

Variability is a measure of how differently something is done. We think of it as a continuum, with high and levels at its extremes.

Reliability (say painting a still-life by number) goes near the low end. Novelty (painting a still-life from life) is nearer to the high end. Differences in variability levels occur between individuals on the same task and between tasks for the same individual. The latter, intrapersonal differences led to the theory that habitual or learned variability levels, like skills, are learned. The term habitual refers to a variability level that someone usually displays in a particular task or domain. The idea is this, along with learning how to do something, you also learn how differently to continue doing it.
We use computer games to test predictions based on this theory. Our past research has shown two things: first, that these levels are acquired early in exposure to new problem or skill areas, and second, how early constraints determine whether an acquired level will be high or low. More recent research involves transfer. We have shown that variability facilitates skill transfer to novel tasks by sensitizing learners to changes in conditions/requirements and how instructions facilitate transfer (by alerting learners to similarity in conditions).
Variability Papers

Creativity appears on our variability continuum under novelty. This is because all creative responses are novel, but not all new ones are creative. To be called creative, the new thing must also be useful or generative or influential. Useful means that it solves a problem; generative, that it leads to other ideas or things; influential, that it changes the way other people do or think about things like it. Our creativity model is based on constraints, and involves what we call solution by substitution. We contend that creativity depends on two things: one is expertise, which means mastering the constraints that define an existing domain (like painting); two is replacing existing constraints with novel ones These substitutions are quite specific. For example, Impressionism began with Monet precluding differences in value and promoting differences in hue.
Our work here is field based. We visit museums, galleries, and studios; read about past painters (architects, composers, etc.) and interview ones currently at work.
Creativity Papers

High variability facilitates learning. Older children are more functionally variable in problem solving than younger ones. Children of the same age who use more strategies acquire new ones faster than those who use fewer. Compared to their peers, gifted children are highly variable. In the area of a gift (or talent), a gifted child will use more strategies (and better ones) than an average child. In art, a gifted child will acquire skills more rapidly and produce more elaborate drawings and paintings than an average child.
Findings like these led to field work 1st, 3rd and 5th graders at the Washington School in Lodi, NJ. First-graders have no difficulty being repetitive: they easily master maze games that require repeating a correct path through the maze. Fifth-graders have no difficulty switching between games that require repeating or varying paths to earn points. Third graders have no difficulty with varying, but do not perform well on mazes that reward repetition. What’s happening in third grade? We’re working on that.
This Fall (2009), a pilot high-variability math pedagogy using a simplified count based on the Japanese and Chinese is being tested with kindergarteners at the same school.
Papers on Children
|
|
|
|

Left to Right: Danielle Cherrick (BC ’04), Alexis Barad (BC ’03), Betty Lai (CC ’03) |
|
 |

Left to Right: Katherine Binder (BC ’07), Jessica Eisenberg (BC ’07), Tracy
Massel (BC ’06), Sheila Shah (BC ’09), Danielle Holtz (BC ’05), Alison Carlis (BC ’06), Odelia Simon (BC ’09). |
|
|

Helen Harrison (BC ‘98) |
|
|

Left to Right: Dani Fisher (BC ’05) Danielle Cherrick (BC’04), Dani Holtz (BC ’05), Alison
Carlis (BC ’06) |
|
|

Left to Right: Fei Fei Zang (CC ’09), Elizabeth Belafonte (CC ’08), Jennifer Schwartz
(BC ’08) |
|
|

Left to Right: Fei Fei Zang (’09), Lea Simon (’09), Elizabeth Belafonte (’08), Jennifer
Schwartz (’08), Katherine Binder (’07), Jessica Eisenberg (’07), Angela Holuba (’09). |
|
|

Clockwise starting at lower left side: Odelia Simon (BC ’09), Jessica Eisenberg (BC 07),
Angela Holuba (’09), Elizabeth Belafonte (CC ’08), Fei Fei Zang (CC ’09),
Jennifer Schwartz (’08), Katherine Binder (’07). |
|
|
| ALEXIS BARAD -- JESSE CUTLER WEDDING '07 |
|
|
| KATHERINE BINDER -- SASHA NEVIDONSKI WEDDING '08
|
|
|
OUTSIDE SARABETH'S SPRING '09
FROM LEFT TO RIGHT: FEI FEI
ZANG (CC '09), ODELIA SIMON (BC '09), ANGELA HOLUBA (BC '09), MADELENA PROVO (BC '12), TIFFANY MITCHELL (CC '11), ZOE JOHNSON (BC '12), AND LINDSAY ORLOV (BC '11). |
|
|
LAB ALUMS, SPRING '09
FROM LEFT TO RIGHT: TRACY MASSEL (BC '06), ALISON CARLIS (BC '06), DANI HOLTZ (BC '05), JESSICA EISENBERG (BC '07), JENN SCHWARTZ (BC 08), DANI FISHER (BC '05), DANIELLE CHERRICK (BC '04). |
|
Back to Top
|
|