Vertical thinking

Abstract: Part 1 Understanding critical thinking in adult life: what it means to think critically recognizing critical thinking learning to think critically in adult life how critical thinking sustains a healthy democracy. Part 2 Practical approaches for developing critical thinkers: effective strategies fro facilitating critical thinking helping others examine the assumptions underlying their thoughts and actions techniques for developing alternative ways of thinking. Part 3 Helping adults to think critically in different arenas of life: using the workplace as a resource for thinking and learning analyzing political issues and commitments developing critical judgements about television reporting encouraging active learning through personal relationships being a skilled facilitator of critical thinking. Epilogue: the risks and rewards to helping others learn to think critically. Abbreviations. References. Indexes: name subject.

Abstract: This paper takes a critical look at the design thinking discourse, one that has different meanings depending on its context. Within the managerial realm, design thinking has been described as the best way to be creative and innovate, while within the design realm, design thinking may be partly ignored and taken for granted, despite a long history of academic development and debate. In the design area, we find five different discourses of ‘designerly thinking’, or ways to describe what designers do in practice, that have distinctly different epistemological roots. These different discourses do not stand in competition with each other but could be developed in parallel. We also observe that the management discourse has three distinct origins, but in general has a more superficial and popular character and is less academically anchored than the designerly one. Also, the management design thinking discourse seldom refers to designerly thinking and thereby hinders cumulative knowledge construction. We suggest further research to link the discourses.

Abstract: Free production of variability through unfettered divergent thinking holds out the seductive promise of effortless creativity but runs the risk of generating only quasicreativity or pseudocreativity if it is not adapted to reality. Therefore, creative thinking seems to involve 2 components: generation of novelty (via divergent thinking) and evaluation of the novelty (via convergent thinking). In the area of convergent thinking, knowledge is of particular importance: It is a source of ideas, suggests pathways to solutions, and provides criteria of effectiveness and novelty. The way in which the 2 kinds of thinking work together can be understood in terms of thinking styles or of phases in the generation of creative products. In practical situations, divergent thinking without convergent thinking can cause a variety of problems including reckless change. Nonetheless, care must be exercised by those who sing the praises of convergent thinking: Both too little and too much is bad for creativity.

Abstract: The phrase "switching cognitive gears" is used to call attention to the fact that cognitive functioning involves the capacity to shift between cognitive modes, from automatic processing to conscious engagement and back again. Effectiveness may be as much a function of an actor's capacity to sense when a switch is appropriate, as to process in one or another mode. In this paper the authors develop a perspective on the switch from automatic to active thinking and the conditions that provoke it. They apply the perspective to work settings and identify types of situations in which actors are expected to switch from habits of mind to active thinking. They propose further work to develop a framework for understanding the switch from active thinking to automatic.