does not really capture the essence of my own creative process. However, I finally found one that provided the flexibility I needed. Franklin Baer, a public health physician fascinated with the topic of creativity has created an interactive web page that can help anyone create her/his own personalized creativity process. So I went to the site and created my own process, an acronym using the letters of the word CREATE : Collect -- gather information from a variety of sources Reflect -- generate many ideas, questions, and responses to the information Embrace -- select which idea(s) to focus on and expand Amend -- work with an idea until it begins to take shape Toil -- become obsessed with a project until it is complete Exhibit -- find a venue for displaying the creative product These verbs come closest to describing how the creative process works for me. "Acronym" is closest in meaning to ______ .
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Creativity is neither something learned by applying a formula nor is it the unfettered, chaotic product of a genius. Instead, creativity should be viewed as an individualized process that helps the creator find order within chaos (or vice versa). Creativity seems to emerge from multiple experiences, coupled with a well-supported development of personal resources, including a sense of freedom to venture beyond the known. To create is to "bring into or cause to come into existence; make; originate". I find most often that my creative product is my scholarship. Whether I compile a script, enact a performance art installation, or construct a fragmented review of a performance, I take a leap and then look around to see what I’ve gotten myself into. Although my scholarship takes many forms (screenplays; non- linear narratives; and combinations of video, sound, and movement pieces), initially my research resembles a puzzle, a collage of images and texts that do not seem to go together. I appear to have gotten into a mess, which is exactly where I had hoped to be. For me, creativity is a messy process that leads to the creation of "messy texts". I will provide you with my working definition of creativity. Next, I will discuss the concept of "messy texts," including a brief historical overview of how such expressive forms of scholarship developed. Third, I will explain how and why I wrote a messy text. Finally, I will challenge you to write a messy text of your own. Creativity is just something that’s always been a part of my life. Ever since I first drew cartoon heads in the margins of our family Bible, I have been labeled "creative". Infrequent name calling aside, I always embraced and welcomed the label. Teachers and family members encouraged it. I felt appreciated despite my perceived "kookiness" because some people valued my creative innovations and willingness to view things from multiple perspectives. This willingness to innovate is alluded to in self-growth guru Gail Sheehy’s book Pathfinders (1981). She suggests that we should think of creativity as a four-part process: 1 ) Preparation, 2) Incubation, 3) Immersion & Illumination, and 4) Revision. Although interesting, Sheehy’s description of the creative process does not really capture the essence of my own creative process. However, I finally found one that provided the flexibility I needed. Franklin Baer, a public health physician fascinated with the topic of creativity has created an interactive web page that can help anyone create her/his own personalized creativity process. So I went to the site and created my own process, an acronym using the letters of the word CREATE : Collect -- gather information from a variety of sources Reflect -- generate many ideas, questions, and responses to the information Embrace -- select which idea(s) to focus on and expand Amend -- work with an idea until it begins to take shape Toil -- become obsessed with a project until it is complete Exhibit -- find a venue for displaying the creative product These verbs come closest to describing how the creative process works for me. According to the first paragraph, the author would mostly likely agree with the idea that______.
某机械厂生产某种零件，经二道工序制成，某月份投1000件(原材料在生产开始时一次投入)，完工产品800件，企业月末账面保留的在产品成本2000元，该企业在产品成本的计算采用“约当产量法”，有关资料如下： 表1：在产品盘存表 工序 工时定额 在产品盘存数(件) 1 15 100 2 25 200 合计 40 300 表2：生产费用资料表 单位：元 成本项目 月初在产品成本 本月发生费用 原材料 100000 800000 工资及附加 20000 100000 其他 10000 60000 根据上述资料回答下列问题(每一小步计算请保留两位小数，再进行下步计算)。 若企业月末账面在产品成本计算错误，下列表述正确的有( )。
TEXT A Nord’s Net: "Ways of Knowing" for the Science Classroom It is apparent that Professor Warren A. Nord has found Eddington’s parable of a fisherman’s net advantageous in supporting his side of an ongoing discussion about religion and science in school curricula. He has employed the story on a number of occasions in various articles. Readers should not carelessly absorb "Nord’s Net," however. Whenever any given allegory finds widespread and frequent employment in intellectual discussion, it deserves some scrutiny -- which is the purpose of this essay. You may not be familiar with the net parable, so let’s have Nord himself acquaint you with the tale. The following is a quote that succinctly summarizes both the parable and Nord’s direct application of it. It comes from Taking Religion Seriously Across the Curriculum, by Nord and Haynes. The astronomer Arthur Eddington once told a parable about a fisherman who used a net with a three- inch mesh. After a lifetime of fishing he concluded there were no fish shorter than three inches. Eddington’s moral is that just as one’s fishing net determines what one catches, so it is with conceptual nets: what we find in the ocean of reality depends on the conceptual net we bring to our investigation. For example, the modern scientific conceptual net allows scientists to catch only replicable events; the results of any experiment that cannot be replicated are not allowed to stand. This means that miracles, which are by definition singular events, can’t be caught; scientists cannot ask God to replicate the miracle for the sake of a controlled experiment. Or, to take another example, the scientific method requires that evidence for knowledge claims be grounded in sense experience -- the kinds of experience that instruments can measure. But this rules out religious experience as a source of knowledge about the world. First I will place Nord’s premises in the context of how two approaches to human understanding -- science’s "replicable events" approach to knowledge, and religion’s "miracles and religious experience" approach -- have interacted over the centuries. Maybe later, I will take up the educational ramifications of implementing his premises in public education. The author seems to believe that the parable of the fishing net is______.
Questions 7 to 10 are based on the following conversation. At the end of the conversation, you will be given 20 seconds to answer the questions. Now, listen to the conversation. Which of the following cities has said: "Don’t care if I do"
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