This grounded study investigated the negotiation of authorship by faculty members, graduate student mentors, and their undergraduate protégés in undergraduate research experiences at a private research university in the northeastern United States. Semi-structured interviews using complementary scripts were conducted separately with 42 participants over a 3 year period to probe their knowledge and understanding of responsible authorship and publication practices and learn how faculty and students entered into authorship decision-making intended to lead to the publication of peer-reviewed technical papers. (...) Herein the theoretical model for the negotiation of authorship developed through the analysis of these interviews is reported. The model identifies critical causal and intervening conditions responsible for the coping strategies faculty and students employ, which, in our study, appear to often produce unfortunate consequences for all involved. The undergraduate student researchers and their graduate student mentors interviewed in this study exhibited a limited understanding of authorship and the requirements for authorship in their research groups. The power differential between faculty and students, the students’ limited epistemic development, the busy-ness of the faculty, and the faculty’s failure to prioritize authorship have been identified as key factors inhibiting both undergraduate and graduate students from developing a deeper understanding of responsible authorship and publication practices. Implications for graduate education and undergraduate research are discussed, and strategies for helping all students to develop a deeper understanding of authorship are identified. (shrink)

This book presents a new theory of how children acquire language and discusses its implications for a wide range of topics. It explores the roles of innateness and experience in language acquisition, provides further evidence for the theory of Universal Grammar, and shows how linguistic development in children is a driving force behind language shifts and changes.Charles Yang surveys a wide range of errors in children's language and identifies overlooked patterns. He combines these with work in biological evolution in (...) order to develop a model of language acquisition by which to understand the interaction between children's internal linguistic knowledge and their external linguistic experience. He then presents evidence from his own and others' research in the acquisition of syntax and morphology and data from historical language change to test its validity. The model is the first to make quantitative and cross-linguistic predictions about child language. It may also be deployed as a predictive model of language change which, when the evidence is available, could explain why grammars change in a particular direction at a particular time.Knowledge and Learning in Natural Language is a pioneering work at the centre of current concerns in linguistics and cognitive science. It will interest all those concerned to understand and explain language acquisition, Universal Grammar, and language change. (shrink)

. Gaining traction in the profession is the belief that the arts are not educational. The evidence for this comes from epistemological reports. Plato drew a similar conclusion but without the meta-analysis and evidence-based pedagogical research approach that we have today. Epistemological reports state that learning in the arts is ineffective. What is effective and ineffective in teaching is subject to causal proof methodological assessments. Current knowledge-based educational thinking has assessed arts education as uncertain. Presumably, facts about artworks, art (...) practices, art theories, art history, and human experiences that morphologize how arts education is taught have necessarily and accurately been taken into account when determining the arts as unproven. To be examined forthwith are the knowledge capabilities of arts education and the epistemological difficulties we seem to have in evaluating them. (shrink)

The purpose of this article is to present an understanding of knowledge and learning in organisations from pragmatist perspectives. Relying on the work of early pragmatists as well as contemporary pragmatists, we introduce a conceptualisation of knowledge as the outcome of inquiry. Knowledge, in this article, is presented as provisional, multi-perspective, both particular and general. Our point of departure here is that the chief value of knowledge is its usefulness in solving problems. Pragmatist views of (...) class='Hi'>knowledge are further explicated in our discussion of four pragmatist themes, which we have identified as particularly viable on the basis of Jane Addams’ pragmatist view and the practice of democracy in organised life: 1) Knowledge as transactional in organisations, 2) Reciprocity and learning in organisations, 3) Experience-based knowledge and meaning-making in organisations, and 4) Sustainability as an ongoing, democratic process in organisations. In the pragmatist school of thought we draw upon, a predominant issue is always also the very purpose of knowledge, or what we refer to as ‘usefulness’. Under discussion, we argue that a pragmatist understanding of knowledge and learning in organisations allows us to move beyond the polarisation of cognitive-possession — social-process and instead work from an alternative framework, with a focus on processes of learning and knowledge in organisations that aim at integrative, democratic problem solving. (shrink)

How does the visual system recognize images of a novel object after a single observation despite possible variations in the viewpoint of that object relative to the observer? One possibility is comparing the image with a prototype for invariance over a relevant transformation set. However, invariance over rotations has proven difficult to analyze, because it applies to some objects but not others. We propose that the invariant transformations of an object are learned by incorporating prior expectations with real-world evidence. We (...) test this proposal by developing an ideal learner model for learning invariance that predicts better learning of orientation dependence when prior expectations about orientation are weak. This prediction was supported in two behavioral experiments, where participants learned the orientation dependence of novel images using feedback from solving arithmetic problems. (shrink)

Volume 46, Issue 6, November 2020, Page 658-675.

Purpose. The purpose of this study is to investigate how professionals learn from varying experiences with errors in health-care digitalization and develop and use negative knowledge and digital ignorance in efforts to improve digitalized health care. Design/methodology/approach. A two-year qualitative field study was conducted in the context of a public health-care organization working with digital patient communication. The data consisted of participant observation, semistructured interviews and document data. Inductive coding and a theoretically informed generation of themes were applied. Findings. (...) The findings show that both health-care and digital communication professionals learn through experiences with digital “rule-” and “knowledge-based” errors in patient communication and develop negative knowledge and awareness of digital ignorance. In their joint efforts, they use negative knowledge to “bend the rules” and to explore digital ignorance in efforts to improve patient communication. Originality/value. This study provides insight into the importance of collaboration between professionals with varying experience of errors in digitalizing patient communication. Such collaboration is required to acknowledge own shortcomings and create complementary negative knowledge to improve digital patient communication. This is particularly important when working with innovative digitalization in health care. (shrink)

However much the three great traditions of medicine - Galenic, Chinese and Ayurvedic - differed from each other, they had one thing in common: scholarship. The foundational knowledge of each could only be acquired by careful study under teachers relying on ancient texts. Such medical knowledge is special, operating as it does in the realm of the most fundamental human experiences - health, disease, suffering, birth and death - and the credibility of healers is of crucial importance. Because (...) of this, scholarly medical knowledge offers a rich field for the study of different cultural practices in the legitimation of knowledge generally. The contributors to this volume are all specialists in the history or anthropology of these traditions, and their essays range from historical investigations to studies of present-day practices. (shrink)

Generalized probabilistic learning takes place in a black-box where present probabilities lead to future probabilities by way of a hidden learning process. The idea that generalized learning can be partially characterized by saying that it doesn’t foreseeably lead to harmful decisions is explored. It is shown that a martingale principle follows for finite probability spaces.

Case Learning for Teachers: Strategic Knowledge for Professional Experience is a unique resource for Australian pre-service educators that draws on the author's experiences as an education researcher, lecturer and classroom teacher. This textbook uses a case stories approach to support pre-service teachers in developing the skills of observation and reflective practice necessary for professional experience placements and the transition to the classroom. Part 1 introduces the case learning approach and outlines strategies for reading and writing case stories. (...) Part 2 is structured by the Australian Professional Standards for Teachers. The text includes case stories addressing topics like knowing your students, knowing content, planning for teaching, managing behaviour, diverse learners, assessment, and developing professional relationships in the school setting. Integrating threshold concepts and the case-learning model, the innovative approach taken by Case Learning for Teachers makes it an invaluable tool for pre-service teachers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Self-Knowledge and the Limitations of NarrativeJeanette BicknellIn this passage from his Confessions, St. Augustine recounts some youthful shenanigans: "In a garden nearby to our vineyard there was a pear tree.... Late one night—to which hour, according to our pestilential custom, we had kept up our street games, a group of very bad youngsters set out to shake down and rob this tree. We took great loads of fruit (...) from it, not for our own eating, but rather to throw it to the pigs.... Foul was the evil, and I loved it... I loved my fault itself. Base in soul was I...."1Here a mature Augustine looks back on his boyhood self with recrimination and reproach. Stealing pears is not seen as an immature prank but as evidence of a base soul. Yet for all the force and gravity of his words, it is not difficult to imagine a younger Augustine, before his conversion to Christianity, light-heartedly reminiscing with friends about these very same incidents. Of these two stories—the one he tells in the Confessions and the one he might have told—which provides a more accurate portrayal of Augustine's boyhood soul? Which is closer to the truth?Narrative and personal identity would seem to be inextricably bound.2 Telling stories or imposing a narrative coherence on events is one of the main ways in which we make sense of our experience. We also get to know others by listening to their stories, thus learning the narrative coherence they have placed on events in their own lives. Over the course of a lifetime stories may change. Characters first dismissed as "bit players" may gain importance. Gestures or words earlier thought to [End Page 406] be unimportant may, in retrospect, take on greater significance. With time and reflection one's past may be re-interpreted as displaying error, alienation or ignorance. A cataclysmic religious conversion is only one of many factors which might prompt such reflection and reinterpretation. Illness, divorce, and the death of loved ones are other possible causes.Here is my worry: presumably we would like to believe that our "new" stories are improvements on the old, and that they reflect greater self-knowledge, possibly even greater moral awareness. Yet given that any number of possible narratives can make sense of a set of events, how can we determine that any one story or way of understanding the past is better than any other? How are we to distinguish those stories which reflect greater understanding from those which are simply re-descriptions or re-interpretations without greater insight on the part of the individual? We may disagree about particular cases; those with a religious world view are likely to believe that, post-conversion, Augustine is telling the "right" story about the pear theft. However most would concede that some ways of understanding the world are simply less adequate than others—"less adequate" both in the sense of "less reflective of the truth" and "less conducive to good relations with others." Few would defend the worldview of the inveterate racist, for example. The problem of determining whether a story reflects greater understanding and self-understanding is all the more challenging if we take seriously the view that narrative structure is the organizing principle, not only of experiences and actions, but of the very self that experiences and acts.3 How radically must one's personal narratives change before her very identity has also changed?Concerns about the epistemological status of personal narratives bring us up against the limitations of narrative as a tool for understanding persons. Given the under-determination of narrative by events, listening to a person's stories will not be enough to understand her. In this paper I do two things. First, I illustrate some of my worries about the epistemological status of narratives through an examination of Tolstoy's short novel The Kreutzer Sonata. I argue that, despite protestations to the contrary, the protagonist has not acquired greater self-knowledge. He has changed the stories he tells about himself without having understood his past or those around him any better. Then I sketch what a genuine increase in self... (shrink)

Most of us, tacitly or explicitly, embrace a more or less Cartesian conception of our epistemic condition. According to such a conception, "what we have to go on" in learning about the world is, on the one hand, that which is a priori accessible to us, and, on the other, the inner experiences - visual imagery, tactile sensations, recollective episodes and so on - that pop into our Carte- sian theaters. One of the central themes of Knowledge and its (...) Limits is that this picture is fundamentally wrong. Williamson suggests that we should embrace the thesis that our body of evidence at a given time is all and only that which we know. Call this the "E=K thesis." If the E=K thesis is correct, then what we have to go on is both more and less than the Cartesian picture would suggest: more because its domain extends outwards in space, and for- wards and backwards in time; less because that which is unknown about our experiential life is excluded. In what follows, I shall identify and briefly discuss a number of themes connected to the E=K thesis. (shrink)

Most of us, tacitly or explicitly, embrace a more or less Cartesian conception of our epistemic condition. According to such a conception, “what we have to go on”in learning about the world is, on the one hand, that which is a priori accessible to us, and, on the other, the inner experiences—visual imagery, tactile sensations, recollective episodes and so on—that pop into our Cartesian theaters. One of the central themes of Knowledge and its Limits is that this picture is (...) fundamentally wrong. Williamson suggests that we should embrace the thesis that our body of evidence at a given time is all and only that which we know. Call this the “E=K thesis.”If the E=K thesis is correct, then what we have to go on is both more and less than the Cartesian picture would suggest: more because its domain extends outwards in space, and forwards and backwards in time; less because that which is unknown about our experiential life is excluded. In what follows, I shall identify and briefly discuss a number of themes connected to the E=K thesis. (shrink)

Table of Contents: Preface vii Introduction: Philosophy and Operationalism 1 1. "What was Worth Knowing" in 1500 10 2. Humanism and Ancient Wisdom: How to Learn Things in the Sixteenth Century 30 3. The Scholar and the Craftsman: Paracelsus, Gilbert, Bacon 49 4. Mathematics Challenges Philosphy: Galileo, Kepler, and the Surveyors 65 5. Mechanism: Descartes Builds a Universe 80 6. Extra-Curricular Activities: New Homes for Natural Knowledge 101 7. Experiment: How to Learn Things about Nature in the Seventeenth Century (...) 131 8. Cartesians and Newtonians 149 Conclusion: What was Worth Knowing by the Eighteenth Century 168 Notes and References 171 Documentation and Further Reading 181 Dramatis Personae 193 Glossary of Major Terms 197 Index 201. (shrink)

Teaching medical ethics and law has become much more prominent in medical student education, largely as a result of a 1998 consensus statement on such teaching. Ethics is commonly taught at undergraduate level using lectures and small group tutorials, but there is no recognised method for transferring this theoretical knowledge into practice and ward-based learning. This reflective article by a Sheffield university undergraduate medical student describes the value of using a student-selected component to study practical clinical ethics and the (...) use of a clinical ethics checklist. The ethical checklist was proposed by Sokol as a tool for use by medical staff during the ward round to prompt the consideration of important ethical principles in relation to care. This paper describes additional uses for the checklist as a tool for teaching and learning about the practical application of ethical principles and for observing professional behaviours within a critical care and acute care environment. Evidence suggests that putting ethical behaviour into practice offers a far greater challenge to a newly qualified doctor than has been appreciated, and that more needs to be done at an undergraduate level to help combat this. This paper argues from a personal standpoint of an individual student experience that this can best be done in a clinical medical setting. (shrink)

Narrative accounts misrepresent discovery by reconstructing worlds ordered by success rather than the world as explored. Such worlds rarely contain the personal knowledge that informed actual exploration and experiment. This article describes an attempt to recover situated learning in a material environment, tracing the discovery of the first electromagnetic motor by Michael Faraday in September 1821 to show how he modeled new experience and invented procedures to communicate that novelty. The author introduces a notation to map experiment as (...) an active process in a real-world environment and to display the human agency written out of most narratives. Comparing maps of accounts shows how knowledge-construction depends on narrative reconstruction. It is argued that invention processes can be interpreted in the same way as discovery, and a study is proposed to compare packaging learned skills into demonstration devices with the innovative strategies of inventors such as Edison. If situational knowledge is as important as is claimed, computationalists need to join science studies scholars in coming to grips with nonverbal and procedural aspects of discovery and invention. (shrink)

What significance does the body have in the process of teaching and learning? In what way can the thoughts of a contemporary junior-level teacher in this regard be connected to the theory of the lived body formulated by the French phenomenologist philosopher Maurice Merleau-Ponty (1908-1961), and vice versa? The aim of this paper is to illuminate, enable understanding and discuss the meaning of the body in the learning process, with specific focus on the learning of writing as embodied experience. (...) In the process, the boundaries of learning are also explored. While understanding the significance both of learning as embodied experience and of the boundaries of learning is essential within the educational field, in this paper the discussion is limited to exploring how learning as embodied experience and the boundaries of learning can be viewed by taking Merleau-Ponty's notions as theoretical starting points. In an attempt to answer the aim and connect the paper's theoretical point of departure with a voice from a teacher, an interview with a junior-level teacher was conducted. The paper thus offers a theoretical contribution to the field of educational research, but one in which the theory is exemplified by, and connected to, a teacher's voice. Accordingly, the paper concludes by summarising the common understandings of learning held theoretically by Merleau-Ponty and made real in the activities of the contemporary junior-level teacher. (shrink)

Sensorimotor theory claims that what you do and what you know how to do constitutes your visual experience. Central to the theory is the claim that such experience depends on a special kind of knowledge or understanding. I assess this commitment to knowledge in the light of three objections to the theory: the empirical implausibility objection, the learning/post-learning objection and the causal-constitutive objection. I argue that although the theory can respond to the first two objections, its (...) commitment to know-how ultimately renders it vulnerable to the third and arguably most serious objection. I then suggest that sensorimotor theory has two options: concede the causal-constitutive objection or challenge it. I shall argue for the latter. I will claim that a radical sensorimotor theory offers the best means of responding to this objection. (shrink)

What significance does the body have in the process of teaching and learning? In what way can the thoughts of a contemporary junior-level teacher in this regard be connected to the theory of the lived body formulated by the French phenomenologist philosopher Maurice Merleau-Ponty, and vice versa? The aim of this paper is to illuminate, enable understanding and discuss the meaning of the body in the learning process, with specific focus on the learning of writing as embodied experience. In (...) the process, the boundaries of learning are also explored. While understanding the significance both of learning as embodied experience and of the boundaries of learning is essential within the educational field, in this paper the discussion is limited to exploring how learning as embodied experience and the boundaries of learning can be viewed by taking Merleau-Ponty’s notions as theoretical starting points. In an attempt to answer the aim and connect the paper’s theoretical point of departure with a voice from a teacher, an interview with a junior-level teacher was conducted. The paper thus offers a theoretical contribution to the field of educational research, but one in which the theory is exemplified by, and connected to, a teacher’s voice. Accordingly, the paper concludes by summarising the common understandings of learning held theoretically by Merleau-Ponty and made real in the activities of the contemporary junior-level teacher. (shrink)

This paper elaborates on the link between different types and degrees of experience that can be gone through within a form of life or collectivity—the so-called levels of immersion—and the development of distinct types of tacit knowledge and expertise. The framework is then probed empirically and theoretically. In the first case, its ‘predictions’ are compared with the accounts of novices who have gone through different ‘learning opportunities’ during a pre-operational training programme for running a huge nickel industrial plant (...) in Brazil. These are also analysed vis-à-vis the experience of an expert who has designed and experienced the outcomes of two pre-operational training sessions in the nickel industry before developing and managing the one discussed here. Theoretically, the framework is used to pinpoint exactly what interactional experts who have developed their expertise through linguistic socialisation alone are able to do as well as to analyse the case of technical connoisseurs. The results indicate that the proposed framework is useful. It supports the design and improvement of training programmes for the development of tacit knowledge while at the same time bringing about a refined analysis of claims concerning the abilities of types of experts and expertise. (shrink)

The purpose of this chapter is to outline some of the thinking behind new e-learning technology, including e-portfolios and personal learning environments. Part of this thinking is centered around the theory of connectivism, which asserts that knowledge - and therefore the learning of knowledge - is distributive, that is, not located in any given place (and therefore not 'transferred' or 'transacted' per se) but rather consists of the network of connections formed from experience and interactions with a (...) knowing community. And another part of this thinking is centered around the new, and the newly empowered, learner, the member of the net generation, who is thinking and interacting in new ways. These trends combine to form what is sometimes called 'e-learning 2.0' - an approach to learning that is based on conversation and interaction, on sharing, creation and participation, on learning not as a separate activity, but rather, as embedded in meaningful activities such as games or workflows. (shrink)

This article discusses twelve reasons that we must teach about the 1945 American atomic bombings of Hiroshima and Nagasaki. As with Holocaust studies, we must teach this material even though it is both emotionally and intellectually difficult—in spite of our feelings of repugnance and/or grief, and our concerns regarding students’ potential distress (“tertiary trauma”). To handle such material effectively, we should keep in mind ten objectives: 1) to expand students' knowledge about the subject along with the victims’ experience (...) of it; 2) to develop teachers’ awareness of and comfort with it; 3) to help students cope with this knowledge so they are not traumatized themselves; 4) to make sure students don't take refuge in callousness, inappropriate humor, blaming the victim, or despair; 5) to enable students to teach others about the event(s); 6) to enable students to use their increased knowledge and self-reflection individually and as part of the national dialogue; 7) to deepen and “complexify” the conversation on the bombings; 8) to develop supports for teachers and students throughout this process;” 9) to reintegrate the objective with the subjective, recognizing that emotion may be appropriate to some learning; 10) to instigate a dialogue allowing teachers and students to continue to investigate this and related topics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Somatic Knowledge and Qualitative Reasoning:From Theory to PracticeRichard Siegesmund"Elliot Eisner is a writer to be reckoned with" is how my undergraduate student, Cheyenne, opened her final essay on The Arts and the Creation of Mind. After a semester of using his text in my art education methods class, reckoned seemed an apt word. The dictionary gives the definitions of reckoned as to settle accounts, make calculation, judge, and (...) take into consideration.1 The ideas in The Arts and the Creation of Mind are challenging on multiple levels, and Eisner does not provide any easy answers. There are no pithy how-to-do-it bullet points in the text. The issues he addresses are complex: nonlinguistic meaning, somatic knowledge, qualitative reasoning, the arts as habits of mind that guide experience and inquiry into the world — just to name a few. Nevertheless, in this text he brings these ideas into a format that is accessible to undergraduates entering the profession of teaching and experienced professionals, who wish to reflect on their own practice.The lucidity of Eisner's text can belie the complexity of the issues he addresses. Regrettably, some students only saw the outer shell of the content: the discussion of conceptual approaches to arts education or the delineation of the developmental stages of children's drawing. Yet for these aspects alone, they considered the text to be valuable; however, I was disappointed that they did not go deeper. Some just could not synthesize the big point: that the arts are not simply about mastery of technical skills, but that technical skills are merely a gateway into non-linguistic thinking. Educational objectives that are limited to content and skills are mundane.However, for more thoughtful and reflective students like Cheyenne, who was in her last semester of course work before student teaching in Guadalajara, the book was an inspiration. It provided a more robust conception of arts education that spoke to her feelings that compelled her to be a teacher. She reflected on what she read in The Arts and the Creation of Mind, and saw how an arts educator was more than an activities manager. She discovered she was embarking on a calling that could change minds — and [End Page 80] by changing minds, transform lives. For a young idealist, Eisner articulated her passion to serve. He said what up until that moment she had only felt. She discovered what she had previously sensed — known in her bones — but had not articulated. Eisner was a voice she wanted to take for her own. He provided a vision of the teacher she hoped to be. Indeed, Elliot Eisner is a writer to be reckoned with.Two ideas that my art students want to discuss when they first encounter The Arts and the Creation of Mind are the concepts of somatic knowing and qualitative reasoning. Somatic knowledge is a felt reaction of rightness within an experience. Qualitative reasoning is the ordering of relationships of qualities. Qualitative reasoning produces somatic knowledge. Using my students' questions and classroom discussions as inspiration, I want to explore these ideas for I believe they represent the essence of what is distinctive about learning in the arts. Furthermore, I share Eisner's belief that they provide the foundation on which to make an enduring case for the importance of the arts in education. These ideas reside at the heart of the process of education, which is, as he states, "learning to create ourselves."2It is immensely satisfying as a teacher to see the ah-ha moments in class discussion when students begin to integrate Eisner's ideas into their own experience. It is an even greater satisfaction to work with teachers who find these ideas illuminating for their educational aims and objectives and to see them played out in real classrooms where students flourish. In this essay, I want to try to build on my own experience with these moments to more deeply explore the significance of Eisner's work.To begin, I will briefly revisit the work of John Dewey. I will then discuss how Eisner's previous thinking sets a foundation for The Arts and the Creation of Mind. Finally, on a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Somatic Knowledge and Qualitative Reasoning:From Theory to PracticeRichard Siegesmund"Elliot Eisner is a writer to be reckoned with" is how my undergraduate student, Cheyenne, opened her final essay on The Arts and the Creation of Mind. After a semester of using his text in my art education methods class, reckoned seemed an apt word. The dictionary gives the definitions of reckoned as to settle accounts, make calculation, judge, and (...) take into consideration.1 The ideas in The Arts and the Creation of Mind are challenging on multiple levels, and Eisner does not provide any easy answers. There are no pithy how-to-do-it bullet points in the text. The issues he addresses are complex: nonlinguistic meaning, somatic knowledge, qualitative reasoning, the arts as habits of mind that guide experience and inquiry into the world — just to name a few. Nevertheless, in this text he brings these ideas into a format that is accessible to undergraduates entering the profession of teaching and experienced professionals, who wish to reflect on their own practice.The lucidity of Eisner's text can belie the complexity of the issues he addresses. Regrettably, some students only saw the outer shell of the content: the discussion of conceptual approaches to arts education or the delineation of the developmental stages of children's drawing. Yet for these aspects alone, they considered the text to be valuable; however, I was disappointed that they did not go deeper. Some just could not synthesize the big point: that the arts are not simply about mastery of technical skills, but that technical skills are merely a gateway into non-linguistic thinking. Educational objectives that are limited to content and skills are mundane.However, for more thoughtful and reflective students like Cheyenne, who was in her last semester of course work before student teaching in Guadalajara, the book was an inspiration. It provided a more robust conception of arts education that spoke to her feelings that compelled her to be a teacher. She reflected on what she read in The Arts and the Creation of Mind, and saw how an arts educator was more than an activities manager. She discovered she was embarking on a calling that could change minds — and [End Page 80] by changing minds, transform lives. For a young idealist, Eisner articulated her passion to serve. He said what up until that moment she had only felt. She discovered what she had previously sensed — known in her bones — but had not articulated. Eisner was a voice she wanted to take for her own. He provided a vision of the teacher she hoped to be. Indeed, Elliot Eisner is a writer to be reckoned with.Two ideas that my art students want to discuss when they first encounter The Arts and the Creation of Mind are the concepts of somatic knowing and qualitative reasoning. Somatic knowledge is a felt reaction of rightness within an experience. Qualitative reasoning is the ordering of relationships of qualities. Qualitative reasoning produces somatic knowledge. Using my students' questions and classroom discussions as inspiration, I want to explore these ideas for I believe they represent the essence of what is distinctive about learning in the arts. Furthermore, I share Eisner's belief that they provide the foundation on which to make an enduring case for the importance of the arts in education. These ideas reside at the heart of the process of education, which is, as he states, "learning to create ourselves."2It is immensely satisfying as a teacher to see the ah-ha moments in class discussion when students begin to integrate Eisner's ideas into their own experience. It is an even greater satisfaction to work with teachers who find these ideas illuminating for their educational aims and objectives and to see them played out in real classrooms where students flourish. In this essay, I want to try to build on my own experience with these moments to more deeply explore the significance of Eisner's work.To begin, I will briefly revisit the work of John Dewey. I will then discuss how Eisner's previous thinking sets a foundation for The Arts and the Creation of Mind. Finally, on a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rembrandt and LearningRalph A. Smith (bio)IntroductionIt appears to be a defining characteristic of Rembrandt’s works—as important as the brushstrokes, the underdrawing, the types of ground and the paints used—that they move people exceedingly. [T]hey help us feel something of what the artist may have felt about youth, old age, friendship, isolation, and love.—Anthony Bailey[For] Rembrandt, imperfections are the norm of humanity, which is why he will always speak across (...) centuries to those for whom art might be something other than the quest for ideal form.—Simon SchamaArt can arouse the senses, touch the feelings, and stir the passions. In exercising these formidable powers, the artist should respect certain limits of good taste and moral propriety. Rembrandt possessed unequal skill in depicting the passions in original ways without breaking the code. Well, hardly ever.—Gary SchwartzThe National Endowment for the Humanities (NEH) Rembrandt Project was designed to apply state-of-the-art digital technology to the development of the multiple competencies needed for understanding and appreciating [End Page 101] Rembrandt and his time. As educational consultant to the project, I was given the assignment of conceptualizing a framework that would accommodate and illuminate the project’s purposes. This meant that I not only had to refamiliarize myself with seventeenth-century Dutch art and culture and with the national and state standards for the visual arts but also acquaint myself with the standards for socials studies; both sets of standards occupy a prominent place in the project and are the subject of the third section of this article. The overarching viewpoint from which I approached my assignment, however, was that of the humanities, a topic to which I turn first. Furthermore, since the project’s foremost concern is with masterpieces of the visual arts, I thought it apposite to address briefly some issues in aesthetics, especially those that relate to experiencing artworks appropriately. Having surveyed the project from the perspectives mentioned, I then ask to what extent it was successful in avoiding the pitfalls that often frustrate the implementation of novel ideas and methods.1The HumanitiesThe following interpretation of the humanities is condensed from the writings of two distinguished philosophers, Albert William Levi and Walter Kaufmann, and the historian Paul Gagnon. Levi, an early member of the National Council for the Humanities and for most of his career a distinguished professor of the humanities at Washington University, was once asked to define the essence of the humanities. He replied that the purposes of the humanities are to encourage persons to “to think critically, to communicate successfully, and to walk proudly with [their] tradition.”2 Noteworthy in this terse statement is its emphasis on the procedural aspects of the humanities, that is, their effects on human actions and attitudes. Such emphasis accorded well with the tradition of the Middle Ages, which construed the humanities as skills of organizing and understanding human experience. Levi, however, also acknowledged the Renaissance conception of the humanities as subject matters, thereby paying tribute to the endeavors of Renaissance scholars who devoted themselves to recovering and transmitting the literary texts of antiquity. A strong believer in historical continuity, Levi synthesized the Medieval and Renaissance traditions by proposing that the humanities be understood as skills of communication, continuity, and criticism. These skills have their substantive grounding in languages and literatures, history, and philosophy, the latter conceived as critical reflection.3 After pondering Levi’s interpretation, I added another “c,” the arts of creation, to his troika. Thus, the humanities can be understood as indispensable to human experience because they are the arts of creation, communication, continuity, and criticism.Another view of the purposes of the humanities and their relevance to the project can be found in the writings of the historian Paul Gagnon. He [End Page 102] stressed the importance of preparing the young for citizenship, personal cultivation, and vocation within a curriculum committed to the values of equity and competence.4 Gagnon interpreted the study of history as providing critical checks on reality, imparting insights into the various ways in which persons have used historical knowledge to find their place in the flow of events, and... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Embedding Creativity in Teaching and LearningHoward Cannatella (bio)IntroductionCreative teaching ranges from the view that creativity is necessary for a changing knowledge economy to a more individualized view that encompasses a person-centered approach. None of these views are advanced in this essay, as I feel that there are important weaknesses in taking either position. Instead, my main purpose is to discuss how certain kinds of creative activity can substantially (...) transform educational practice without necessarily succumbing to any of the above conceptions of creativity. My educational approach to creative activity relates to one aspect of Alasdair Macintyre's, After Virtue; the notion that creativity only flourishes via a devotion to a particular practice.1 For such practice to flourish it has to immerse itself in a type of personal address that revolves and combines in various ways what Maurice Merleau-Ponty refers to as "self-others-things."2Any claim to suggest that education should engage creativity more than it currently does can stir some reasonable criticism, for there are clearly a plethora of other important factors to consider in student learning. Yet, to a degree, the practice of creativity is, I think, being dissipated and weakened, where ambivalence and ill-informed ideas are increasingly obscuring its place. My own thinking on this displacement which has some connections with John White's view and in a different sense with Howard Gardner's, is that if we offer via teaching situations geometrical puzzles, visual problem solving exercises and the like, such exercises although perhaps amusing in themselves are hardly taking up the same refined order of creative display exhibited by those most credited as being creatively talented.3 Indeed, to surmise that creativity is a construal of left hand side verses right hand side brain activity; that one can show different color cards on a monitor or play a short excerpt of Beethoven's Pastoral symphony in order to accelerate student learning are at the very least questionable creative assumptions. In [End Page 59] contrast, what I aim to show from one perspective as a crucial distinction is how creativity is involved in fundamental painstaking ways with the phenomenological. When the landscape of this kind of learning presupposes the opening of oneself to the world, the stretching of a mind, the thickening of one's perceptions, and the discovery of a deeper and richer self through living, one will tend to experience as life enhancing more of nature, previously unfelt and articulated modes of being in the world.Clearly, as a lecturer one has to inspire students. One of the best ways I know of doing this is through satisfying and intensifying students' creative appetite. Although I will not discuss it here there is some evidence to suggest that the need for creativity is biologically, physically, and psychologically an essential part of human nature, necessary for human-reproduction, growth, and cultural striving.4 The lecturer who fails to stimulate students' creativity, their being in the world, may be unwittingly inhibiting their cognitive, emotional, and physical well-being; preventing them from realizing their potential. Indeed, some learning problems can be attributed to the unconscious or deliberate stifling of creativity in student lives. We can see this happening when one feels emotionally or intellectually repressed, unable to express oneself openly, to take delight in what one has achieved, to note one's own unique sensitivity, and to experience personally the many wonders in the world. Although we may not articulate it, without a modicum of creative outlet, life can appear very cruel. Further, some of the benefits of creativity can be seen in studio teaching situations in which, as Charles Bingham and Alexander Sidorkin imply, the dynamics of aesthetic creativity encourage power-sharing and the fostering of non-dominated pedagogical relationships.5 As both Immanuel Kant and Friedrich Schiller realized two centuries ago, creativity has the capacity to foster educationally a particular kind of freedom essential to sustaining an alert, liberal, and questioning mind.6 There is also much empirical evidence, at least in the arts, to show how creative practice can assist the clarification of ideas, advancement in thought, and concentration in learning. The notebooks, papers, and recordings of Mozart... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Embedding Creativity in Teaching and LearningHoward Cannatella (bio)IntroductionCreative teaching ranges from the view that creativity is necessary for a changing knowledge economy to a more individualized view that encompasses a person-centered approach. None of these views are advanced in this essay, as I feel that there are important weaknesses in taking either position. Instead, my main purpose is to discuss how certain kinds of creative activity can substantially (...) transform educational practice without necessarily succumbing to any of the above conceptions of creativity. My educational approach to creative activity relates to one aspect of Alasdair Macintyre's, After Virtue; the notion that creativity only flourishes via a devotion to a particular practice.1 For such practice to flourish it has to immerse itself in a type of personal address that revolves and combines in various ways what Maurice Merleau-Ponty refers to as "self-others-things."2Any claim to suggest that education should engage creativity more than it currently does can stir some reasonable criticism, for there are clearly a plethora of other important factors to consider in student learning. Yet, to a degree, the practice of creativity is, I think, being dissipated and weakened, where ambivalence and ill-informed ideas are increasingly obscuring its place. My own thinking on this displacement which has some connections with John White's view and in a different sense with Howard Gardner's, is that if we offer via teaching situations geometrical puzzles, visual problem solving exercises and the like, such exercises although perhaps amusing in themselves are hardly taking up the same refined order of creative display exhibited by those most credited as being creatively talented.3 Indeed, to surmise that creativity is a construal of left hand side verses right hand side brain activity; that one can show different color cards on a monitor or play a short excerpt of Beethoven's Pastoral symphony in order to accelerate student learning are at the very least questionable creative assumptions. In [End Page 59] contrast, what I aim to show from one perspective as a crucial distinction is how creativity is involved in fundamental painstaking ways with the phenomenological. When the landscape of this kind of learning presupposes the opening of oneself to the world, the stretching of a mind, the thickening of one's perceptions, and the discovery of a deeper and richer self through living, one will tend to experience as life enhancing more of nature, previously unfelt and articulated modes of being in the world.Clearly, as a lecturer one has to inspire students. One of the best ways I know of doing this is through satisfying and intensifying students' creative appetite. Although I will not discuss it here there is some evidence to suggest that the need for creativity is biologically, physically, and psychologically an essential part of human nature, necessary for human-reproduction, growth, and cultural striving.4 The lecturer who fails to stimulate students' creativity, their being in the world, may be unwittingly inhibiting their cognitive, emotional, and physical well-being; preventing them from realizing their potential. Indeed, some learning problems can be attributed to the unconscious or deliberate stifling of creativity in student lives. We can see this happening when one feels emotionally or intellectually repressed, unable to express oneself openly, to take delight in what one has achieved, to note one's own unique sensitivity, and to experience personally the many wonders in the world. Although we may not articulate it, without a modicum of creative outlet, life can appear very cruel. Further, some of the benefits of creativity can be seen in studio teaching situations in which, as Charles Bingham and Alexander Sidorkin imply, the dynamics of aesthetic creativity encourage power-sharing and the fostering of non-dominated pedagogical relationships.5 As both Immanuel Kant and Friedrich Schiller realized two centuries ago, creativity has the capacity to foster educationally a particular kind of freedom essential to sustaining an alert, liberal, and questioning mind.6 There is also much empirical evidence, at least in the arts, to show how creative practice can assist the clarification of ideas, advancement in thought, and concentration in learning. The notebooks, papers, and recordings of Mozart... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Speculative Philosophy 17.1 (2003) 73-75 [Access article in PDF] Retrieving Experience: Subjectivity and Recognition in Feminist Politics. Sonia Kruks. Ithaca and London: Cornell University Press, 2001. Pp. xii + 200. $35.00 h.c. 0-8014-3387-8; $16.95 pbk. 0-8014-8417-0. Sonia Kruks' latest book, Retrieving Experience, is a valuable contribution to ongoing debates about the relevance of feminist philosophy in a period of relative political quietism. It also (...) offers timely reminders of historical continuities between phenomenological and postmodern conceptions of subjectivity and political engagement. Drawing on Merleau-Ponty, Beauvoir, Fanon, and the later Sartre, Kruks proposes to "explore women's embodied experiences" and to "ask whether they might not offer some means to help build affective bonds among women who are in many ways radically different from one another" (6). The book approaches this task by means of two secondary issues. First, should feminist thought be oriented by phenomenological or postmodernist theoretical strategies? Second, can women's embodied experience be the conceptual basis for political and epistemological practices that avoid the pitfalls of "identity politics" or an "epistemology of provenance"? The answer to both questions comes through the notion of praxis developed in Sartre's Critique of Dialectical Reason. By thinking of embodiment as praxis or work, a strategy implicit in Beauvoir's idea that "one is not born, but rather becomes, a woman." Kruks seeks to resolve the ethical affront of finding one's individuality reduced to the "generality" of a collective—the ethical affront to which feminists of various generations and theoretical persuasions must respond.Retrieving Experience explores the significance of recognition as a political norm. Identifying Sartre's Anti-Semite and Jew as a pivotal work in the history of identitarian theorizing, she situates recent appeals for race- and gender-based political mobilization in the United States with respect to the dialectical relationship between the Look, shame, and recognition existentialists observed in situations of anti-Semitic and colonial domination during and immediately after the Second World War. Legitimating knowledge gained under oppressive conditions formed an important element of African, Southeast Asian, and ultimately African-American and feminist resistance to cultural imperialism. However, Kruks warns, discourses of "recognition" risk placing the blame for group domination on individuals' face-to-face interactions while concealing the role of state and economic institutions in enabling social disdain to systematically damage a group's quality of life. Moreover, they suggest that the experience of subjugation alone justifies knowledge claims or counts, without further elaboration, as an act of political engagement. Kruks argues that knowers and actors need to identify conceptual and practical mediations enabling individual interactions, experiences, and strategies to prompt the recognition and transformation of [End Page 73] group situations. Sartre's notion of praxis, she suggests, explains how an individual can participate in a collectivity while acting autonomously or acquiescing to subjection.The most important passages in Retrieving Experience examine the affective aspects of the decision to take up a political identity or engage in political action. Going beyond Sartre's account of mediations, Kruks suggests that the sensory and emotional qualities of embodiment are themselves mediators, the products of praxis as well as its vehicles. Since any act of social knowledge involves the emotions, affect plays an important role in the process whereby individuals from different cultural, economic, and bodily situations learn about and shape one another's' environment through the act of knowledge. Individuals, then, may have a moral responsibility to learn about others in a way that gives them "sympathetic bodies." Drawing on Maria Lugones' social epistemology, Kruks argues that "world-traveling" or existing simultaneously in several communities or sets of power relations is a bodily act, but also a fully cultural, ethical act rather than a natural way of being. One is not born, but becomes, an embodied knower. Understanding female embodiment as a kind of work or "world-traveling" praxis enables feminist solidarity—"respectful recognition" to replace a historically implausible "sisterhood" or a distinct epistemological perspective as a regulative ideal for feminist politics.But how far can the... (shrink)

Learning and memory are inextricably intertwined. The capacity for learning presupposes an ability to retain the knowledge acquired through experience, while memory stores the background knowledge against which new learning takes place. During the dark years of radical behaviorism, when the concept of memory was deemed too mentalistic to be a proper subject of scientific study, research on human memory took the form of research on verbal learning (Anderson, 2000; Schwartz & Reisberg, 1991).

Singularizing progressive time bounds pasts, presents, and futures to cause-effect chains overdetermining existence in education and social life more broadly. Indigenous Futures and Learnings Taking Place disrupts the common sense of "futures" in education or "knowledge for the future" by examining the multiplicity of possible destinies in coexistent experiences of living and learning. Taking place is the intention this book has to embody and word multiplicity across the landscapes that sustain life. The book contends that Indigenous perspectives open spaces (...) for new forms of sociality and relationships with knowledge, time, and landscapes. Through Goanna walking and caring for Country; conjuring encounters between forests, humans, and the more-than-human; dreams, dream literacies, and planes of existence; the spirit realm taking place; ancestral luchas; Musquem Land pedagogies; and resoluteness and gratitude for atunhetsla/the spirit within, the chapters in the collection become politicocultural and (hi)storical statements challenging the singular order of the future towards multiple encounters of all that is to come. In doing so, Indigenous Futures and Learnings Taking Place offers various points of departure to (hi)story educational futures more responsive to the multiplicities of lives in what has not yet become. The contributors in this volume are Indigenous women, women of Indigenous backgrounds, Black, Red, and Brown women, and women whose scholarship is committed to Indigenous matters across spaces and times. Their work in the chapters often defies prescriptions of academic conventions, and at times occupies them to enunciate ontologies of the not yet. As people historically fabricated "women," their scholarly production critically intervenes on time to break teleological education that births patriarchal-ized and master-ized forms of living. What emerges are presences that undiscipline education and educationalized social life breaking futures out of time. This book will be of great interest to students and scholars of Indigenous studies, future studies, post-colonial studies in education, settler colonialism and coloniality, diversity and multiculturalism in education, and international comparative education. (shrink)

Singularizing progressive time bounds pasts, presents, and futures to cause-effect chains overdetermining existence in education and social life more broadly. Indigenous Futures and Learnings Taking Place disrupts the common sense of "futures" in education or "knowledge for the future" by examining the multiplicity of possible destinies in coexistent experiences of living and learning. Taking place is the intention this book has to embody and word multiplicity across the landscapes that sustain life. The book contends that Indigenous perspectives open spaces (...) for new forms of sociality and relationships with knowledge, time, and landscapes. Through Goanna walking and caring for Country; conjuring encounters between forests, humans, and the more-than-human; dreams, dream literacies, and planes of existence; the spirit realm taking place; ancestral luchas; Musquem Land pedagogies; and resoluteness and gratitude for atunhetsla/the spirit within, the chapters in the collection become politicocultural and (hi)storical statements challenging the singular order of the future towards multiple encounters of all that is to come. In doing so, Indigenous Futures and Learnings Taking Place offers various points of departure to (hi)story educational futures more responsive to the multiplicities of lives in what has not yet become. The contributors in this volume are Indigenous women, women of Indigenous backgrounds, Black, Red, and Brown women, and women whose scholarship is committed to Indigenous matters across spaces and times. Their work in the chapters often defies prescriptions of academic conventions, and at times occupies them to enunciate ontologies of the not yet. As people historically fabricated "women," their scholarly production critically intervenes on time to break teleological education that births patriarchal-ized and master-ized forms of living. What emerges are presences that undiscipline education and educationalized social life breaking futures out of time. This book will be of great interest to students and scholars of Indigenous studies, future studies, post-colonial studies in education, settler colonialism and coloniality, diversity and multiculturalism in education, and international comparative education. (shrink)

While the effects of pattern learning on language processing are well known, the way in which pattern learning shapes exploratory behavior has long gone unnoticed. We report on the way in which individual differences in statistical pattern learning affect performance in the domain of language along multiple dimensions. Analyzing data from healthy monolingual adults' performance on a serial reaction time task and a self‐paced reading task, we show how individual differences in statistical pattern learning are reflected in readers' knowledge (...) of linguistic co‐occurrence patterns and in their exploration and exploitation of content‐specific and task‐general information. First, we investigated the extent to which an individual's pattern learning correlates with his or her sensitivity to systematic morphological and syntactic co‐occurrences, as evidenced while reading authentic sentences. We found that the stream of morphological and syntactic information has a more pronounced effect on the reading speed of, as we will label them, content‐sensitive learners in that the more probable the co‐occurrence pattern, the faster their reading of that pattern will be. Next, we investigated how differences in pattern learning are reflected in the ways in which individuals approach the reading task itself and adapt to it. Casting this relation in terms of exploration/exploitation strategies, known from Reinforcement Learning, we conclude that content‐sensitive learners are also more likely to initially probe (explore) a wider range of directly relevant patterns, which they can later use (exploit) to optimize their reading performance further. By affecting exploratory behavior, pattern learning influences the information that is gathered and becomes available for exploitation, thereby increasing the effect pattern learning has on language cognition. (shrink)

Open peer commentary on the article “Learning about Urban Sustainability with Digital Stories: Promoting Collaborative Creativity from a Constructionist Perspective” by Maria Daskolia, Chronis Kynigos & Katerina Makri. Upshot: Creativity, collaboration and learning are fascinatingly messy and interconnected processes. Does knowledge develop by engaging in a collaborative creative process, or does existing knowledge allow us to create more creative artefacts? Does one build upon the other in a bricolage process, familiar to constructionist learning experiences? If so, how can (...) we best facilitate this type of learning? This OPC raises a number of questions that it does not attempt to answer but raises them to draw attention to the complexity of the phenomena under investigation. (shrink)

This paper presents a novel learning model Clarion , which is a hybrid model based on the two-level approach proposed in Sun (1995). The model integrates neural, reinforcement, and symbolic learning methods to perform on-line, bottom-up learning (i.e., learning that goes from neural to symbolic representations). The model utilizes both procedural and declarative knowledge (in neural and symbolic representations respectively), tapping into the synergy of the two types of processes. It was applied to deal with sequential decision tasks. Experiments (...) and analyses in various ways are reported that shed light on the advantages of the model. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Simulation, Subjective Knowledge, and the Cognitive Value of Literary NarrativeScott R. Stroud (bio)IntroductionLiterary narrative holds the power to move individuals to thought, reflection, action, and belief. According to a longstanding view of literature, it is this impact on the reader that leads to literary narrative being valued so highly in our culture and in others. What exactly is the value of literature? Humanists such as Peter Lamarque and (...) Stein Olsen1 argue for this value in terms of perennial themes that literature allows one to "grapple with," as opposed to cognitivist accounts that discuss the value of literary narrative in terms of conveyed truths or knowledge. One particularly important position that explains the cognitive value of literature can be labeled the "Subjective Knowledge Theory" (SKT). Such an account of literature places its value in the subjective perspectives or experiences the narrative opens up to the reader. Thus, one can gain knowledge of "what it is like" to be caught in the throes of jealousy, endangered by an opposing army, or captivated by the lure of magical prowess. Lamarque and Olsen, however, argue that SKT is fundamentally flawed in its analysis of knowledge derivable from the literary narrative and in terms of its account of literary practice.I wish to defend a version of SKT in this article. In order to do so, I make and defend the following claims. First, Lamarque and Olsen's critique of SKT relies on a conflation of two distinct types of knowledge—the knowledge provided by the simulated subjective experience and its appropriation/ generalization to forms useful for the reader's real life activities. I will argue that the former of these outcomes is due strictly to the aesthetic features of the literary narrative, whereas the second involves a non-necessary psychological reaction to the text (that is, judgments of the veracity or usefulness of the text for one's own purposes). By conflating both of these into the cognitive knowledge derivable from the text, Lamarque and Olsen's critique can [End Page 19] gain its purchase against SKT. If these two processes and the resultant sorts of knowledge are separated, then the SKT account does seem to show how literature holds value in itself and in relation to the reader's moral activities/ judgments. Second, the process of simulation is the primary means by which one can gain any type of subjective knowledge from a literary narrative. This type of knowledge will be gained by virtue of the literary narrative's aesthetic qualities, which result in a certain type of activity in the reader. Third, I will argue that the second sort of knowledge—that derived from the simulated subjective experience—results from the process of reader identification with the values, beliefs, and/or behaviors of the simulated agent. This sense of identification involves selective appropriation and generalization and will be shown not to be subject to the critiques of simple identification offered by Noël Carroll.2 It is at this stage that individuals learn what they believe they ought to value, how they ought to act, and what they should believe from their experience of simulation in reading the literary narrative. Notice that this knowledge is separate from the first sort of knowledge, which is knowledge of what it is like to experience x through y's eyes.As I elucidate and defend these claims, I hope it will become clear that this is an account that does justice to the value resident in literature and in the activities readers do after they partake in the aesthetic object of the literary narrative. Thus, I will conclude by showing how this account does not fall prey to the conflation that both critics and supporters of SKT commit in muddling the different types of knowledge available from and in relation to a literary narrative.Before I proceed, it is important that some basic concepts are clearly set forth. A narrative can be defined as any representation of two or more events over time. The number of events and the relationship among them can be as simple or complex as one likes, but the crucial aspect is that the representation supplies the... (shrink)

Context: Public universities in South Africa are currently facing the challenge of decolonising knowledge. This change requires a review of curriculums, as well as teaching and learning with the goal of embracing the epistemology of the learners, addressing issues such as social justice and transformation. Problem: Human communication is subject to several perceptual errors in both listening and seeing, which challenges the success of the communication in the education system. The ability of the teacher and the learners to effectively (...) communicate with one another is a factor for the success of each reaching their goals. The teacher imparts her knowledge in the classroom, but according to von Foerster, “[i]t is the listener, not the speaker, who determines the meaning of an utterance,” for the listener contextualises this information based on her own past lived experience. Thus, the student’s epistemology and her expression of her understanding is integral in the classroom context and should be actively included into the education system. Method: I present a cybernetic approach to the teacher-learner system, challenging traditional ideas about the role of each actor within the system, with special attention given to Pask’s conversation theory. Results: Early empirical findings suggest that a conversational contextual approach results in higher student involvement and better memory retention among the learners. Conversational approaches that are epistemologically inclusive diffuse social problems where the student groups require their individual worldviews to be reflected within the curriculum. This reduces the friction of competing epistemologies within the education system, moving toward a co-created contextually-driven knowledge system. Implications: Many educators would like deeper engagement from their learners but have not found a way to successfully engage the student group. A cybernetic approach is one method that can be adopted to remedy this. This is particularly useful in contexts where there is cultural diversity and impending social change. Constructivist content: I address von Glasersfeld’s points on human cognition, linking it to Austin’s speech acts. (shrink)

David Bronstein sheds new light on Aristotle's Posterior Analytics--one of the most important, and difficult, works in the history of western philosophy--by arguing that it is coherently structured around two themes of enduring philosophical interest: knowledge and learning. He argues that the Posterior Analytics is a sustained examination of scientific knowledge, an elegantly organized work in which Aristotle describes the mind's ascent from sense-perception of particulars to scientific knowledge of first principles. Bronstein goes on to highlight Plato's (...) influence on Aristotle's text, and argues against current orthodoxy that Aristotle is committed to the Socratic Picture of inquiry, according to which one should seek what a thing's essence is before seeking its demonstrable attributes and their causes. (shrink)

Over the last decade, numerous interventions and techniques that aim to engender, strengthen, and expand compassion have been created, proliferating an evidence base for the benefits of compassion meditation training. However, to date, little research has been conducted to examine individual variation in the learning, beliefs, practices, and subjective experiences of compassion meditation. This mixed-method study examines changes in novice meditators’ knowledge and contemplative experiences before, during, and after taking an intensive course in CBCT®, a contemplative intervention that is (...) increasingly used for both inter- and intrapersonal flourishing. The participants in this study were Christian healthcare chaplains completing a 1-year residency in Clinical Pastoral Education who learned CBCT as part of their professional chaplaincy training curriculum. Prior to and upon completion of training, we surveyed participants to assess their beliefs about the malleability of compassion, types of engagement in compassion meditation, and perceptions of the impact of taking CBCT. We also conducted in-depth interviews with a subset of participants to gain a qualitative understanding of their subjective experiences of learning and practicing compassion meditation, a key component of CBCT. We found that participants reported increases in the extent to which they believed compassion to be malleable after studying CBCT. We also found high levels of variability of individual ways of practicing and considered the implications of this for the study of contemplative learning processes. This multi-methodological approach yielded novel insights into how compassion practice and compassion-related outcomes interrelate, insights that can inform the basic scientific understanding of the experience of learning and enacting compassion meditation as a means of strengthening compassion itself. (shrink)

How do people learn to talk about the causal and temporal relations between events, and the motivation behind why people do what they do? The narrative practice hypothesis of Hutto and Gallagher holds that children are exposed to narratives that provide training for understanding and expressing reasons for why people behave as they do. In this context, we have recently developed a model of narrative processing where a structured model of the developing situation is built up from experienced events, and (...) enriched by sentences in a narrative that describe event meanings. The main interest is to develop a proof of concept for how narrative can be used to structure, organize and describe experience. Narrative sentences describe events, and they also define temporal and causal relations between events. These relations are specified by a class of narrative function words, including “because, before, after, first, finally.” The current research develops a proof of concept that by observing how people describe social events, a developmental robotic system can begin to acquire early knowledge of how to explain the reasons for events. We collect data from naïve subjects who use narrative function words to describe simple scenes of human-robot interaction, and then employ algorithms for extracting the statistical structure of how narrative function words link events in the situation model. By using these statistical regularities, the robot can thus learn from human experience about how to properly employ in question-answering dialogues with the human, and in generating canonical narratives for new experiences. The behavior of the system is demonstrated over several behavioral interactions, and associated narrative interaction sessions, while a more formal extended evaluation and user study will be the subject of future research. Clearly this is far removed from the power of the full blown narrative practice capability, but it provides a first step in the development of an experimental infrastructure for the study of socially situated narrative practice in human-robot interaction. (shrink)

Social poetics as research and practice: living in and learning from the process of research This paper is both a report of research work carried out by one author of the paper with the other involved in a supervisory role, and a reflection on methodology that was an emergent property of the research process. The research question arose when professional preunderstandings about schizophrenia as a biological disturbance were bracketed as a Husserlian form of phenomenology was adopted. The initial study focused (...) on the meanings three individuals attached to being diagnosed with a mental illness and being involved in psychiatric treatment systems. The exploration of meanings led to the researcher being guided by one study participant in relation to a suitable framework for making sense of her lived experience of being entangled in psychiatric systems. This involved an appreciation of the poetics of interpersonal interaction that was simultaneously fuelled by the researcher’s reading of social poetics in psychology. Thus, the research became a hermeneutic inquiry, focused upon the text of one participant (Beth)1 and the psychiatric system that she and colleagues encountered. Beth’s psychiatric predicament was described by a loss of ‘self’, psychiatric interrogation, and positive and negative features of immersion in the system. A byproduct of taking a poetic approach was that the participant found the research process therapeutic. Thus, social poetics encouraged a beneficial blurring of the boundaries between research and practice. In both arenas, social poetics can lead to a different level of understanding. This is contradictory to mainstream approaches to research that value objectivity with a strict division between the researcher and the subjects, with the aim of producing scientific knowledge. (shrink)

This essay addresses Gilles Deleuze's ?pedagogy of the concept? as grounded in the triadic relation between percepts, affects, and concepts. Philosophical thinking based on the ?logic of affects? necessarily leads to the creation of novel concepts in/for experience. Still, new concepts are themselves informed by the physicality of affects thus bridging the dualistic gap of the Cartesian subject. Deleuze's neorealist position considers the objects of real experience to be both actual and virtual. Experience exceeds private sense-data; it (...) is a milieu providing an ability to affect and be affected. The essay presents Deleuze's virtual ontology as an unorthodox ?foundation? for knowledge under the provision that the affective conditions in real experience for the actualization of the virtual will have been fulfilled. Deleuze's practical philosophy is used here to offer a model for solving the ?learning paradox? that has been haunting us since the days of Socrates. (shrink)

This study of arable agriculture in East Anglia, UK, draws on the experiences of farmer participatory research and the use of indigenous knowledge in agricultural development in less developed countries. Farmers were found to be continually doing research, although agricultural science has tended to play it down. Farmers' research was found to be closely linked to the specific locality and the strategies, aspirations, and experiences of farmers. The diversity of agriculture within East Anglia makes local research necessary and the (...) idea of blueprints for agricultural production untenable. The process of generating information can come from learning while working, which may appear to be experiential rather than experimental. Other ideas are generated by observing chance occurrences and some farmers were found to be doing more structured experiments similar to agricultural science. Criticisms of farmers' own research are reviewed. However, this paper proposes that such research should not be compared to scientific method, since agricultural science has the primary objective of generating information while farmers' research is embedded in the local context and is part of the farming practice. It is therefore necessary to have complementary roles for farmers' own research and formal research rather than an attempt to combine or translate indigenous knowledge and farmers' experimentation in agricultural science. (shrink)

One of the main challenges for computational legal research is drawing up innovative heuristics to derive actionable knowledge from legal documents. While a large part of the research has been so far devoted to the extraction of purely legal information, less attention has been paid to seeking out in the texts the clues of more complex entities: legally relevant facts whose detection requires to link and interpret, as a unified whole, legal information and results of empirical analyses. This paper (...) presents an ongoing research that points in this direction, trying to devise new ways to support public prosecutors in assessing the dangerousness of individuals and groups under investigation, an activity that precisely relies on the cross-sectional evaluation of legal and empirical data. A knowledge mining strategy will be outlined that lines up, into a single metaheuristic model, information extraction, network-based inference, machine learning and visual analytics. We will focus, in particular, on the integration of graph-based inference and machine learning methods used both to support classification tasks and to explore new forms of man-machine cooperation. Experiments made involving public prosecutors from the Italian Anti-Mafia Investigation Directorate and using data from real investigations have not only shown the potentialities of our approach but also offered an opportunity to reflect on the role we could assign to AI when thinking about the future of legal science and practice. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Eva Alerby and Cecilia Ferm, “Learning Music: Embodied Experience in the Life-World”Christine A. BrownI was recently asked to settle a friendly debate between two college graduates. The first, my daughter's boyfriend, argued that someone with talent and motivation could become as creative a composer without formal musical training as with it. The other, my daughter, vigorously countered that while someone might compose well on one's own, (...) the result would not be as versatile or thoughtfully developed as it could be with good formal instruction. I saw the musical educations of the debaters reflected in their arguments. My daughter had accumulated fourteen years of formal instruction in violin, cello, voice, and dance and took part in high school choral, theatrical, and orchestral performances. Her studies continued into college and from time to time she performs in community theater. Her boyfriend was the only musically trained member of his family. At his own request he studied piano for five years, later channeling his musical energies into a rock group. Though he did not study music in college, he continues to play keyboard and guitar. Both agree that the ongoing debate between them illustrates the strong connection between musical training and musical valuing. The life-world of their experiences shaped their judgments of musical quality and left imprints on their views of what matters more, talent or training. I will return to this scenario later.I find solid points of agreement with Eva Alerby and Cecilia Ferm starting with their premise that music learning is most effective when taught within a context. While some students prefer learning in a linear, rule-oriented setting, more often than not a musical concept will be comprehended best if it is first experienced within a variety of works. Regarding extra-musical contexts, furthermore, recent evidence supporting the integration of subject areas at the elementary level appears to extend the boundaries of musical learning in a positive direction. Additionally, the authors' description of embodied musical learning holds great interest. Their argument that musical learning must be appropriated within the body resonates strongly within me as I reflect upon performing and teaching piano. Experience with beginning level adult pianists suggests to me that once the awkwardness of newly-learned movements fades with time and effort, students often discover a close interaction between their physical and conceptual knowledge of music. Of related interest is the authors' definition of musicality as taking embodied musical knowledge and making it one's own. This surpasses physical mastery of an instrument and describes a personal [End Page 208] and emotional investment in music. It is at this point in the essay that the recognizable link between mind, body, and emotion in music is most clear.Alongside these engaging ideas, however, are statements throughout the essay that invite further questions or comments. First among these is the statement that the knowledge resulting from learning is not always what was intended or planned. While this is often the case, elaboration upon modes of knowledge in question would help clarify the authors' ideas. Since knowledge takes a variety of forms, as the authors imply, these forms should be explored, defined, and applied to the process of teaching and learning music.Related to that suggestion is my response to the statement that the aim of music education is to produce musical knowledge. I am assuming that musical knowledge includes an age-appropriate blend of performance skill, reading ability, ear training, historical and cultural connections, basic theoretical and stylistic understanding, and acquaintance with creative processes. In many regions of our country, public arts education has been de-valued to the extent that we must convince administrators, parents, and sometimes students, of its importance. Until this situation improves, I must personally consider the aim of music education as producing, alongside musical knowledge, the desire for music as a lifelong pursuit, be it active or passive. Without this desire, musical knowledge gained often goes unused. Referring to my opening anecdote, my daughter is not participating in music while her less extensively trained boyfriend is. I know of several students like her who gained expertise on an instrument and who have now stopped playing for... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Eva Alerby and Cecilia Ferm, “Learning Music: Embodied Experience in the Life-World”C. Victor FungThe authors' choice of using phenomenology as a foundation of their inquiry is appropriate and appealing. They have, to a great extent, achieved their goal to explain music learning from a life-world approach. Descriptions of absolute musicality and relativistic musicality in the opening paragraphs remind me of the good old "nature versus nurture" (...) argument. Do the authors intend to relate musicality to musical ability or aptitude as defined by psychologists? If musicality is "the ability to make something of one's own," does it mean that the authors have taken on a relativistic view and believe that musicality can be acquired?At the onset of the essay, musicality is described as emotional or cognitive phenomena. I would be interested to know what role a psychomotor phenomenon plays in musicality. The authors later describe "motor knowledge" in the context of Merleau-Ponty's "maximum grip." Does it mean that "motor knowledge" or "maximum grip" in music is outside the realm of musicality?I have attempted to follow the authors' logic in answering the question: What is learning of music? The authors postulate that "knowledge does not always, and not in any way automatically, become exactly the same as the learning situation aimed for" and that "the aim of music education is to produce music knowledge." These propositions lead me to believe that the learning of music occurs in experiencing all types of musical activities, regardless of the musician's level of proficiency. In all types of musical activities, including different performances of the same repertoire by the same performer, the musician would find new knowledge that is being produced in his/her body. Therefore, I agree with the authors in that "bodily experience is the foundation for learning."I would like to respond to the issue of whether music learning occurs within [End Page 206] or outside of the human being. I enjoy reading how the authors borrow Merleau-Ponty's analogy of the blind man and his stick. They put it so beautifully that "the piano becomes an extension of the pianist's body, and the pianist can 'feel' its limitation." This leads me to ponder if there could be further extensions beyond the physical piano. We know that pianists make the strings in the piano vibrate through a lever mechanism. These vibrations travel through the air and arrive at the audience's ears. Then the vibrating energies are transmitted as electrical energies in the audience's nerve cells. The audience in turn may behave differently after such a complex transmission of energies at a performance. My question is: Is there an end to the "extension" of a musician's body? If so, where should it end? There is no doubt that the pianist relates to the world and learns about the world through the piano. Could the pianist learn about the world through the vibrations that the piano strings generate, through the air, and through the audience's hearing mechanism, brain cells, and behaviors? Is this what the authors meant by "the human ego is boundaryless and cannot be localized, and the ego is immanent in the whole system"? Regardless of how far the "extension" goes, how do we know if an "extension" has occurred? How can we validate an "extension" of a musician's ego"?It seems to me that the authors' discussions have focused on the tactile extension of the body. If the body can be extended like the stick for the blind man, would the air surrounding the blind man, including its smell, temperature, humidity, wind, and sound, be his extension too? When this question is transferred to a musician, would the total context of the musical event be the musician's extension of the body too? By "total context," I mean the cultural context, the environment (smell, temperature,...), and the people in the musical event.We are certain that music learning takes place when experiences and knowledge are incorporated in the body. We still have not solved the problem of whether music learning occurs within or outside of the human being, because the boundary of the... (shrink)

We provide an overview of a transdisciplinary project about sustainable forest management under climate change. Our project is a partnership with members of the Menominee Nation, a Tribal Nation located in northern Wisconsin, United States. We use immersive virtual experiences, translated from ecosystem model outcomes, to elicit human values about future forest conditions under alternative scenarios. Our project combines expertise across the sciences and humanities as well as across cultures and knowledge systems. Our management structure, governance, and leadership behaviors (...) have both fostered and constrained our work and must be continuously responsive to changing group dynamics. Our project presents opportunities for substantial contributions to society, including insights and knowledge about complementary ways of knowing, skills training, and professional development, and opportunities for reflexive learning about effective transdisciplinary, translational, and transformative scientific processes. (shrink)

This article search, from a situation of classroom, to interpret the reality of the processes of felt learning and constitution of a child in initial phase of acquisition of the written language. This passage will be constructed from the notion of similarity, language and experience in Benjamin and Agamben. For in such a way the one notion `inversion' of logic in the frequent way that we think the education and that we look at the school seems necessary, in this (...) perspective some axles if they become central offices, the first one is a look on the knowledge idea and to learn as in relation the notion of `to teach finally' and third, from an approach on infancy and a look on the film “The Villa” of Shiamallan, appears a necessity of ‘pedagogy of childhood’, that is, the indicative for walking for an education that of the pedagogy inferiorly. (shrink)

In my article I reconstruct the main threads of Robert Stalnaker’s book Our Knowledge of the Internal World, which focuses on the problem of our epistemic relation to our experience and the relation between experience and knowledge. First, the book proposes an interesting view of externalism, which combines classical externalist claims with a contextualist approach to content ascriptions. The approach accommodates some important internalist intuitions by showing how content ascriptions can be sensitive to the perspective from (...) which a subject perceives the world. Second, Stalnaker proposes a theory of selflocating and phenomenal knowledge, which should be understood in terms of differentiating between real possibilities. The puzzling upshot of this elegant solution is that it commits one to the existence of possibilities accessible only from the first-person perspective. Finally, Stalnaker presents an argument which shows that our knowledge about our phenomenal experience is no more direct than the knowledge about external objects. Stalnaker’s claim that by merely having an experience we don’t learn any new information seems, however, too strict in light of his contextualist approach to content ascriptions. (shrink)