Education is a mess – is there an integrative way to teach?

I have updated an introduction to the SunWALK model of human-centred studies;Ā 

SunWALK: Summary of the main meanings of the components represented inĀ 
the model and its ā€˜logo-diagram-mandalaā€™ ā€“ providing a teacherā€™s process modelĀ 

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sunwalk-logo

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SunWALK: Summary of the main meanings of the components represented inĀ 

the model and its ā€˜logo-diagram-mandalaā€™ ā€“ providing a teacherā€™s process model

Give me a brief introduction:

SunWALK grew out of reflection on many years of teaching children and adults and particularly a period of five years teaching in a RC middle school ā€“ theorizing my practice via a PhD and practising my theory day-to-day.

SunWALK simply says that the quality of all of our lives will be higher if we undertake all education within the framework of deepening our humanity. Ā 

Deepening our humanity is a matter of developing technical competencies within the chief dimensions of the human spirit;Ā Caring (the Humanities), CreativityĀ (the Arts) andĀ CriticalityĀ (the Sciences & Philosophy) ā€“ all in local, national and world Communities. Ā These are the ā€˜4Csā€™ of the model ā€“ 3 intra-personal, 1 inter-personal.

We and our one planet will be better of if all of the technical stuff, from learning to read to Masters degrees in engineering, take place in the context of humanization/the 4Cs. Ā This requires international, national, school & classroom commitment to deepening the best of being human as the context for learning the technical.

We canā€™t afford to have character and morality and compassion asĀ hoped-forĀ accidentalĀ outcomes. Ā Moral Education, PSME, RE etc. donā€™t work as bolt-on extras. Ā They need to be the general context in which competencies are developed.

It is a model based on theĀ energy flowĀ of the human spirit ā€“ that is the given. That is physical, mental and spiritual energy that flows through all living human beings. Ā 

That energy, the human spirit, is the true ā€™stuff of educationā€™. Ā With the best of the past teachers need to equip children to face tomorrowā€™s challenges which will always be a mixture of new problems combined with eternally recurrent problems. Ā Building all education with will be the medium with which the teacher works to nurture and challenge balanced development.

Today we have lost the balance between specialization, and whole-systems thinking and acting ā€“ SunWALK model brings into harmony the best of ā€˜Westernā€™ & ā€˜Easternā€™ world-views.Ā 

OK ā€“ so whatā€™s the ā€˜Sunā€™ and the ā€˜WALK in the modelā€™?

The ā€˜Sunā€™ = the individualā€™s spiritual inspiration & values sources ā€“ accumulated and ongoing, as operating internally and as expressed in speech and behaviour.Ā 

WALK = Willing & Wise Action through Loving & Knowing ā€“ here seen as the general goal for education, and as the interiority, character and behaviour of the student.Ā 

The model/logo combines a range of sub-models including the following:

a) An ā€˜interiorā€™ model of the human spirit ā€“ in relation to ā€˜the worldā€™.

b) A model for re-positioning education within being & becoming human ā€“ in the world with others.

c) A general model of the curriculum ā€“ for primary, secondary and higher education.

d) A framework for the analysis and evaluation of teaching episodes or projects.

e) A model of education that makes non-faith-specific spiritual and moral education intrinsic to all learning.

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THE MODEL AND THE PROCESSĀ IN ONE (long) SENTENCE: –Ā 

The SunWALK model of spiritualizing pedagogy sees human education as theĀ 

storied

developmentĀ ofĀ 

meaning, which isĀ 

constructed, andĀ de-constructed,Ā 

physically,Ā mentallyĀ andĀ spiritually, throughĀ 

WiseĀ &Ā Willing

Action, viaĀ 

LovingĀ andĀ KnowingĀ ā€“ developed inĀ 

Community, through the

ā€˜Dialectical SpiritualizationĀ [1]ā€™ofĀ 

Caring,Ā CreativityĀ &Ā CriticalityĀ processes, all undertaken in the light of theĀ 

ā€˜Sunā€™ of chosen higher-order

valuesĀ andĀ beliefs, using best available,appropriateĀ 

content.

These underlined concerns are central components and focuses of the practice and theory in the model.Ā 

This is an intense combination of theory and practice. Ā It automatically requires the teacher to practice their theory and theorise their practice ā€“ dynamically as practice-based research. Ā It automatically enables the classroom to be connected to the school & community as a whole and to e.g. a relevant department in a university.

It attempts to suffuse all teaching with the demands, challenges and joy of being human in the world with others. Ā But it seeks to bring together the Whole and the parts, the ineffable and the concepts ā€“ not just concepts because as Heschel (1971:7) says, ā€œConcepts are delicious snacks with which we try to alleviate our amazement.ā€

The diagram/logo/

The outer ring of the SunWALK logo combines two dimensions:

1 ā€˜Community i.e. the social,interpersonal dimension of interaction with other individuals or groups.

2Ā  ā€˜Cultural sourcesā€™ including such dimensions as the traditions, the political & the legal. Ā 

The three major divisions of the arts,sciences and humanities are here thought of as the stored, yet potentially dynamic, accumulation of knowledge and beliefs and procedures ā€“ everything from galleries to written laws of physics that the individual can draw upon or be influenced by. This is the ā€˜stuff out thereā€™ rather than the interiority of consciousness in which there is the perpetual flow and re-shaping, focusing de-focusing etc. of heart-mind.

In SunWALK everything within the inner circle = a representation of ā€˜interiorityā€™, i.e. human consciousness ā€“ the human spirit.Ā 

The human spirit is presented intra-personally as 3 ā€˜voicesā€™ ā€“ 3 modes of being & of engaging with reality & of knowing.

The three emanate from the singleness of ā€˜heart-mindā€™, consciousness. Ā 

They are presented (metaphorically) as the ā€˜primary coloursā€™ ofĀ CreativityĀ (the yellow of inspiration),Ā CriticalityĀ (the blue of reason) &Ā CaringĀ (the red warmth of love).Ā 

Creativity is the ā€˜Iā€™ voice of subjective engagement via an artistic medium ā€“ it is concerned with subjective knowing and is particularly related to the core virtue ā€˜beautyā€™ and its products are of course ā€˜the Artsā€™.Ā 

Criticality is the ā€˜ITā€™ voice of objective engagement which enables progress in the Sciences ( & Maths., Philosophy and ā€˜criticalā€™ studies). It is concerned with objective knowing ā€“ and it is related particularly to the core virtue ā€˜truthā€™. Ā The products of course are the sciences and technology Ā – but also philosophy and critical studies.

Caring is the ā€˜WEā€™ voice which enables moral engagement ā€“ for progress in the moral domain and in service of others. It is concerned with social knowing ā€“ related particularly to the core virtue ā€˜goodnessā€™ and to ā€˜the Humanitiesā€™.Ā 

All three of course need to be conditioned by the pre-eminent virtue of justice. Ā All students need to have these ways of engaging with reality developed in a balanced way. Ā High technical competence combined with moral dwarfism leads to ā€¦ā€¦

The physical dimension is seen as the instrument for the flow of spirit in all of its forms ā€“ e.g. via dance, drama & PE and sports.

Each individual develops her/his I, WE and IT voices, the 3Cs, via socialization, starting in the family, the local community and then later in formal education. A sense of justice is seen as paramount intrapersonally as well as inter-personally i.e. it enables us to engage with that which is beautiful, good or true with balance, clarity & due weight.

The essential process in all 4Cs is multi-level dialogue. In the case of the individual dialogue is seen as meditation, reflection and inner-talk. In the case of groups it is dialectical process via consultation.

The ā€˜Celticā€™ knot that surrounds the central shield indicates that the 3Cs are simply aspects of the one human spiritā€“ the flow of ā€˜heart-mindā€™.

The white shield at the centre represents the meditative state in which there is no ā€˜focusedā€™ engagement via one of the 3Cs ā€“ and in which there is relatively little of the interference or chatter that we experience in the unquiet mind.Ā 

This can enable us to ā€˜go beyond ourselvesā€™, i.e. transcend our normal knowing ā€“ any of the 3Cs (I, WE or IT modes), as gateways, can be a pathway to the transcendent and to subsequent improved insight into reality.

The black dot at the centre is the ā€˜well-springā€™ of consciousness. For artists (and great scientists) it is the Muse. For religionists it is the voice of God within (albeit distorted by the dust of self). For non-religionists it is the inner source of spirit as energy & inspiration ā€“ the bits of realization and insight that come to us for which we donā€™t make an effort.

Educating the human spirit is seen as nurturing, and cultivating, the life-force which culminates in the developed human who, through higher-order consciousness, realizes abilities from within Caring, Creative or Critical engagements.Ā 

Teaching is seen as nurturing and cultivating what is normally present, almost from birth, & certainly by the time we go to school ā€“ namely the flow of spirit expressed in nascent forms of Caring, Creativity, and Criticality ā€“ in Community with others. Holistic Learning takes place when the learner uses Creativity, Criticality and Caring ā€“ in Community ā€“ inspired by higher-order values ā€“ in dynamic combinations such as Creativity providing texts for criticality ā€“ which then, via dialogue, produce/attract the spirit for more creativity.

In SunWALK spirituality is not a dimension; it is the model as a whole. In SunWALK moral education is not a dimension ā€“ it is intrinsic to all of its praxis.Ā 

The SunWALK logo can also be seen as a mandala, or even as a plan drawing for a fountain or an ā€˜arts centre of lightā€™! Ā 

SunWALK is a major shift to a process view of the world, of being human and of educating our young people. It rejects a worldview that is limited to the mechanistic, the ā€˜human-as-computer, the fragmentary and the materialistic; seeking instead modelling that is based on flow/process, holism and the spiritual. Ā Ā 

SunWALK is designed to enable teachers and students to become agents of change to transform a world that is still operated as atomistic, mechanistic and materialistic into one that is holistic, dialogic, and derived from the best processes and products of the human spirit.

The SunWALK logo and model of education Copyright Roger Prentice 1995 & 2009

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SEE ALSO these allied blogs –

Ā Human-centred coursesĀ ā€“

Ā Dictionary of Concepts

Home is HERE i.e. my ‘meta-blog’Ā -The Ā“1000 ways ā€¦of Celebrating the human spirit

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Travelling Still – an appreciation of the beautiful photographs by Rob Carter

Take a look at the Travelling Still site by Rob Carter. He has produced a book of two or three series of images that are very striking;

99_westonbirt_arboretum_iii_350px1

Movement and stillness and nature moving into abstraction characterize his work.

103_wardens_point_350px

Rob Carter’s site is HERE

How can we be more creative?

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Creativity as re-contextualization!
Creativity as re-contextualization!

Creativity is difficult to define but some of the characteristics of those that have it have been identified byĀ Mihaly Csikszentmihalyi.

10 paradoxes characteristic of creative people

Mihaly Csikszentmihalyi, a psychologist,iĀ has written about ten paradoxes characteristic of creative people. In summary version they are:

1. Creative people have a great deal of physical energy, but theyā€™re also often quiet and at rest. ā€¦ One manifestation of energy is sexuality. Creative people are paradoxical in this respect also. They seem to have quite a strong dose of eros, or generalized libidinal energy, which some express directly into sexuality. At the same time, a certain spartan celibacy is also a part of their makeup; continence tends to accompany superior achievement. Without eros, it would be difficult to take life on with vigor; without restraint, the energy could easily dissipate.

2. Creative people tend to be smart yet naive at the same time. ā€¦ Another way of expressing this dialectic is the contrasting poles of wisdom and childishness. As Howard Gardner remarked in his study of the major creative geniuses of this century, a certain immaturity, both emotional and mental, can go hand in hand with deepest insights. Mozart comes immediately to mind.

3. Creative people combine playfulness and discipline, or responsibility and irresponsibility. ā€¦ Jacob Rabinow, an electrical engineer, uses an interesting mental technique to slow himself down when work on an invention requires more endurance than intuition: ā€œWhen I have a job that takes a lot of effort, slowly, I pretend Iā€™m in jail. If Iā€™m in jail, time is of no consequence. In other words, if it takes a week to cut this, itā€™ll take a week. What else have I got to do? Iā€™m going to be here for twenty years. See? This is a kind of mental trick. Otherwise you say, ā€˜My God, itā€™s not working,ā€™ and then you make mistakes. My way, you say time is of absolutely no consequence.ā€

4. Creative people alternate between imagination and fantasy, and a rooted sense of reality.

5. Creative people trend to be both extroverted and introverted. ā€¦ in current psychological research, extroversion and introversion are considered the most stable personality traits ā€¦ Creative individuals, on the other hand, seem to exhibit both traits simultaneously.

6. Creative people are humble and proud at the same time.

7. Creative people, to an extent, escape rigid gender role stereotyping.

8. Creative people are both rebellious and conservative. ā€¦ The artist Eva Zeisel, who says that the folk tradition in which she works is ā€œher home,ā€ nevertheless produces ceramics that were recognized by the Museum of Modern Art as masterpieces of contemporary design.

9. Most creative people are very passionate about their work, yet they can be extremely objective about it as well.

10. Creative peopleā€™s openness and sensitivity often exposes them to suffering and pain, yet also to a great deal of enjoyment. ā€¦ Deep interest and involvement in obscure subjects often goes unrewarded, or even brings on ridicule. Divergent thinking is often perceived as deviant by the majority, and so the creative person may feel isolated and misunderstood.

SEE Creativity: The Work and Lives of 91 Eminent People, by Mihaly Csikszentmihalyi, published by HarperCollins, 1996.

Full article is HERE

Thoughts on art No. 1: The Turner Prize, The Stuckists and what do we want from artists.

“Art is worth the consciousness that it raises.”

The Turner prize stinks say the Stuckists. Ā 

The Turner prize is great say others.

What do they, and we, want from our artists and their art?

‘Thoughts on art No. 1’ – in a nutshell: Ā 

Just what do we expect from an artist? Ā What do we have the right to expect? Ā Are we asking too much? Ā 

In a world of increasing billions of communications isn’t an artist that informs you just a little bit more about

a) being human,

b) his/her being human

c) Ā or being human in the world with others worth his/her salt?

This is another way of saying that art is worth the consciousness that it raises.

For example two artists help me experience space differently and think about it differently are Ā Rachel Whiteread and Antony Gormley

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'Ghost by Rachel Whiteread.  The presence of a room without the room, a memory that fills a space such a room occupied.
'Ghost by Rachel Whiteread. The presence of a room without the room, a memory that fills a space such a room occupied. WikiPedia

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Space, (ghosts of) people in space and the inner space of people.
Antony Gormley's 'Domain Field' Space, (ghosts of) people in space and the inner space of people - and memory.

Ā SOURCE

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Of course the two artists I chose are somewhere between very good and great. Ā But even if they were students showing justĀ single pieces of their work it wouldn’t make any difference.

The gain was in and Ā around – Ā ‘space – being human – memory’Ā – i.e. a deepening and widening of consciousness.Ā 

Whiteread and Gormley – Ā are both important to me for reasons other than Ā ‘space – being human – memory‘Ā but just for extending, deeping, enjoying the resonances of that area,Ā “Thanks – many, many thanks – Ā I’m so glad I came across you.”


Henri Cartier-Bresson: perfect geometry, the ‘Decisive Moment’ and the compassionate eye

Updated 11th Dec 2008

This short article is both a celebratory appreciation and a lesson for use in schools or colleges.

Is this an early perfect Cartier-Bresson photograph?
A) Is this an early perfect Cartier-Bresson photograph - according to the three elements in my aesthetic model for appreciating HCB?

1) Photography that is art is (potentially) a bridge to reality, a bridge to a more sensitive reading of the world and a bridge to understanding the true self. Ā Q. Is photography that isn’t art a bridge to reality etc.?

2) What is art? Ā My working definition is;

Art is culturally,Ā and personally, significant meaning, skilfully encoded in an affecting, sensuous medium.Ā 
(RPā€™s working definitionĀ  – after a definition by Richard Anderson quoted in Freeland (2001 p. 77))

Decide how satisfactory this definition is for you. Ā Find others – compare them. Ā Decide on your own definition until you feel compelled to modify your definition.

3) What about the art of this great photographer, HCB, whose work spanned the extraordinary changes of most of the 20thC? Ā What are the elements of that greatness?

4) Upon reflection I think that the perfect Cartier-Bresson photograph is one in which there is a near perfect balance between three interrelating elements; the decisive moment, geometry and compassion (compassion as the key quality in the eye of of the humanistic eye). Ā See A above.

“The decisive moment, it is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as the precise organization of forms which gives that event its proper expression.” – Henri Cartier-Bresson

In most of his photographs one of these three elements dominates. Ā One question for debate is this; “Is he at his greatest when all three, more or less, in balance with each other?”

5) In this ‘triangulation’ of compassion, geometry and the decisive moment we have a Cartier-Bresson-ian aesthetic with which to view Cartier-Bresson’s photographs.

Draw a triangle with each of my three elements at the three corners. Ā Look closely at a series of HCB photographs and put a dot on your triangle to suggest where you think each photograph is placed.

6) We also have an aesthetic with which to appreciate many other photographs and photographers. Ā 

7) This image (B below),Ā 

hcb-behind-gare.jpgb)

one of the most famous of his photographs, is primarily about the decisive moment- to an astonishing extent. Ā Just look at the distance between the man’s heel and the surface of the water – it was aĀ splitĀ second of intuitive timing. Ā It just would’t have been so perfect if the heel had penetrated the water. Ā 

Those I like best are those that are exemplary of all three principles – Ā ‘the Decisive Moment’, the humanity and the form as perfect geometry – but some just throb with one or two elements. Ā Here for example Ā compassion;

hcb-bressonrussianboy.jpg

Here (C below) for example a snatched moment that resonates with meanings about time, past & presents, generation linkages etc – but its not strong on geometry;

cartier-bresson-child-carrying-painting.jpgC

Q Did HCB take ‘the Decisive Moment’ too far?

Q HCB also refused to crop any photograpy – he always had the negative printed full frame. Ā His financial independence meant he could travel the world and take thousands of photographs, accepting that only one or two per year would satisfy him. Ā Was the imposition of the ‘no-cropping full-frame self-imposed’ rule counter-productive, a discipline too far?

With a bit of adaptation by the teacher using a range of tecahing methods especially PFC (Philosophy for Children) this lesson would work at any level from primary to university.

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True achievement, success and happiness lie in being fully and positively human –

through our caring our creativity and our criticality ā€“

developed via service to the communities to which we belong.

All postings to this site relate to the central model in the

PhD. Summaries areĀ HERE

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