*2.1.4. Product-oriented approaches*

The last dimension focuses on the tangible or intangible outcomes of the creative process. Researchers commonly define two characteristics of creative products, namely, usefulness and novelty [12, 13]. Usefulness refers to the adequacy of the outcome to its context of use. As for novelty, literature distinguishes between Big-C (consensual) and little-c (personal) creativity [19]. Kaufman and Beghetto [20] proposed a Four-C Model which differentiates mini-c (interpretive creativity), little-c (everyday creativity), Pro-C (expert creativity) and Big-C ('legendary' creativity).

**2.4. Creative pedagogies**

learners in the classroom activities.

Creativity and education literature highlights a series of creative pedagogies, that is, teaching practices which contribute to the development of students' creativity. In a review of 210 pieces of educational research, Davies et al. [29] mentioned the flexible use of space and time, the study outside the classroom, collaborative and game-based learning approaches, as well as respectful relationships, non-prescriptive planning and the participation of educators as

Strategies for Digital Creative Pedagogies in Today's Education

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Cremin and Barnes [30] outlined similar characteristics, i.e. an agency-oriented ethos, multimodal methodologies, exploration and discovery, risk-taking, tolerance of ambiguity and uncertainty and safe and non-judgemental environments. In this line, Sawyer [31] considers the possibility to try before getting it right and the use of failure as a positive learning factor. The author also considers collaborative and improvisational practices which allow students

Barajas and Frossard [32] proposed a set of four main creative pedagogies, each one characterised by different components: (a) learner-centred approaches (matching curricular objectives with students' interests, making learning relevant and engaging, encouraging students' ownership and problem-solving, value learning processes above outcomes so to promote students' reflection on their learning trajectory), (b) open-ended ethos (providing space for uncertainty, exploration and spontaneity in a safe classroom environment), (c) synergistic collaboration (rich collaborative practices based on joint problem-solving and collective decision-making) and (d) knowledge connection (linking content to real-life situations, bridging

Technological devices have entered all aspects of our everyday life [33]. In this digital society, the concept of creativity is being rethought. Indeed, the affordances of technologies may have a strong influence on creative processes and achievements. As mentioned by Loveless [34], 'digital technologies can be tools which afford learners the potential to extend or enhance their abilities, allow users to create novel ways of dealing with tasks which might then change the nature of the activity itself, or provide limitations and structure which influence the nature and boundaries of the activity' (p. 64). Nevertheless, understanding the interplay between digital and creative yet appears as a challenge, and the two are often studied as separate domains [4]. As a first step to bridge this gap, we propose the following definition of digital creativity, as applied to education (based on [22, 25]): 'purposive imaginative activity, mediated by digital technologies, generating outcomes that are original and valuable in relation to the learner'. As applied to education, digital creative teaching would consist of applying digital technologies with the aim to support creative pedagogies, that is, learner-centred approaches, open-ended

The following sections propose pedagogical theories and digital tools which may support the

for externalising their understandings and reflecting on their learning processes.

different domains and disciplines and placing knowledge in a wider context).

**3. Digital creativity in education: a proposal framework**

ethos, synergistic collaboration and knowledge connection.

development of digital creativity in the classroom.
