@@ -122,7 +122,25 @@ cognitive development theories: play as the basis of learning rules, s
-The role of observation should not be forgotten. The educator who spends time closely watching and recording the choices which individual children are making, with regard to selection of activity, materials, forms of interpre-tation and expression, interactions with others (including roles adopted), as well as the content of the expression, learns far more about the child's learn-ing than one who spends time focused on outcomes alone.
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-As David (1996) has noted, if children are to be offered meaningful and challenging opportunities for learning through play, there are implications for adults' skills in observation, assessment and diagnosis, requiring 'a deep understanding of play, language and their learn-ing potential'.
-What play and creativity have in commin is being driven by openness to 'possibilities'.
-Creative development is defined by SCAA and the DfEE as involving the creative and expressive arts only. This approach perpetuates the myth that creativity is just to do with the arts. I have argued earlier that this is a human construction, and that creative development has the potential to support learning, exploration and expression right across the curriculum, not just in the creative and expressive arts
-creativity: 'possibility thinking'
1)Not being put off by one set of circumstances, but using imagination to find a way around a problem.
2)Posing questions. Children enter schools and other learning institutions doing this naturally
3)Combinatory play.
-Educators can stimulate and support possibility thinking in a variety of ways and across the curriculum. These may include playing through, for example, puppetry, dramatic play, role play, open-ended scenarios, improvisation, empathy work, looking at more than one perspective on a problem, simu-lations, fantasy modelling, brainstorming, storytelling.
-The process of postulation in a number-based activity, brainstorming in a science activity, or rhythmic improvisation in music, may be set up as activities with parameters around them, in a way that free-flow possibilities may not be in puppetry or story-telling.
-Possibility thinking provides a theoretical framework for putting into practice 'creative development' for 3-5 year olds.
## [**Design** principles for **children's** technology](http://www.hci.usask.ca/publications/2005/HCI_TR_2005_02_Design.pdf)
