Though there are many ways of describing markers of creativity, one of the most persuasive was one of the earliest we encountered: the ability to tolerate ambiguity. It is precisely that ambiguity, valued in the arts for its richness of interpretive possibility, that is perhaps most at risk in the current sector and institutional climate of imposed order. An insistence on a rigidly enforced language of learning outcomes seems to value tidiness and clarity over the excitement and engagement of open-ended exploration. An emerging pedagogical correctness (focusing on easily assessable and quantifiable outcomes) threatens invention and critical questioning as not only an aim for students but also for teachers as part of the task of developing engagement with the culture of a specific discipline.
This paper will, first, explore the idea of tolerance of ambiguity through the history of its critical discussion and relation to notions of metaphor and imagination. It will then look at the history and experience of participants in one specific group exercise designed to address issues of ambiguity, categorization and organisation. This exercise, drawing on the recognition of and imaginative connection between properties of natural objects, has been used widely in a range of educational and developmental settings with sometimes startling and certainly memorable results. It may not always, however, be seen as conforming to current demands for rigid clarity of intentions and learning outcomes, and can raise issues of
the legitimacy of questioning, surprise and hidden agendas as pedagogical strategies and prompts to imaginative leaps. Finally, it will contextualise this discussion by looking in a broader way at the tone of imposed order in pedagogical literature, its application in e-learning methodology, and the ways that it may tend to discourage rather than reinforce cultures of creativity in teaching practice.