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Abstract In the current dynamic society, creativity stands as a crucial asset, empowering individuals to devise new and inventive solutions to navigate the shifts accompanying societal evolution. This trend significantly influences both the preparation of future educators and the ongoing professional growth of practicing teachers. It's essential to consider the connection between students' emotional experiences during the learning process to foster their creativity. The correlation between a person's emotional state and their creativity shows that both negative and positive emotions can influence creative expression. Furthermore, emotional intelligence (EI) is assumed to help prioritize thinking and manage emotions in different life situations, with the initial EI process being assessing and expressing of emotions. This study evaluates the emergence of emotions experienced by students in an academic context, focusing on action-research with Master’s students (n = 10), who are future teachers for Secondary schools in Switzerland. Throughout the creative course, participants utilized a Creative Process Report Diary (CRD) to document the emotions they experienced while engaging in the diverse creative activities. The findings of this study indicate that participants predominantly encountered positive emotions during creative activities, such as enthusiasm and pleasure. Initial emotions sometimes leaned towards the negative spectrum, characterized by frustration or fear. However, as the creative activity unfolded, these emotions evolved into more positive ones, such as pleasure or interest. This study contributes to our understanding of the interplay between emotions and creativity and provides insights into how managing these emotions can foster a productive and creative learning environment for future teachers, even though emotional intelligence was not directly tested in this research.

Environmental, cultural, and social issues are becoming increasingly complex, and the educational context is no exception to this trend. The relevance of teachers' creativity in examining situations from different angles, in imagining new approaches, in adapting to the varied needs of students, and in training them so that they too can grasp the teeming complexity seems obvious. However, creativity sometimes seems to be taken for granted among teachers and educational programs leave a gap around this theme. Since the scientific literature tends to show that teachers' creativity is still little explored in educational contexts, this doctoral research studies its manifestations within a group of teachers enrolled in a professional master's program in preschool and elementary education (Université de Sherbrooke, Canada). Within the framework of this program, each one elaborates a professional development project over a three-year period. Using a variety of authentic data sources (observations in natural occurring situations, reflective writing by participants, and semi-structured interviews), their creative process is documented and analyzed. This multiple-case study (n = 9) that draws on the concept of creativity as related to that of professional coherence reveals that the pursuit of greater professional coherence not only enables the implementation of creative skills to foster teachers' professional development, but also elicits beautiful risk-taking.

Elasmobranchs are characterised by the presence of placoid scales on their skin. These scales, structurally homologous to gnathostome teeth, are thought to have various ecological functions related to drag reduction, predator defense or abrasion reduction. Some scales, particularly those present in the ventral area, are also thought to be functionally involved in the transmission of bioluminescent light in deep-sea environments. In the deep parts of the oceans, elasmobranchs are mainly represented by squaliform sharks. This study compares ventral placoid scale morphology and elemental composition of more than thirty deep-sea squaliform species. Scanning Electron Microscopy and Energy Dispersive X-ray spectrometry, associated with morphometric and elemental composition measurements were used to characterise differences among species. A maximum likelihood molecular phylogeny was computed for 43 shark species incuding all known families of Squaliformes. Character mapping was based on this phylogeny to estimate ancestral character states among the squaliform lineages. Our results highlight a conserved and stereotypical elemental composition of the external layer among the examined species. Phosphorus-calcium proportion ratios (Ca/P) slightly vary from 1.8-1.9, and fluorine is typically found in the placoid scale. By contrast, there is striking variation in shape in ventral placoid scales among the investigated families. Character-mapping reconstructions indicated that the shield-shaped placoid scale morphotype is likely to be ancestral among squaliform taxa. The skin surface occupied by scales appears to be reduced in luminous clades which reflects a relationship between scale coverage and the ability to emit light. In luminous species, the placoid scale morphotypes are restricted to pavement, bristle- and spine-shaped except for the only luminescent somniosid, Zameus squamulosus, and the dalatiid Mollisquama mississippiensis. These results, deriving from an unprecedented sampling, show extensive morphological diversity in placoid scale shape but little variation in elemental composition among Squaliformes.

Creativity has been studied for a long time and it has become a more significant topic of research in educational fields in recent decades. The present paper outlines a multivariate approach to creativity and substantiates this approach by investigating the creative process and multivariate factors through a creative course for master’s students at the University of Teacher Education in Switzerland. Our goal is to examine more specifically the stages of the creative process and the emerging multivariate factors in different creative activities. The article reports findings from the analysis of students’ creative report process diaries as well as semi-structured interviews. Drawing on experiential learning, this pilot study was conducted in collaboration with master’s student teachers (n = 10). The results show that the different microlevels of the creative process are the subject of variations from one creative experience to another. Most factors of the multivariate approach emerge from this kind of creative training. The discussion will allow for a review of the research results and also a better understanding of the creative process in the pedagogy of creativity.

Bioluminescence is a common ecological trait among many marine organisms, including three shark families: Etmopteridae, Dalatiidae, and Somniosidae. The kitefin shark, Dalatias licha (Bonnaterre, 1788), from the Dalatiidae family is the largest known luminous vertebrate. This study compares the light organ ultrastructure of D. licha with that of Etmopterus spinax, the type species of Etmopteridae, to gain a deeper understanding of the light emission process and its evolutionary conservation within shark families. The ultrastructure of D. licha’s photophores and the morphological changes that occur after hormonal stimulation (via melatonin and α-MSH, which stimulate or inhibit the bioluminescence, respectively) were examined. The photophores consist of a spherical pigmented sheath surrounding a unique, regionalized light-emitting cell (photocyte). The photocyte’s basal area contains a specific area filled with granular inclusions that resemble the glowon-type microsources of E. spinax, suggesting that this area is the intracellular site of light emission. An acidophilic secretion, not present in Etmopteridae, is also observed within the granular area and may be involved in photogenesis. The ultrastructure analysis reveals no lens cells or reticular layer, unlike in Etmopteridae photophores, indicating a simpler organization in Dalatiidae photophores. Melatonin stimulation causes the removal of pigments from the photophore-associated melanophores and an increase in the granular inclusion diameter and coverage in the granular area, further showing that this last area is the potential site of light emission, while α-MSH stimulation causes the extension of the melanophore pigments and a decrease in the granular inclusion diameter and coverage. These results support the evolutive conservation of photophore functional organization across luminous etmopterid and dalatiid sharks.

Environmental, cultural, and social issues are becoming increasingly complex, and the educational context is no exception to this trend. The relevance of teachers’ creativity in examining situations from different angles, in imagining new approaches, in adapting to the varied needs of students, and in training them so that they too can grasp the teeming complexity seems obvious. However, creativity sometimes seems to be taken for granted among teachers and educational programs leave a gap around this theme. Since the scientific literature tends to show that teachers’ creativity is still little explored in educational contexts, this doctoral research studies its manifestations within a group of teachers enrolled in a professional master’s program in preschool and elementary education (Université de Sherbrooke, Canada). Within the framework of this program, each one elaborates a professional development project over a three-year period. Using a variety of authentic data sources (observations in natural occurring situations, reflective writing by participants, and semi-structured interviews), their creative process is documented and analyzed. This multiple-case study (n = 9) that draws on the concept of creativity as related to that of professional coherence reveals that the pursuit of greater professional coherence not only enables the implementation of creative skills to foster teachers’ professional development, but also elicits beautiful risk-taking.

The importance of emotions, both positive and negative, in creativity has been highlighted in the literature. Nevertheless, in this context, few studies have been focusing on epistemic emotions. These refer to all affective states emanating from cognitive activities (Scheffler, 2010; Silvia, 2010) and particularly in a context of knowledge appropriation (Pekrun et al., 2017). This research aims to study 1) whether these emotions are involved in creative contexts and 2) if so, to which intensity. Data was collected during a course on creativity for future teachers. Participants were asked to participate to two creativity technics and to 1) keep a logbook to report the emotions they felt during these activities (Botella et al., 2017) and 2) to answer a questionnaire measuring the intensity of their epistemic emotions. Results suggest that participants actually experienced epistemic emotions during the creativity techniques. More specifically they felt curiosity, enthusiasm and, to a lesser extent, surprise. These results are corroborated by the logbooks, which further explain the emotional process felt in a creative context: while the first emotions felt were sometimes negative (such as fear or anxiety), these were transformed into positive emotions such as enjoyment or interest as the creative technique progressed.

Shapeable and flexible pressure sensors with superior mechanical and electrical properties are of major interest as they can be employed in a wide range of applications. In this regard, elastomer‐based composites incorporating carbon nanomaterials in the insulating matrix embody an appealing solution for designing flexible pressure sensors with specific properties. In this study, PDMS chains of different molecular weight were successfully functionalized with benzoxazine moieties in order to thermally cure them without adding a second component, nor a catalyst or an initiator. These precursors were then blended with 1 weight percent of multi‐walled carbon nanotubes (CNTs) using an ultrasound probe, which induced a transition from a liquid‐like to a gel‐like behavior as CNTs generate an interconnected network within the matrix. After curing, the resulting nanocomposites exhibit mechanical and electrical properties making them highly promising materials for pressure‐sensing applications. [ABSTRACT FROM AUTHOR]

Introduction au dossier "La créativité : enjeux théoriques, disciplinaires et interdisciplinaires"

Contrairement à Beaudot (1973) qui réduisait la pédagogie de la créativité à la pensée divergente et aux tests de créativité, cet article propose un sens plus large, plus complexe et qui s’insère dans l’approche multivariée de Lubart (2003). Deux types de tâches créatives peuvent être élaborées : avec ou sans l’objet. Cet article présente uniquement la première qui consiste à faire produire aux élèves des objets créatifs, en lien avec l’apprentissage de la langue, que les élèves socialisent en classe. La créativité a pour but d’amener l’élève à réfléchir sur comment insérer le contenu disciplinaire dans l’objet créatif et comment ensuite construire, de manière pertinente, la production. Ainsi cet article illustre quelques fondements possibles d’une pédagogie de la créativité et montre en quoi elle agit sur la dimension émotionnelle comme variable facilitatrice et non perturbatrice de l’apprentissage. Pour conclure, une enquête qualitative, menée dans un lycée professionnel hôtelier en Italie, sera illustrée. À l’issue de la séquence d’apprentissage sur le texte descriptif, les élèves devaient réaliser un objet créatif qui accompagne la description d’un hôtel ou restaurant de leur rêve. L’Hypothèse de départ était de canaliser les émotions parasites de l’apprentissage par l’évocation d’émotions facilitatrices et d’améliorer ainsi la performance orale. A pedagogy of creativity in language learning. Theoretical and practical reflection on the triad creativity, emotion, cognition Abstract: Contrary to Beaudot (1973) who reduced the pedagogy of creativity to divergent thought and to the tests of creativity, this article proposes a more complex sense that fits into a multivariate approach to creativity of Lubart (2003). Two types of creative tasks can be elaborated: with or without an object. This article presents only the former, which consists in making creative objects, in connection with the language course, that the students socialize in the classroom. Students must think about how to insert the disciplinary contents into the creative object and then how to build their texts in a relevant way. This paper illustrates some possible foundations of pedagogy of creativity and the role of emotion as a variable that enables and does not disable learning. To conclude, a qualitative survey, led in a vocational school in Italy, will be illustrated. After the descriptive text learning, the students had to produce a creative object as a medium accompanying their description of a hotel or restaurant of their dreams. The hypothesis was to channel parasite emotions of the learning by the evocation of enabling emotions and thus improve the oral performance.

Creativity has been studied for a long time and it has become a more significant topic of research in educational fields in recent decades. The present paper outlines a multivariate approach to creativity and substantiates this approach by investigating the creative process and multivariate factors through a creative course for master's students at the University of Teacher Education in Switzerland. Our goal is to examine more specifically the stages of the creative process and the emerging multivariate factors in different creative activities. The article reports findings from the analysis of students' creative report process diaries as well as semi-structured interviews. Drawing on experiential learning, this pilot study was conducted in collaboration with master's student teachers (n = 10). The results show that the different microlevels of the creative process are the subject of variations from one creative experience to another. Most factors of the multivariate approach emerge from this kind of creative training. The discussion will allow for a review of the research results and also a better understanding of the creative process in the pedagogy of creativity. [ABSTRACT FROM AUTHOR]