Chemical composition of the recycled aluminum alloy determined by X-ray fluorescent technique.
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",isbn:"978-1-83881-922-4",printIsbn:"978-1-83881-921-7",pdfIsbn:"978-1-83881-923-1",doi:null,price:0,priceEur:0,priceUsd:0,slug:null,numberOfPages:0,isOpenForSubmission:!0,hash:"dcfc52d92f694b0848977a3c11c13d00",bookSignature:"Dr. Fiaz Ahmad and Prof. Muhammad Sultan",publishedDate:null,coverURL:"https://cdn.intechopen.com/books/images_new/10454.jpg",keywords:"Agricultural Engineering, Technologies, Application, Sustainable Agriculture, Information Technology in Agriculture, Food Security, Renewable Energies, Precision Farming, Smart Agriculture, Farm Mechanization, Robotics, Post Harvest Technologies",numberOfDownloads:null,numberOfWosCitations:0,numberOfCrossrefCitations:null,numberOfDimensionsCitations:null,numberOfTotalCitations:null,isAvailableForWebshopOrdering:!0,dateEndFirstStepPublish:"November 25th 2020",dateEndSecondStepPublish:"December 23rd 2020",dateEndThirdStepPublish:"February 21st 2021",dateEndFourthStepPublish:"May 12th 2021",dateEndFifthStepPublish:"July 11th 2021",remainingDaysToSecondStep:"25 days",secondStepPassed:!0,currentStepOfPublishingProcess:3,editedByType:null,kuFlag:!1,biosketch:"Dr. Ahmad is a researcher in the field of agricultural mechanization and agricultural equipment engineering, in-charge of Farm Machinery Design Laboratory at Bahauddin Zakariya University, with expertise in modeling and simulation. He applied for two patents at the national level.",coeditorOneBiosketch:"Renowned researcher with a focus on developing energy-efficient heat- and/or water-driven temperature and humidity control systems for agricultural storage, greenhouse, agricultural livestock and poultry applications including HVAC, desiccant air-conditioning, adsorption, Maisotsenko cycle (M-cycle), and adsorption desalination.",coeditorTwoBiosketch:null,coeditorThreeBiosketch:null,coeditorFourBiosketch:null,coeditorFiveBiosketch:null,editors:[{id:"338219",title:"Dr.",name:"Fiaz",middleName:null,surname:"Ahmad",slug:"fiaz-ahmad",fullName:"Fiaz Ahmad",profilePictureURL:"https://mts.intechopen.com/storage/users/338219/images/system/338219.jpg",biography:"Fiaz Ahmad obtained his Ph.D. (2015) from Nanjing Agriculture University China in the field of Agricultural Bioenvironmental and Energy Engineering and Postdoc (2020) from Jiangsu University China in the field of Plant protection Engineering. He got the Higher Education Commission, Pakistan Scholarship for Ph.D. studies, and Post-Doctoral Fellowship from Jiangsu Government, China. During postdoctoral studies, he worked on the application of unmanned aerial vehicle sprayers for agrochemical applications to control pests and weeds. He passed the B.S. and M.S. degrees in agricultural engineering from the University of Agriculture Faisalabad, Pakistan in 2007. From 2007 to 2008, he was a Lecturer in the Department of Agricultural Engineering, Bahauddin Zakariya University, Multan-Pakistan. Since 2009, he has been an Assistant Professor in the Department of Agricultural Engineering, BZ University Multan, Pakistan. He is the author of 33 journal articles. He also supervised 6 master students and is currently supervising 5 master and 2 Ph.D. students. In addition, Dr. Ahmad completed three university-funded projects. His research interests include the design of agricultural machinery, artificial intelligence, and plant protection environment.",institutionString:"Bahauddin Zakariya University",position:null,outsideEditionCount:0,totalCites:0,totalAuthoredChapters:"0",totalChapterViews:"0",totalEditedBooks:"0",institution:{name:"Bahauddin Zakariya University",institutionURL:null,country:{name:"Pakistan"}}}],coeditorOne:{id:"199381",title:"Prof.",name:"Muhammad",middleName:null,surname:"Sultan",slug:"muhammad-sultan",fullName:"Muhammad Sultan",profilePictureURL:"https://mts.intechopen.com/storage/users/199381/images/system/199381.jpeg",biography:"Muhammad Sultan completed his Ph.D. (2015) and Postdoc (2017) from Kyushu University (Japan) in the field of Energy and Environmental Engineering. He was an awardee of MEXT and JASSO fellowships (from the Japanese Government) during Ph.D. and Postdoc studies, respectively. In 2019, he did Postdoc as a Canadian Queen Elizabeth Advanced Scholar at Simon Fraser University (Canada) in the field of Mechatronic Systems Engineering. He received his Master\\'s in Environmental Engineering (2010) and Bachelor in Agricultural Engineering (2008) with distinctions, from the University of Agriculture, Faisalabad. He worked for Kyushu University International Institute for Carbon-Neutral Energy Research (WPI-I2CNER) for two years. Currently, he is working as an Assistant Professor at the Department of Agricultural Engineering, Bahauddin Zakariya University (Pakistan). He has supervised 10+ M.Eng./Ph.D. students so far and 10+ M.Eng./Ph.D. students are currently working under his supervision. He has published more than 70+ journal articles, 70+ conference articles, and a few magazine articles, with the addition of 2 book chapters and 2 edited/co-edited books. Dr. Sultan is serving as a Leading Guest Editor of a special issue in the Sustainability (MDPI) journal (IF 2.58). In addition, he is appointed as a Regional Editor for the Evergreen Journal of Kyushu University. His research is focused on developing energy-efficient heat- and/or water-driven temperature and humidity control systems for agricultural storage, greenhouse, livestock, and poultry applications. His research keywords include HVAC, desiccant air-conditioning, evaporative cooling, adsorption cooling, energy recovery ventilator, adsorption heat pump, Maisotsenko cycle (M-cycle), wastewater, energy recovery ventilators; adsorption desalination; and agricultural, poultry and livestock applications.",institutionString:"Bahauddin Zakariya University",position:null,outsideEditionCount:0,totalCites:0,totalAuthoredChapters:"2",totalChapterViews:"0",totalEditedBooks:"0",institution:{name:"Bahauddin Zakariya University",institutionURL:null,country:{name:"Pakistan"}}},coeditorTwo:null,coeditorThree:null,coeditorFour:null,coeditorFive:null,topics:[{id:"8",title:"Chemistry",slug:"chemistry"}],chapters:null,productType:{id:"1",title:"Edited Volume",chapterContentType:"chapter",authoredCaption:"Edited by"},personalPublishingAssistant:{id:"252211",firstName:"Sara",lastName:"Debeuc",middleName:null,title:"Ms.",imageUrl:"https://mts.intechopen.com/storage/users/252211/images/7239_n.png",email:"sara.d@intechopen.com",biography:"As an Author Service Manager my responsibilities include monitoring and facilitating all publishing activities for authors and editors. From chapter submission and review, to approval and revision, copyediting and design, until final publication, I work closely with authors and editors to ensure a simple and easy publishing process. I maintain constant and effective communication with authors, editors and reviewers, which allows for a level of personal support that enables contributors to fully commit and concentrate on the chapters they are writing, editing, or reviewing. I assist authors in the preparation of their full chapter submissions and track important deadlines and ensure they are met. I help to coordinate internal processes such as linguistic review, and monitor the technical aspects of the process. As an ASM I am also involved in the acquisition of editors. 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Venkateswarlu",coverURL:"https://cdn.intechopen.com/books/images_new/371.jpg",editedByType:"Edited by",editors:[{id:"58592",title:"Dr.",name:"Arun",surname:"Shanker",slug:"arun-shanker",fullName:"Arun Shanker"}],productType:{id:"1",chapterContentType:"chapter",authoredCaption:"Edited by"}},{type:"book",id:"878",title:"Phytochemicals",subtitle:"A Global Perspective of Their Role in Nutrition and Health",isOpenForSubmission:!1,hash:"ec77671f63975ef2d16192897deb6835",slug:"phytochemicals-a-global-perspective-of-their-role-in-nutrition-and-health",bookSignature:"Venketeshwer Rao",coverURL:"https://cdn.intechopen.com/books/images_new/878.jpg",editedByType:"Edited by",editors:[{id:"82663",title:"Dr.",name:"Venketeshwer",surname:"Rao",slug:"venketeshwer-rao",fullName:"Venketeshwer Rao"}],productType:{id:"1",chapterContentType:"chapter",authoredCaption:"Edited by"}},{type:"book",id:"4816",title:"Face Recognition",subtitle:null,isOpenForSubmission:!1,hash:"146063b5359146b7718ea86bad47c8eb",slug:"face_recognition",bookSignature:"Kresimir Delac and Mislav Grgic",coverURL:"https://cdn.intechopen.com/books/images_new/4816.jpg",editedByType:"Edited by",editors:[{id:"528",title:"Dr.",name:"Kresimir",surname:"Delac",slug:"kresimir-delac",fullName:"Kresimir Delac"}],productType:{id:"1",chapterContentType:"chapter",authoredCaption:"Edited by"}},{type:"book",id:"3621",title:"Silver Nanoparticles",subtitle:null,isOpenForSubmission:!1,hash:null,slug:"silver-nanoparticles",bookSignature:"David Pozo Perez",coverURL:"https://cdn.intechopen.com/books/images_new/3621.jpg",editedByType:"Edited by",editors:[{id:"6667",title:"Dr.",name:"David",surname:"Pozo",slug:"david-pozo",fullName:"David Pozo"}],productType:{id:"1",chapterContentType:"chapter",authoredCaption:"Edited by"}}]},chapter:{item:{type:"chapter",id:"70749",title:"Electrochemical Impedance Spectroscopy (EIS) Characterization of Kitchen Utensils Used as Materials for Local Cooking in Two Culinary Media",doi:"10.5772/intechopen.90877",slug:"electrochemical-impedance-spectroscopy-eis-characterization-of-kitchen-utensils-used-as-materials-fo",body:'The pots made by craftsmen from recycled aluminum alloys play an important role in the cooking process in Burkina Faso. These alloys stand for very reactive materials and react instantly to media containing oxygen. This is why their outside surface is covered with an isolating oxide film. The thickness of this film reached around 10 nm and plays a protective role in those materials to corrosion which was generally observed in some aggressive media. The state in which these materials are located is called passivity state. The passivity condition can be stopped at any time when defects are found in the oxide film (discontinuity and heterogeneity) or the presence of aggressive ions in the electrolytic media (halogen, cyanide, etc.). This can lead to a release of a localized aggression [1]. Aluminum alloys have a low density (2.7 g·cm−3), a good thermal and electrical conductivity, a low melting point, easy to shape, a relatively low price, which is advantageous for local people [2]. Moreover, they are of high mechanical characteristics which make them to be utilized as structural materials. In Africa and particularly in Burkina Faso, craft industry turns to profit these properties in the recycling of aluminum alloys for kitchen utensils manufacturing; the raw material used in this field is made of combined or non-aluminum waste, from old car spare parts, beverage cans and tins [3]. Manufacture techniques remain empirical and recycled aluminum alloys are not homogeneous. Corrosion phenomena is favored when utensils are used for food cooking at high temperature or for long cooking time and when acidic or alkaline food are stocked in these same containers for long time [4, 5]. The humidity, the high temperature, and the cooking times are factors which favor the metallic materials corrosion, from which some of the component elements of the corroded material get through the surrounding aqueous media. Despite the numerous studies related to aluminum and their alloys corrosion, few scientific, strict and comprehensive studies on the behavior to corrosion, recycled allows in the craft industry have been conducted. The objective of this work was to study the corrosion behavior of a recycled aluminum alloy collected in the city of Ouagadougou (Burkina Faso) in various culinary media and to evaluate the anti-corrosion effect in these media. This study was carried out by the use of an electrochemical technique: electrochemical impedance spectroscopy (EIS).
The chemical composition of the recycled aluminum alloy is shown in Table 1 [6]. Before each measurement, the aluminum allow surface preparation of these discs for electrochemical tests was the following: the discs were first ground with 400 through 4000 grit SiC papers and then polished with diamond down to 6 μm and followed by 1 μm alumina – 30% chrome oxide suspension, and finishing with 5% oxalic acid solution. Later, each polished sample was rinsed with acetone and put in an ultrasonic cleaner for 10 min. Subsequently, it was rinsed with milliQ water (with a conductivity of 0.7 μs/cm) and ethyl alcohol and finally dried under a hot air flow. The contact area with the culinary media is 3.46 cm2.
Chemical elements | Al | Si | Fe | Cu | Zn | Mg | Cl | Mn | P | Pb | Remainder |
Wt. % | 82.8 | 12.76 | 0.76 | 1.21 | 1.27 | 0.48 | 0.19 | 0.27 | 0.22 | 0.01 | 0.03 |
Chemical composition of the recycled aluminum alloy determined by X-ray fluorescent technique.
To simulate similar Burkina Faso operation, the testing media was local culinary media whose composition is given below. The media used in this study are: salt water (WS) titrated at 3 g·L−1 and broken rice (WR) in tap water (5 g of broken rice in 250 ml water) reserve for local consumption. The selection is made based on the fact that rice is the most consumed cereal in Burkina Faso. In this country, the people consume on the average once daily prepared with vegetables, fish, and meats. These media were chosen to simulate a cooking process similar to that of Burkina Faso. All electrochemical measurements were performed in five replicates for each cooking media and show a reproducibility up to around 3–9%. Before each test, we assure that all the electrodes are submerged in the media, at the same depth in the electrochemical cell. As the cooking is most of the time performed at a hot temperature, the media were tested at boiling temperature (100°C) in order to simulate the real cooking conditions [7, 8].
Eriochrome Black T is a (3-hydroxy-4-[(1-hydroxy-2-naphthalenyl)azo]-7-nitro-1-naphthalenesulphonic) acid sodium salt, Mordant Black 11. In the presence of colored indicator [9], diluted aluminum in the buffer solution forms a complex which changes at wine-colored. The formed complex is more stable. Acidity of the obtained solution depended on aluminum content. The various measures of aluminum content in culinary media will be done by colorimetric with a spectrophotometer 7315 of JEWAY mark at 560 nm wavelength [10, 11].
Local kitchen utensil samples have been thoroughly washed and rinsed using distilled water then air dried. Each kitchen utensil has been filled out with studied solution WS and WR then heated at boiling temperatures. To compensate evaporation during heating phase, the final volume is adjusted to the end of each operation with distilled water [12].
The loss of aluminum quantity released from two local kitchen utensils was determined by colorimetric dosage to 5 ml sample for each cooking solution. For that it was placed in the graduated flask of 50.0 ml containing 10.0 ml distilled water: 5.0 ml of EBT solution, 20.0 ml of buffer solution acetyl acetic acid (C4H6O3) permit to hold a pH at 6; 1.0 ml ascorbic acid 2% and a volume of solution S0 specified in Table 2 then filled up to the line of gauge with distilled water. After stirring and resting during 20 minutes, samples were analyzed with spectrophotometer. The standard was measured with a solution without aluminum and tally with no absorbance. The concentration of aluminum in the different solution was expressed in mg/L.
Control sample | S2 | S3 | S4 | S5 | S6 | S7 | S8 | S9 | S10 | S11 | S12 | |
---|---|---|---|---|---|---|---|---|---|---|---|---|
Volume of S0 (ml) | 0 | 0.08 | 1.6 | 3.2 | 4 | 5 | 6.25 | 6.5 | 7.5 | 9 | 10 | 12.5 |
Distilled water | 10 | 10 | 10 | 10 | 10 | 10 | 10 | 10 | 10 | 10 | 10 | 10 |
EBT (ml) | 5 | 5 | 5 | 5 | 5 | 5 | 5 | 5 | 5 | 5 | 5 | 5 |
Buffer pH = 6 (ml) | 15 | 15 | 15 | 15 | 15 | 15 | 15 | 15 | 15 | 15 | 15 | 15 |
Ascorbic acid 2% (ml) | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 |
Complete distilled water (ml) | 50 | 50 | 50 | 50 | 50 | 50 | 50 | 50 | 50 | 50 | 50 | 50 |
Al concentration (mg/L) | 0 | 0.016 | 0.032 | 0.64 | 0.8 | 0.1 | 1.25 | 1.3 | 1.5 | 1.8 | 2 | 2.5 |
Composition of standard scale.
Data obtained were analyzed for duration and temperature variations using the Student’s t-test and XLSTAT 7.5.2 statistical software. Mean parameter concentrations were compared according to the Ryan-Einot-Gabriel-Welsch (REGWQ) test.
Electrochemical impedance spectroscopy (EIS) is a well-established quantitative method for the accelerated evaluation of the anti-corrosion performance of protective coatings. Within short testing times, EIS measurements provide reliable data, allowing for the prediction of the long-term performance of the coatings. The result of EIS is the impedance of the electrochemical system as a function of frequency. EIS is a versatile testing procedure and can be performed under different conditions of stress, depending on the performance of the tested coatings. Electrochemical impedance spectroscopy (EIS) is a powerful technique that utilizes a small amplitude, alternating current (AC) signal to probe the impedance characteristics of a cell. The AC signal is scanned over a wide range of frequencies to generate an impedance spectrum for the electrochemical cell under test. EIS differs from direct current (DC) techniques in that it allows the study of capacitive, inductive, and diffusion processes taking place in the electrochemical cell.
The electrochemical measurements were conducted in the Analytical Chemistry and Interfacial Chemistry (CHANI) of the University of Brussels (ULB). The EIS measurements were determined in a three electrodes electrochemical cell containing the culinary media. There are three electrodes – the reference electrode, the auxiliary electrode, and the working electrode. A saturated calomel electrode (SCE) was used as the reference electrode, a platinum metal gate as the auxiliary electrode, and a recycled aluminum alloy as working electrode (WE) made in the laboratory. The EIS measurements were performed with employed Princeton Applied Research potentiostat (model PGSTAT 50). A microcomputer was used for data acquisition. The measurements were carried out after 60 minutes of cooking.
Open-circuit potential, Eoc, changes were measured against a standard saturated calomel electrode placed in the same compartment. The recycled aluminum alloy was immersed in the culinary media exposing a circular area of about 3.46 cm2. A copper wire was soldered at the rear of the electrode which was housed in a glass tube to protect it from the test culinary media. Results of the open circuit potential (Eoc) are shown in Figure 1. In the curve (Figure 1), a rapid increase of the open circuit potential was observed followed by a decrease of the value in the two culinary media. Open-circuit potential was studied for 15 min of cooking in the various culinary media. From the curve, a rapid increase of the open-circuit potentials followed by a decreasing of the value in the two culinary media (salt water at 3 g.L−1 and broken rice) were observed. It can be noticed that these curves vary toward higher values during the first 150 seconds of cooking but after that, an almost decrease of the potential is observed. In this case, we can observe the aluminum passivation tendency which could have many forms: passivation caused by hydroxides which are absorbed at the metal surface, that caused by absorption of the existing components of the two cooking media or their combination.
Open-circuit potential for recycled aluminum alloy in salt water and broken rice.
A comparison of the behavior of recycled alloy in the media (broken rice and salt water) indicated that significantly higher corrosion potential was recorded in the salt water compared to broken rice media. This could be explained by their negative effect susceptible of influencing the passivation during the first minutes of cooking. According to literatures, the presence of chloride ions in study media could compete with media hydroxides ions when absorbed at the surface, allowing a localized corrosion and then a deterioration of the passive film [13]. In order to understand more about the existing behavior for metal/media in the cooking media, a series of curves was set out by electrochemical impedance spectroscopy in the context of comparative study in the different media.
Behavior to corrosion from recycled alloy in the two cooking media simulating a similar process to Burkina Faso cooking habit was studied by electrochemical impedance spectroscopy at 100°C and different cooking times. The frequency ranged from 100 KHz to 100 mHz, and the amplitude was set at 10 mV. Nyquist and Bode plots were used in broken rice media and that of salt water titrated at 3 g.L−1 and up to boiling temperature after various cooking times in an open-circuit. Data acquisition and analysis were performed with microcomputer. The spectra were interpreted using the ZSimpWin program. These measures were performed in five replicates to ensure the results reproducibility.
Measuring electrochemical impedance consists in studying the response of the electrochemical system, due to disturbance which is most often a low amplitude double signal. The strength of this technique is to differentiate the reaction phenomena from their relaxation times. Only quick processes are characterized in high frequencies; when the applied frequency decreases, appears the contribution of slower steps as transport phenomena or solution diffusion. To evaluate the behavior of the passive layer in various culinary media, the sample of aluminum alloy was immersed continuously for 60 minutes (00, 15, 30, and 60 minutes) for broken rice and salt water. During these cooking times, only measurements of impedances have been regularly performed since they do not disturb the system. Nyquist graph (Figures 2 and 3) illustrates the experimental impedance diagrams to corrosion potential obtained from the aluminum alloy in the studied culinary media. Indeed, Figure 3 shows a progressive decrease in the size of the impedance spectrum in a more or less flattened half circle shape, characterizing the formation of the protective layer (alumina Al2O3). This leads to a decrease of the total recycled aluminum resistance with regards to the cooking time. In contrast to the salt water media, the broken rice media (Figure 2) show an increase in the spectra size, confirming the sample resistance of the media [14]. We find a phase difference with respect to axis of real (Figures 2 and 3), which may be explained by the surface none-homogeneity. However, for a better correlation between the experimental data and simulation, we introduced into the procedure for calculating a constant phase element and the surface none-homogeneity is realized through this constant phase element as follows (Eq. 1) [15, 16, 17, 18].
Nyquist plots for recycled aluminum alloy tested in broken rice media.
Nyquist plots for recycled aluminum alloy tested in salt water media.
Despite a constant phase element being utilized for data fitting instead of an ideal capacitor, since n values obtained from data fitting were in the range from 0.85 to 0.95, the value obtained from data fitting was taken as the capacitance (Eq. (1)).
ZCPE = the impedance of the CPE;
CPE: constant phase element.
C = the capacitance associated to an ideal capacitor;
j = the complex imaginary number;
ω = the angular frequency and
When n = 1, CPE is an ideal capacitor (Eq. (2)) [19, 20].
Zdc = double layer capacitance.
A true capacitive behavior is rarely obtained. The n values close to 1 represent the deviation from the ideal capacitive behavior [21].
The best simulation is obtained from the use of equivalent circuit proposed for metal/electrolyte interface and illustrated in Figure 4. This equivalent circuit was proposed by Zhang et al. [9] to describe the bi-layer oxide film formed on aluminum and aluminum corrosion aqueous media.
Equivalent circuit to aluminum alloy in the cooking food of Burkina Faso.
This circuit is valid for all determinations. In the equivalent circuit, R is the salt water and the broken rice resistance, R1 is the resistance to polarization, C is the corresponding capacity to the dense oxide layer, R2 is the resistance in porous oxide position, and Q is the corresponding component of the constant phase to porous oxide positions. The results of the parameters in the equivalent circuit are shown in Table 3.
Media | Times | R | C | R1 | Q | n | R2 |
---|---|---|---|---|---|---|---|
(min) | kΩ·cm2 | F·cm−2 | kΩ·cm2 | S sn·cm−2 | kΩ·cm2 | ||
Broken rice | 0 | 0.697 | 0.0017 | 0.3480 | 0.0048 | 0.73 | 75.4 |
15 | 1.81.10-8 | 1.72.10-5 | 0.4830 | 0.0053 | 0.78 | 196.8 | |
30 | 3.21.10-8 | 1.53.10-5 | 0.5364 | 0.0060 | 0.76 | 223.8 | |
60 | 1.96.10-6 | 9.14.10-6 | 0.3061 | 0.0015 | 0.87 | 259.2 | |
Salt water | 0 | 6.70.10-11 | 1.41.10-5 | 0.4474 | 0.0426 | 0.80 | 330.9 |
15 | 2.30.10-7 | 2.04.10-5 | 0.5586 | 0.0080 | 0.74 | 155.9 | |
30 | 2.40.10-8 | 1.53.10-5 | 0.5366 | 0.0060 | 0.76 | 222.3 | |
60 | 2.89.10-7 | 1.58.10-5 | 0.6573 | 0.0105 | 0.66 | 152.8 |
Electrical parameters of equivalent circuit obtained by fitting the experimental results of EIS tests.
R, solution resistor; R1, polarization resistance; R2, oxide pore resistance; Q , constant phase; C, coating capacitance.
For the recycled aluminum alloy, different resistivity profiles in both media, regardless of the cooking time are observed as the impedance diagrams vary with the immersion time (Figures 5 and 6). It shows that parameters in the salt water media decrease in contrast to those in broken rice media for different cooking times up to 60 minutes. This behavior may be associated with physicochemical variations which occurred in the oxide film (alumina) during cooking in the salt water media (penetration of the electrolyte into the oxide layer and hydration of alumina) containing chloride ions. Comparison of the curves (Figures 5 and 6) clearly shows that resistivities in the layer alumina developed on the alloy recycled aluminum are higher in the broken rice media than those in the salt water. This could be explained by the presence of a more homogeneous and dense layer for the recycled aluminum in the media and also that of chloride ions in the salt water. Because, the behavior of interface/media is completely different with the latter. The overall behavior is reflected in the impedance diagram by a decrease in size of the capacitive phenomenon. This can be explained by the weakening and destruction of a film which is likely to be developed on the surface of the studied alloy allowing disappearance of the distribution phenomenon and the decrease of the resistance. These differences may be explained by the oxide layer composition developed on the alloy which is influenced by the chemical composition of material solid media and by the chemical composition of the intermetallic particles [22, 23, 24].
Bode plots spectra for recycled aluminum alloy tested in broken rice media.
Bode plots spectra for recycled aluminum alloy tested in salt water media.
In conclusion, resistivity profiles obtained for recycled aluminum alloy showed that the oxide layer developed is less protective in the salt water media than the broken rice. This result would be bound to the zinc presence which would return this less resistant system [25, 26, 27]. The negative effect of chlorides in the salt water media are presented in Table 3. This result was translated by the decrease in the polarization resistance. There also appeared an increase in the capacity associated with the polarization resistance. This increase may reflect the dissolution of the recycled alloy in the salt water media. The polarization resistance stands for the sum of the dense oxide layer resistance and that of the two cooking media (salt water and broken rice) [28]. In this case, R2 is much larger than R1, therefore, it can be considered as the polarization resistance. Table 3 illustrated the simulation parameters. It shows that the polarization resistance increases gradually with the increased cooking time up to 60 minutes for media broken rice while for the salt water media, a decrease is observed followed by a slight increase. Highest values of the polarization resistance in broken rice media as compared to the salt water can be explained partly by the chemical composition of the recycled alloy capable of modifying the physical and chemical properties of the oxide layer into more or less noble depending on the studied media, and second, by the resistance of the charge transfer (R) which is not identical for both media. Figure 7 indicated a clear difference between the polarization resistance values from the two cooking media.
Polarization resistance according to cooking times.
Observation Figure 7 curves show that the sample from the broken rice media is less corroded than that from the salt water media. This confirmed the destructive effect of the salt water media on our sample [29, 30].
Aluminum content released after 30 and 60 minutes in various cooking media is given in Table 4.
Sample | Times (min) | WS | WR | ||
---|---|---|---|---|---|
D | 25°C | 100°C | 25°C | 100°C | |
1440 | 5,84i | 5.24j | |||
15 | 57.85h | 52.39g | |||
30 | 62.78e | 56.82d | |||
60 | 70.78a | 64.24a | |||
ddl | 3 | 3 | |||
Probability | <0.0001 | <0.0001 | |||
Manning | HS | HS |
Aluminum content measured in various cooking media of sample D after different contact times at room temperature (25°C) and at boiling temperature.
Results are means of 3 replications; HS = high significant. Test Ryan-Einot-Gabriel-Welsch (REGWQ), the difference is not significant between values added by the same letter in the same line.
The same absorbance measured 30 and 60 minutes of cooking duration in the media WS (titrated at 3 g.L-1 of salt) has given more important result in the other media (WR) of study. The high quantity of aluminum in this media has been probably linked to the presence of chloride ion and also to environmental pH. This result is according to the study conducted by Bommersbach and Duggan [31, 32]. Similar increase of aluminum loss with the increase of alcohol-free drinks acidity package in the aluminum bottle. These contents are very comparable with those got using tape water, concentrated tomato, and media WR in the same conditions. Other minerals in the tape water added to chloride ion have a significant influence on aluminum leaching with local kitchen utensils. For media WR important contents of aluminum had been lost in the cooking media after 30–60 minutes in the four local kitchen utensils. These results are similar to those decrypted by some authors [33, 34], in cooking breaking rice (WR) found to be not aggressive operation for sample containing more silicon. Studies showed that concentrated tomatoes caused more effect on cooking utensils [35]. Acidity of this product is so probability equivalent to those of fresh tomatoes, that is surely again a consequence of their origin and mode of production. Contributions of water at room temperature and tomato are so low that aluminum quantities swallowed and are relatively independent form the proportion of rice water. But, toxicity norm by some authors [26, 36] do state of acceptable daily dose to 1 mg by kilogram of body weight for human. This dose is a maximal tolerable quantity by human organism above which aluminum became toxic for him [22, 37]. This simplified outcome showed that we are far from the critical threshold for which human health is in danger. From this study, we can conclude that kitchen cooking utensils in Burkina Faso have not involved in particular toxicological danger.
This study contributed to the characterization by electrochemical impedance spectroscopy of the local kitchen utensils used for cooking. From this study, we conclude that variations of the impedance spectra in Niquist Z diagram based on the cooking time confirms the development of a protective oxide layer (alumina) of this alloys in electrochemical tests, resulting in an increase of the polarization resistance jointly with a decrease in the capacity of the double layer. Electrochemical tests showed a good efficacy of the sample in the broken rice media and having a good resistance to corrosion comparatively to salt water media. The low resistance to corrosion of sample in the salt water media is certainly caused by chloride ions. Susceptibility to corrosion by pitting has been confirmed by the method of electrochemical impedance spectroscopy.
Analysis of two local kitchen utensils with known composition and with various cooking media frequently used in Burkina Faso showed that aluminum content released increases with temperature influence, cooking time, and media. However, insignificant values of aluminum concentration released at room temperature in all solution are may be caused by the short stocking time, may be a decreasing of stocking temperature or another factor not deal with in this study. This study permits to update literature data and must support agribusiness and socio-economic interest of local kitchen utensils made in Burkina Faso according to the area. As precaution to take for limit risk of aluminum migration in foods:
Avoid using spoil kitchen utensils, aluminum migrate more easily when kitchen utensils are worn;
Avoid cooking or preserving food in kitchen utensil in aluminum. Food will absorb more aluminum if it is cooked or preserved in kitchen utensil (pan, leaf,…) made in this material;
Avoid cooking vegetable or acid foods as tomatoes, citrus fruit in aluminum utensil, products absorb more easily this material.
The lead author is grateful to the Academy of Research and Higher Education (ARES) for providing funds for her PhD study. He is also grateful to Professor Jean Boukari Legma, the CHANI laboratory of Belgium and the staff of the Burkina Faso Institute of Environment and Agronomic Research (INERA) for the laboratory assistant who contributed a lot to the success of the study during data collection and analyses.
If the events of the first half of 2020 have taught us nothing else, it is that we are in the midst of an era defined by change. From a global pandemic, to battles for civil equality, to catastrophic climate change, to ongoing political upheaval around the world, we are living in a time in which efforts to simply “maintain the status quo” are not only inefficient, but deadly to any organization or institution. The need to be able to adapt and innovate is paramount in this New Industrial Revolution - one that has heralded in an innovation economy, driven by and built in response to the change around us.
\nIt is in this era that students are persevering to obtain an education, and their instructors are persevering to provide it to them. If the grandparents of yesteryear spoke hyperbolically of their “walk to school that was uphill both ways,” today’s students certainly will have a similar tale to tell – but one devoid of hyperbole – of the uphill battle they and all the members of their schools and universities fought to keep educational goals on track in a world that was in a constant state of flux.
\nIn this uncertain world, students need creative thinking more than ever before - and it is this particularly salient life skill that is lacking in our educational system. Despite the fact that creativity has been named one of the top-10 skills necessary for success in the twenty-first century [1], the current education system in the developed world stifles creativity through its focus on convergent thinking and standardized testing [2, 3, 4]. As this position is already widely supported, this chapter focuses on making a case for teaching creatively and creativity in higher education, with a specific focus on a significant barrier that stands in the way of enhanced levels of creative education. We maintain that a stigma exists in association with creativity, and that until this stigma is called out and addressed, higher education will continue to fall short of providing this essential twenty-first century skill to its students.
\nThe perception of creativity by laypeople is explored in this chapter by way of the Adaptor-Innovator theory of creativity, and the implicit and explicit theories of creativity. The stigma toward creativity in education is examined through the lens of the social psychology of the construction of stigma and is supported through seminal and current research in the field of creativity studies. The paper will conclude with proposed antidotes to address and fight this stigma.
\nThere is a dearth of research on factors that influence teachers’ beliefs about creativity [3], as well as on attitudes toward creativity in higher education, specifically. The ultimate goal of this current chapter, therefore, is to lay the foundation for future research to explore in more depth to what extent this stigma exists specifically in higher education and isolate and clarify the cause(s) of that specific stigma.
\nThe focus on creativity in education in the Western hemisphere became a key area of concern following the successful launch of Sputnik by the former U.S.S.R. in 1957. The failure of engineers from the United States and other Western countries to beat the former Soviet Union in the Space Race was largely attributed to a lack of creativity. Creativity would subsequently be deemed by the U.S. Committee on Education and Labor as essential for “prosperity [and] survival of society” ([5], p. 166).
\nCreativity field experts, including Csikszenthihalyi, Guilford, Parnes, and Treffinger, influenced the shift in formal education from “knowledge acquisition” [6] to teaching children how to “deal with ambiguous problems, coping with the fast-changing world and facing an uncertain future” ([5], p. 166) [7].
\nBut what is creativity, and what is its role in education? In an article published in the Creativity Research Journal, Runco and Jaeger sought to pinpoint the origin of what might be considered the standard definition of creativity as that which “requires both originality and effectiveness” ([8], p. 92). To that end, Runco and Jaeger concluded that, while a definition of originality used by Barron in 1955 comes close to addressing both of these constructs, the definition of the concept of creativity, specifically, put forth by Morris Stein in 1953 seems to both originate and best encapsulate this two-part concept. Stein’s definition of creativity, and its intersection with both culture and education, merit further examination.
\nIn 1953, Stein defined creativity thus: “The creative work is a novel work that is accepted as tenable or useful or satisfying by a group in some point in time” ([9], p. 311). He goes on to explicate that novelty indicates something that did not previously exist; that while it might be the end result of a new combination of previously existing things, the final product is something that contains some new element or elements. As to tenable or useful or satisfying, Stein explains that the creative product must be communicated to others and validated by those others through some effective communicative means with consideration of the audience’s perspective. In explaining acceptance by a group, Stein states that the creative product must ultimately resonate with the feelings, needs, or experiences of the group. This acceptance might lead to the polishing of the product based on the feedback of that group, thus further refining the product to better fit the people for whom it was intended.
\nIn this same seminal piece, Stein also explores the important role that culture plays in the fostering and acceptance of creativity - a point that resonates with the current topic of acceptance of creativity within higher education: “Attention must also be directed,” Stein states, “to the broader aspects of education. For example, does the culture tolerate deviation from the traditional, the status quo, or does it insist upon conformity, whether in politics, science, or at school? Does the culture permit the individual to seek new experiences on his own, or do the bearers of culture (parents, teachers, and so on) ‘spoon-feed’ the young so that they constantly find ready-made solutions available to them as they come upon a situation that is lacking in closure ([9], p. 319)?” It is this critical connection between importance of creativity and the tolerance toward creativity shown within a culture - Stein specifically calls out schools as an important part of that formative culture here - that is still in need of attention, still in need of reform, and must, once and for all, be finally addressed and changed, well over a half-century since Stein put forth this claim.
\nThere is an interesting pattern that arises in subsequent definitions of creativity. Creativity is specifically referred to as an ability. Creativity is defined as “the ability to bring new and valuable things into being” ([10], p. 17), “…the ability to generate new ideas and to apply them in practice” ([11], p. 136) and “the ability to see what isn’t there, to recognize its power, and to make that power manifest” [12]. Thus, as creativity is an ability, one can ascertain that creativity can be taught, a position well-supported by previous literature pertaining to successful implementation of creative training procedures in organizational settings (e.g. [13, 14]) and in higher education (e.g. [15]).
\nIn Bloom’s revised taxonomy, Create is considered the highest order of thinking, defined as “Putting elements together to form a novel, coherent whole or make an original product” ([16], p. 215). Thus, one can also claim that not only can creativity be taught, but that it must be taught, as to create is to reach the highest order of human thought. But how essential is this skill to students? Should creativity be added into curricula at the transdisciplinary level?
\nA recent study by van Broekhoven, Cropley, and Seegers explored the nature of creativity in students in the arts versus those in science, technology, engineering, and mathematics (STEM) courses. They surveyed 2,277 German university students and found that high openness, high Creative Self-Efficacy, and strong proficiency in divergent thinking are “general prerequisites for creativity” across all domains. The researchers call for educators from kindergarten through university to recognize that creativity should be both understood as, and taught as, a core competency - creativity is an essential skill that is transdisciplinary [17].
\nAll students - in art, science, technology, engineering, and mathematics - not only have the potential to be creative, but must have this innate predisposition enhanced to ensure success in their own disciplines, and prepare them for success in their careers and lives beyond university.
\nThe role of higher education is to prepare students for future success. Today’s world can be best described by an acronym used in pedagogy by the U.S. Army War College since the late 1980s: VUCA [18]. VUCA stands for Volatile, Uncertain, Complex, and Ambiguous, and describes the type of environment in which students should be prepared to survive – and thrive – after graduation. Even before the events of the first half of 2020, the world in which today’s university graduates find themselves is surely a VUCA one – with the rate at which information becomes outdated (Volatility) [19], the types of jobs available in the future – many of which have not even been invented yet (Uncertainty) [20], the current economic climate (Complexity) [21], and the role that mass digitization is playing on everything from employment to mass communication (Ambiguity) [22].
\nTo highlight the nature of our rapidly evolving world, the 2018 World Economic Forum charts the skills on the rise and on the decline in the workplace. By 2022, the top 10 skills that will be in demand include the following [1]:
Analytical thinking and innovation
Active learning and learning strategies
Creativity, originality, and initiative
Technology design and programming
Critical thinking and analysis
Complex problem-solving
Leadership and social influence
Emotional intelligence
Reasoning, problem-solving, and ideation
Systems analysis and evaluation
This list highlights the importance of creativity. Not only is it explicitly referenced as the third item on this list, but the skills inherent to creativity and creative problem-solving (i.e. analytical thinking, innovation, active learning, critical thinking, complex problem-solving, leadership, social influence, emotional intelligence, reasoning, ideation) appear throughout the entire list. Creativity is the driving force of innovation in our VUCA world. Our educational system, however, seems to be woefully lagging behind in fostering the creativity-relevant skills so necessary for success in today’s workplace.
\nDespite creativity’s necessary place in education, it is missing from curricula and practice. Moreover, a strange series of stereotypes and misconceptions can be spotted when the word creativity is evoked in everyday parlance. In order to explore this creativity stigma, we must delve into these stereotypes. To that end, we must first examine the concepts of creative style, and then implicit and explicit theories of creativity.
\nIn the late 1970s, Kirton put forth a theory and an assessment by which one’s creative style could be assessed, rather than one’s creativity level. With the Adaption-Innovation Theory, Kirton proposes that individuals fall somewhere within a continuum of creative styles that range between adaptive and innovative, which can be measured by the Kirton Adaption-Innovation (KAI) Inventory [23].\n
\nHighly adaptive people (“Adaptors”) are primarily concerned with making improvements to ideas or processes that fit within the confines of the parameters already set in place within their organizations. They are likely to try to solve rather than seek problems. They tend to challenge rules cautiously, and usually only when backed by others. Highly innovative people (“Innovators”), on the other hand, are concerned with making improvements to ideas or processes by removing those ideas or processes from the confines of the previously established organizational conventions, and then proposing solutions that completely reconceptualize the idea. They tend to discover both problems and unique solutions, and often challenge rules at the expense of previously held traditions [23].
\nAccording to Kirton, in traditional workplaces, Adaptors’ solutions to problems are more readily accepted as they already fit within a familiar framework, whereas Innovators’ solutions face more opposition, as they seem to “come out of left field,” and thus tend to be seen as more disruptive to the organization’s cultural norms. Kirton makes the well-documented claim that “organizations in general, and especially organizations which are large in size and budget, have a tendency to encourage bureaucracy and adaptation in order to minimize risk” ([23], p. 140). This skew toward adaptation tends to lessen based on the type of industry. Research and development, and occupations that act as interfaces between client and stakeholder tend to lean more toward innovative approaches [23].
\nFrom the Adaption-Innovation Theory stems a body of research aimed at exploring laypersons’ perceptions toward Adaptors and Innovators within work environments, particularly as those attitudes pertain to creative problem solving. This line of research has illuminated the phenomenon that laypersons have a bias toward perceiving an “innovative” person as being more creative than an “adaptive” person. Thus, this bias reveals how creativity is perceived by laypersons – as discordant; as bucking the system; as disruptive.
\nImplicit theories, in general terms, are a result of the constellation of observations gathered by laypersons as driven by their own perception of the world. Explicit theories, by contrast, are a result of empirical study and scientific observation. Thus, implicit theories of creativity are those influenced by how “the public” view creativity. Explicit theories of creativity are those driven by academic research. Research patterns indicate that implicit theories of creativity – laypeople’s idea of what a “creative person” looks like – are very much in keeping with the description of the Innovator as outlined by Kirton [24]. The findings from a series of studies across a range of cultures generally support this claim.
\nA 2000 study presented 188 American participants with two different lists of characteristics, labeled “Person A” (whose list was populated with Adaptor traits) and “Person B” (whose list was populated with Innovator traits; the Person A and Person B lists were randomized to prevent an order effect; that is to say, in some cases Person A reflected the innovative qualities and Person B the adaptive characteristics). Survey respondents were asked to rate the creativity of both persons on a 10-point scale ranging from 1 (not at all creative) to 10 (exceptionally creative). Results revealed that the participants judged the “person” with Innovator traits as being significantly more creative than the “person” with the Adaptor traits. Research participants also completed the KAI and it was found that those with an innovative preference showed an even stronger bias in judging the Innovative style as being more creative [25, 26].
\nIn an ensuing 2003 study, 128 Argentinian participants took a similar measure, in which a person is described with Innovator traits and another person is described with Adaptor traits, and then were asked to supply words that they associated with creativity. The findings of this study indicated that not only did Argentinian laypeople perceive the Innovator persona to be more creative, but that the words they associated with creativity included “Imagination,” “Intelligence,” “Ingenious,” “Innovation,” “Solves problems,” “Inventor” and “Looks for solutions” ([27], p. 57).
\nA 2014 study compared 139 laypeople from the U.S. and 384 laypeople from the main ethnic groups in Singapore (defined by the researchers as Chinese, Indian, and Malay). Using the same measure described previously, results indicated that Kirton’s Innovators were rated as being more creative than Adaptors, and words common across both groups associated with creativity were “think outside the box,” “new,” “innovative,” “unusual,” and “different” ([28], p. 227).
\nA study with contradictory findings still sheds light on the implicit and explicit theories of creativity. In a study of 201 Saudi Arabian laypeople, participants used the same instrument - they were presented with Kirton’s description of the Adaptor as one persona and the Innovator as a second persona and were asked to rate each style with respect to creativity level, and then provide words they associated with creativity. For the purpose of this study, the instrument was translated (and back-translated) from English to Arabic. Surprisingly, the results of this study showed that Adaptors were rated more creative than Innovators. However, words most frequently associated with creativity included “Innovative [emphasis ours],” “distinguished,” “development,” “novelty,” and “discovery” ([29], p. 12), indicating a possible cultural difference between the conceptualization of creativity between Saudis and Argentinians, Americans, and Singaporeans. Yet, in the discussion of this study, the researcher posited how the highly conforming nature of Saudi family and school life might have influenced the results, indicating that “the characteristics and behavior of innovative person[s] based on Kirton’s description are not welcomed [or] encouraged”, thus leading to the description of Innovator as being a less credible person altogether [p. 14]. The researcher goes on to indicate that while the Adaptor was rated more creative, the word “Innovative” was mentioned most frequently in the words participants associated with creativity, thus supporting the notion that the prevailing perception of creativity is that of a person who is, for all intents and purposes, disruptive to the status quo.
\nIn an effort to examine college and university students’ implicit perceptions of creativity, a pilot study was conducted in which 93 undergraduates at a northeastern American liberal arts college were asked “what words do you associate with creativity?” The top five words included art, with 55 occurrences (or some iteration thereof, e.g. artist, artistic), imagination, with 27 occurrences (or iterations including imaginative, imagine), unique, with 16 occurrences, color, with 15 occurrences, and music, with 14 occurrences. Following these words was innovation, with 11 mentions. These preliminary findings suggest further confirmation of the bias toward Innovation in laypeople’s perceptions of creativity, as well as the presence of the art bias [30], in which creativity is equated with artistic talent.
\nFinally, research conducted by Mueller, Melwani, and Goncalo provide important insights. In an article entitled “The Bias Against Creativity: Why People Desire but Reject Creative Ideas,” the results from two studies suggest that when faced with uncertainty, people are likely to harbor an implicit bias against creativity and also judge creative ideas more harshly. Additionally, when unoriginal or “more practical” solutions are readily available, people tend to be less accepting of creative ideas [31]. In a later book, Creative Change: Why We Resist It… How We Can Embrace It, Mueller states that creative change requires comfort with uncertainty. However, because people are hardwired to resist uncertainty, they also resist those disruptive, uncertainty-producing creative ideas, even when they say they want creative ideas. Creative change, Mueller argues, is a learned skill [32]. In the concluding lines of the 2012 study, the researchers put out the call to action that “…the field of creativity may need to shift its current focus from identifying how to generate more creative ideas to identifying how to help innovative institutions recognize and accept creativity [emphasis ours]. Future research should identify factors that mitigate or reverse the bias against creativity” ([31], p. 17).
\nFrom the research explored above, we can make the following assertions. First, Adaptors and Innovators are both creative. Recall that the A-I theory does not assess level of creativity, but style of creativity. Second, traditional organizations are biased in favor of the “adaptive” style of creativity and against the “innovative” style of creativity, as the creative solutions Adaptors offer to problems fit within the predefined paradigms of the organization’s culture. By contrast, Innovators rock the proverbial boat with their creative solutions which seem, to the non-Innovator, to come out of left field, because Innovators seek out problems to solve, or take existing problems out of their predefined framework. Innovators are perceived as being disruptive. Third and finally, when laypeople are asked to define a creative person, their definition is far more closely related to that of the “disruptive” Innovator.
\nTherefore, when laypeople are asked about their attitudes toward creativity, and they are already operating from the assumption that creative people are disruptive, they are likely to be biased against creativity, because they are biased against disruption. Creativity, whether in a conscious or a subconscious way, becomes synonymous with disruption.\n
\nThe hypothesis set forth in this chapter is that fostering creativity as a teaching practice is not implemented with greater intentionality in higher education because a stigma exists toward creativity in the classroom. This stigma is based on creativity’s association with disruptive behavior. To examine this hypothesis further, let us define and explore the construct of social stigma.
\nSince Erving Goffman first explained stigma as the process by which members of society reduce a person in their minds based on some perceived discrediting aspect [33], much effort has been put forth toward the advancement of a deeper understanding of not just what sigma is, but how it is formed. Consider these two definitions of stigma: Stigma is “a characteristic of persons that is contrary to a norm of a social unit” ([34], p. 80) and “stigmatized individuals possess (or are believed to possess) some attribute, or characteristic, that conveys a social identity that is devalued in a particular social context” ([35], p. 505) [36].
\nStangor and Crandall [37] developed a theoretical model that helps explain how stigma develops, involving three major components: (1) function, (2) perception, and (3) social sharing (\nFigure 1\n). While this and related frameworks are usually applied to stigma research in the field of health communication and in sociological arenas, like mental illness stigma [38], AIDS stigma [39], and homelessness stigma [40], this framework is also relevant to the implementation of creativity in higher education.
\nThe role of threat, perceptual distortions, and societal sharing in the development of stigma. Source: Stangor and Crandall ([37], p. 73). Reprinted with permission of Guilford Press.
This chapter will focus on the first stage of stigma formation in Stangor and Crandall’s model: The initial perception of a tangible or symbolic threat. It is this second kind of threat - symbolic threat - that merits closer examination. Symbolic threat is defined as one that comes from violations of values and threats to social order [37], and which involves “perceived group differences in morals, values, standards, beliefs, and attitudes” ([41], p. 25). Symbolic threat is that which “threaten[s] the way in which a group ordains its social, political, or spiritual domains” ([42], p. 26). This threat to social order, or disruptiveness, as it is named in ensuing literature (e.g. [38]), is one that merits further attention as it is the disruptiveness of creativity entering the well-ordered classroom - particularly those classrooms in higher education - that is the root of the stigma currently proposed by the authors of this chapter.
\nWe have established the case by which creativity is equated to the Innovator’s approach to creative problem solving. We see that innovators are inherently perceived as being disruptive. But to what extent do these findings feed a stigma toward creativity in the classroom?
\nIn the introduction to The Incubation Model of Teaching: Going Beyond the Aha!, Torrance and Safter [43] compare the plight of the “great teacher” to that of Jesus Christ, as portrayed in Andrew Lloyd Webber’s dramatization Jesus Christ Superstar. While the authors’ metaphorical comparison of the creative teacher to that of a persecuted religious figurehead juxtaposed with the narrative summary of a 1970s rock opera might seem slightly dramatic and/or superfluous at first glance, many of the parallels Torrance and Safter draw out from this unusual analysis point to the prevalence of stigma toward creative instructor by way of symbolic threat of disruption of the norm, particularly when they state “Those in authority dare not leave them to their own devices” and “They are blamed for letting their followers get out of hand and are held responsible for the independent action of their followers” ([43], p. 2).
\nWhen Torrance and Safter opine that there are not enough “great teachers” in the world, they identify “great teachers” as those who have the following characteristics ([43], p. 1):
Great teachers perform miracles.
They inspire their students… to creative and independent thinking and action which may at times get out of hand.
They are continually in danger of “crucifixion.”
The latter two statements, in which a creatively-led classroom may occasionally get out of hand, and in which the instructor is in danger of literal (or, as is more likely the case in contemporary experience, figurative) crucifixion, speak to stigmatization of creatively-led classrooms as disruptive, and those who lead those classrooms as disruptors deserving of punishment.
\nA review of seminal and contemporary literature concerning perceptions of creativity - in terms of teaching creativity and teaching creatively - in primary, secondary, and higher education provides support for the position that many instructors harbor stigmatizing attitudes toward creativity based on the nature of disruptiveness as the perceived symbolic threat.
\nIn a 2005 study of 36 elementary school teachers, Aljughaiman and Mowrer-Reynolds conducted in-depth interviews with educators that explored the teachers’ attitudes toward creativity, definitions of creativity, and perceptions of creative students. Results revealed that teachers frequently misconstrue what it means to be a gifted high achiever student with what it means to be a creative student. When teachers were asked to describe traits of creative students, they were more likely to describe traits that equated to giftedness rather than creativity. While creative traits such as the ability to come up with novel ideas were correctly identified as traits of creative students, traits more aligned with the concept of Divergence were not identified. Only 26% of the respondents stated that creativity involved imagination and self-expression, and only 9% mentioned inventiveness. Teachers failed to identify curiosity, independence of judgment, and courage as common characteristics of creative students. Aljughaiman and Mowrer-Reynolds conclude, “Students who display the above characteristics often challenge the teachers’ authority, which may cause disturbance to the classroom organization” ([44], p. 29). A “disturbance to the classroom organization” supports the claim that creative students are stigmatized as threatening as they threaten the established norms and practices in a classroom.
\nIn his chapter entitled “Creativity in the Classroom: The Dark Side” in the book The Dark Side of Creativity, Cropley [45] details a paradoxical statement: That educators freely state that creativity is an important skill, but then show a decided dislike toward creativity. He outlines the following proposals as to why instructors harbor a stigmatizing view toward creativity. Namely, creativity:
shakes the foundations of the received classroom order,
brings uncertainty for pupils (and parents),
questions the value of laboriously acquired knowledge and skills,
threatens loss of status and authority for teachers, and
weakens teachers’ self-image ([45], p. 304).
The stigma toward creativity again becomes evident in this list - namely, that creativity is a symbolic threat, and that the threat is in the form of disruption. Cropley further offers support for this concept by summarizing the teachers’ views that creativity poses “a threat to good order and discipline” and that “it is sometimes hard to distinguish between creativity in the classroom and disorderliness or disruptiveness or even sheer willful naughtiness” ([45], p. 306).
\nMarquis and Henderson [46] conducted a study across eight universities in Ontario to determine how instructors perceive and implement the teaching and learning of creativity. The study cites a common theme found within literature on creativity in higher education - that creativity is heralded as an important skill (in Marquis and Henderson’s article, by a 2012 report by the provincial government), but little to no data exist which address how this need is mobilized in the university environment.
\nOne of the factors explored in this study was the influence of instructors’ disciplinary identities on their perception of creativity and its pedagogical modalities. Disciplinary influence on the conceptualization of creativity include the argument of domain specificity (that true creativity within a given field can only be assessed by experts within that field), some may perceive creativity as more pertinent to some fields over others, and finally, that creativity is often affected by the aforementioned “art bias”, through which creativity is fused in its scope with the arts, specifically.
\nThe instrument used in Marquis and Henderson’s study was a digital survey instrument in which the approximately 613 respondents were asked to provide definitions of creativity and to answer questions about the importance of creativity in their disciplines and their strategies for helping students develop their creative abilities. Several interesting findings emerged from this study, chief of which is the definitions of creativity provided by the participants and the overall value placed on creativity.
\nDefinitions were characterized by themes common to the literature including producing something novel and thinking outside the box. Some participants indicated that their definitions were only relevant to their particular discipline, believing that definitions of creativity would vary widely based on academic field.
\nWhile both the overall importance of creativity and the responsibility to foster students’ creativity were nearly universally rated as “important,” some respondents from the STEM fields indicated that they had a difficult time envisioning the role of creativity within their fields, basing these statements on the assumption that creativity was about developing something entirely new, a point that speaks to the bias toward innovators over adaptors in the research previously described. Marquis and Henderson also found that creativity was infrequently named in official learning outcomes in courses and programs across the disciplines examined. One of the most significantly cited barriers toward implementing creativity education into their respective curricula was not having sufficient time [46].
\nBanaji, Cranmer, and Perrotta [47] conducted interviews of 81 educational stakeholders within European schools in an endeavor to uncover the barriers toward creativity implementation within the school system. They provide further support for this hypothesis in describing how the notion of “disciplinarian classroom environments” is passed on through generations of educational trainers to trainees, promoting an environment in which nonconformity is punished. Banaji, Cranmer, and Perrotta provide further evidence in stating that “some teachers’ fear of losing control of the discipline in classes – linked to a lack of confidence in their own classroom management skills – discourages active learning approaches more widely than attempts to nurture creativity” ([47], p. 10). That the perceived disorder of a classroom is linked with teachers’ confidence in their own classroom management abilities is a salient point that is further examined in the next section.
\nIn the literature about social stigma as applied to the field of health communication, top strategies implemented in the fight against social stigma include “education and teaching,” and “normalizing” (e.g. [48, 49]). Therefore, it is logical to believe that we might reduce the symbolic threat-based stigma of the perception of creativity in the classroom as disruptive through these same means - creativity training and creativity normalization.
\nIn their 2018 meta-analysis of 53 contemporary studies examining teachers’ beliefs about creativity and its nature, authors Bereczki and Kárpáti [3] concluded that teachers’ beliefs toward creativity-fostering practices would be dramatically improved through gaining professional competency in teaching for creativity. Thus, one might extrapolate that the importance of implementation of creativity training among educators in the college and university setting cannot be ignored.
\nConsider Sheridan College in Ontario, Canada as an example. Around 2012, Sheridan College, formerly known as the Sheridan College Institute of Technology and Learning, set the goal of becoming a fully creative campus. Sheridan operationalized this goal by infusing creativity into their discipline-based courses, as well as offering courses fully centered on the subject of creativity. Sheridan also created a series of intensive professional development workshops on building creative thinking and creative problem solving into course learning outcomes, Creative Problem Solving, small group facilitation, and creativity training. Finally, Sheridan sought to infuse creative thinking and creative problem solving strategies and tactics into the college’s day-to-day operations. These efforts have seen great success. Over 3,000 students have enrolled in a general elective course called “Creative Thinking: Theory and Practice.” Well over 6,500 students have taken at least one of the five courses in a 5-course undergraduate certificate in creativity, with 200 students having completed the full certificate. And more than 300 faculty and administrators have taken part in the creativity professional development workshops [50]. Sheridan College serves as an exemplary case study in internalizing and operationalizing creativity at an institutional level. For two more case studies on universities that have successfully internalized creativity at this level, see Universidad Autónoma de Bucaramanga, Colombia, the first fully creative campus in Latin America, and the International Center for Studies in Creativity at SUNY Buffalo State [51].
\nAs stated in Puccio and Lohiser [51], “There should be creativity courses, creativity content, and creativity professors at every university and college in the world” ([51], p. 26). The increase in competence in teaching creatively would thus not only mechanize the implementation of creativity in the classroom, but would also serve to increase instructors’ confidence in their own abilities to foster creativity in an intentional manner, which in turn will likely reduce the stigma of creativity resulting in disorder and disruption.
\nIt is our belief that the very act of training instructors in how to efficiently and effectively mobilize creativity as a pedagogical tool will initiate a normalization process. A red thread that runs through the courses at the Creativity and Change Leadership Department (formerly the International Center for Studies in Creativity) at SUNY Buffalo State is that its students should embrace creativity in every facet of their lives. Graduates should be so comfortable with the creative process that it becomes a way of life, rather than simply serving as a tool one produces from a toolbox and then files neatly away when a task is completed. Anecdotal evidence collected through interactions with peers in the program, and even the friends, family members, and colleagues of those peers suggests that the training in creativity functions as a deeply rooted normalization process that spreads, social-contagion style, through daily lexicon and routine behavior. Moreover, recent research has shown that the impact of the creativity curriculum taught at SUNY Buffalo State significantly improves creative attitudes [52] and shows long-lasting effects on divergent-thinking abilities [14]. If critical creativity components, including the Thinking Skills Model of Creative Problem Solving [53], The FourSight Model [54], and the Torrance Incubation Model of teaching [43], can be trained and taught to educators as prolifically as possible, it is quite likely that creativity will become a more normalized phenomenon within education, and thus will gradually be freed from stigma.
\nCreativity, as suggested by the scholars cited thus far, can be considered an attitude, a belief, and a behavior. One could go so far as to say that creativity is not a linear activity; rather, creativity is an interactive lifestyle. The first program in the world dedicated exclusively to the science of creativity at the graduate level, the Creativity and Change Leadership Department, was founded by Ruth Noller, Alex Osborn, and Sidney Parnes in 1967 at SUNY Buffalo State. This Department’s core mission is “To Ignite Creativity Around the World.” The creativity as lifestyle tenet is one perpetuated by the faculty, staff, and alumni within this program, many of whom are or go on to become educators. The overarching belief inherent to this academic department is that students do not merely obtain a certification or a degree, but rather, adopt philosophies that allow them to lead a creative lifestyle characterized by strong leadership and change advocacy.
\nThis philosophy of embracing creativity as a lifestyle can be analyzed through the lens of the Theory of Reasoned Action [55] and can be used as a model through which to enact the societal change necessary to overcome the stigma toward creativity in higher education.
\nThe Theory of Reasoned Action, developed by Martin Fishbein and Icek Ajzen in 1967, charts the process by which attitudes inform beliefs, which influence individuals’ intent to act, which then serve to rejuvenate the cycle through informed knowledge [55]. \nFigure 2\n shows an adapted model of this theory that has been structured by the authors of this chapter to serve as a lens through which to mobilize a deliberate approach toward combating stigma toward creativity in higher education.
\nTheory of reasoned action adapted to the intention to adopt creativity in higher education.
This modified model of the Theory of Reasoned Action shows that individuals’ beliefs about the consequences of creativity directly influence their attitudes towardcreativity. The normative beliefs held within a society will directly influence that society’s subjective norms concerning creativity. As previously stated by Stein [9], the surrounding culture and educational institutions within that culture are critical to the extent to which deliberate creativity is allowed to be fostered. Both the individual’s attitude toward creativity and the societal norms concerning creativity will in turn influence a person’s intention to embrace creativity. This intention, finally, will directly influence the likelihood of that individual embracing creativity. The action of embracing creativity ultimately provides experiential feedback that helps foster or reframe the beliefs about the consequences of creativity (the individual might consider “how was my creative action received, and would I do it again now that I understand the consequences”) and that same action generates feedback which contributes to the society’s collective normative beliefs about creativity (an individual’s positive or negative outcome of such an action will serve as the basis upon which others form their beliefs about creativity and how it fits within their societal norms).
\nFostering a positive attitude toward creativity in higher education is paramount to its successful application. Creativity, in part, can be considered an attitude, or mindset. Fostering deeply-held positive beliefs toward creativity is similarly critical. Quintessentially, creativity also is a belief system, and ultimately, creativity is the product of a culminated set of behaviors, potentially a lifestyle of cultivated actions. These behaviors include seeking opportunities to constructively evolve through Polarity Management [56], which is to say, maintaining the status quo where helpful and, more relevant to the current situation, disrupting the status quo where necessary and seeking opportunities to lead others through and to creativity [57].
\nIf more instructors were to increase their intention to ultimately embrace creativity, this intention will hopefully lead to action, which will in turn provide feedback on a broader normative belief system and subjective societal norm concerning creativity in academia. For every individual who disrupts the status quo of what is arguably a lack of deliberately creative education tactics within higher education, those individuals would contribute positively to developing normative societal and subjective beliefs about creativity.
\nAs stated in the opening of this chapter, the topic of stigma toward creativity explored as it relates to education in a general sense is meant to serve as a springboard for a deeper dive into the realm of higher education. While stigma toward creativity is already documented, few studies exist on the causes of those negative attitudes, or stigmas, toward creativity, and fewer yet exist which explore attitudes toward creativity in higher education, specifically. Therefore, this chapter has served to identify a gap in the current research, particularly that of exploring the communication phenomenon of the relationship between attitude and stigma toward creativity in higher education. More research in this area is necessary so that informed action can be taken toward implementing deliberate creativity education in higher education.
\nA widely accepted tenet of the relationship among these constructs of attitude, behavior, communication, and stigma [58] suggests that stereotypes are born out of natural human habits toward cognitive processing. The reduction of one’s cognitive load through categorization of information can corrupt into binary absolutes and laws (e.g. “all people from X group are alike in this particular way”). These cognitions travel, as it were, to the heart where they stimulate emotional responses (e.g. “That person is from X group toward which I have a negative association, and so I fear him”). The emotion then travels outward to the limbs, where the emotion is made manifest into behavior, becoming discrimination (e.g. “I will not engage with him based on my fear”).
\nThe key, then, to changing individuals’ behavior - to reducing stigma-led discrimination toward creativity as a critical educational subject and critical educational method - lies in changing hearts and minds. Minds must be changed through training and education, and the subsequent normalization might just change hearts. Creativity is a force for innovation. If we do not promote creative thinking in our educational practices, if we do not teach creativity, if we do not teach creatively, we will never realize the true power and promise of this force.
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