Category: Engagement

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

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

SunWALK: Summary of the main meanings of the components represented in 
the model and its ‘logo-diagram-mandala’ – providing a teacher’s process model 

 

sunwalk-logo

.

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

the model and its ‘logo-diagram-mandala’ – providing a teacher’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 – 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.  

Deepening our humanity is a matter of developing technical competencies within the chief dimensions of the human spirit; Caring (the Humanities), Creativity (the Arts) and Criticality (the Sciences & Philosophy) – all in local, national and world Communities.  These are the ‘4Cs’ of the model – 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.  This requires international, national, school & classroom commitment to deepening the best of being human as the context for learning the technical.

We can’t afford to have character and morality and compassion as hoped-for accidental outcomes.  Moral Education, PSME, RE etc. don’t work as bolt-on extras.  They need to be the general context in which competencies are developed.

It is a model based on the energy flow of the human spirit – that is the given. That is physical, mental and spiritual energy that flows through all living human beings.  

That energy, the human spirit, is the true ’stuff of education’.  With the best of the past teachers need to equip children to face tomorrow’s challenges which will always be a mixture of new problems combined with eternally recurrent problems.  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 – SunWALK model brings into harmony the best of ‘Western’ & ‘Eastern’ world-views. 

OK – so what’s the ‘Sun’ and the ‘WALK in the model’?

The ‘Sun’ = the individual’s spiritual inspiration & values sources – accumulated and ongoing, as operating internally and as expressed in speech and behaviour. 

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

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

a) An ‘interior’ model of the human spirit – in relation to ‘the world’.

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

c) A general model of the curriculum – 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.

 

THE MODEL AND THE PROCESS IN ONE (long) SENTENCE: – 

The SunWALK model of spiritualizing pedagogy sees human education as the 

storied

development of 

meaning, which is 

constructed, and de-constructed, 

physically, mentally and spiritually, through 

Wise & Willing

Action, via 

Loving and Knowing – developed in 

Community, through the

‘Dialectical Spiritualization [1]’of 

Caring, Creativity & Criticality processes, all undertaken in the light of the 

‘Sun’ of chosen higher-order

values and beliefs, using best available,appropriate 

content.

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

This is an intense combination of theory and practice.  It automatically requires the teacher to practice their theory and theorise their practice – dynamically as practice-based research.  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.  But it seeks to bring together the Whole and the parts, the ineffable and the concepts – not just concepts because as Heschel (1971:7) says, “Concepts are delicious snacks with which we try to alleviate our amazement.”

The diagram/logo/

The outer ring of the SunWALK logo combines two dimensions:

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

2  ‘Cultural sources’ including such dimensions as the traditions, the political & the legal.  

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 – everything from galleries to written laws of physics that the individual can draw upon or be influenced by. This is the ‘stuff out there’ 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 ‘interiority’, i.e. human consciousness – the human spirit. 

The human spirit is presented intra-personally as 3 ‘voices’ – 3 modes of being & of engaging with reality & of knowing.

The three emanate from the singleness of ‘heart-mind’, consciousness.  

They are presented (metaphorically) as the ‘primary colours’ of Creativity (the yellow of inspiration), Criticality (the blue of reason) & Caring (the red warmth of love). 

Creativity is the ‘I’ voice of subjective engagement via an artistic medium – it is concerned with subjective knowing and is particularly related to the core virtue ‘beauty’ and its products are of course ‘the Arts’. 

Criticality is the ‘IT’ voice of objective engagement which enables progress in the Sciences ( & Maths., Philosophy and ‘critical’ studies). It is concerned with objective knowing – and it is related particularly to the core virtue ‘truth’.  The products of course are the sciences and technology  – but also philosophy and critical studies.

Caring is the ‘WE’ voice which enables moral engagement – for progress in the moral domain and in service of others. It is concerned with social knowing – related particularly to the core virtue ‘goodness’ and to ‘the Humanities’. 

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

The physical dimension is seen as the instrument for the flow of spirit in all of its forms – 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 ‘Celtic’ knot that surrounds the central shield indicates that the 3Cs are simply aspects of the one human spirit– the flow of ‘heart-mind’.

The white shield at the centre represents the meditative state in which there is no ‘focused’ engagement via one of the 3Cs – and in which there is relatively little of the interference or chatter that we experience in the unquiet mind. 

This can enable us to ‘go beyond ourselves’, i.e. transcend our normal knowing – 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 ‘well-spring’ 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 – the bits of realization and insight that come to us for which we don’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. 

Teaching is seen as nurturing and cultivating what is normally present, almost from birth, & certainly by the time we go to school – namely the flow of spirit expressed in nascent forms of Caring, Creativity, and Criticality – in Community with others. Holistic Learning takes place when the learner uses Creativity, Criticality and Caring – in Community – inspired by higher-order values – in dynamic combinations such as Creativity providing texts for criticality – 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 – it is intrinsic to all of its praxis. 

The SunWALK logo can also be seen as a mandala, or even as a plan drawing for a fountain or an ‘arts centre of light’!  

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 ‘human-as-computer, the fragmentary and the materialistic; seeking instead modelling that is based on flow/process, holism and the spiritual.   

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

.

 

—–0—–

SEE ALSO these allied blogs ––

 Human-centred courses –

 Dictionary of Concepts

Home is HERE i.e. my ‘meta-blog’ -The ´1000 ways …of Celebrating the human spirit

 

—–0—–

 

Being human – an American high school principal´s view

Many years ago a copy of this letter came my way – supposedly issued by a high school principal to his/her teachers on the first day of school.

It was seminal in the development of my world-view  – and it is worthy of re-circulation;

Dear Teacher

     I am a survivor of a concentration camp.  My eyes saw what no man should witness:

        Gas chambers built by learned engineers.

        Children poisoned by educated physicians.

        Infants killed by trained nurses.

        Women and babies shot and burned by high school and college graduates.

        So, I am suspicious of education.

My request is: Help your students become human.  Your efforts must never produce learned monsters, skilled psychopaths, educated Eichmans.

Reading, writing, arithmetic are important only if they serve to make our children more human. 

SEE ALSO: http://www.hmh.org/ed_faqs.asp

—–0—–

All postings to this site relate to the central model in the PhD. Summaries are HERE

Getting our I, WE & IT voices Balanced – inspired by Ken Wilber

Getting our I, WE & IT Voices Balanced

 

Are your voices in a twist? We each have 3 God-given voices to sing different kinds of songs. Imagine if one voice dominates & consequently the other 2 ‘shrivel’ to almost nothing. Where would we be?

 

Answer – where we and our world are now. This is how Ken Wilber explains our situation.

 

All great wisdom traditions (and Perennial Philosophy) used to believe in the Great Chain of Being which taught that reality was a rich tapestry of levels starting with matter:

spirit

 

soul

mind

body

 

matter

Wilber suggests reality now is best understood as a Great Nest of Being – like a set of ‘Russian Dolls’ – same levels – ‘matter-body-mind-soul-spirit’ but like an onion. (All are forms of spirit?)

 

He speaks of three historical periods: 1) before the Enlightenment = pre-modernism; 2) after the Enlightenment = modernism; 3) recently = post-modernism.

 

What did the good side of modernism give us? The good side of modernism = we were able to develop separately the 3 voices of I. WE & IT – I, (Art) WE (Morality) and IT (Science)

 

I = the subjective voice that we express in the arts (Beauty – and subjective truth)

WE = the moral voice that we express in the Humanities including religion (Goodness)

IT = the objective voice that we express in the Sciences (Objective Truth)

 

In pre-modern times I, WE and IT were not separate voices. Before the Enlightenment the Church decided everything. It forced Galileo to recant the truth of what he saw scientifically through his telescope. The Church insisted the sun went around the earth. It also decided what was and wasn’t good, and what was and wasn’t beautiful in the arts.

 

After the Enlightenment modernism gave us three voices developing separately I, WE and IT which were also three separate ways of knowing which I prefer to express thus:

 

‘I knowing’ = the subjective voice in the Arts (Beauty as pleasing patterns en-formed) -Creativity

‘WE knowing’ = the moral voice in the Humanities inc. religion (Goodness as fellow-feeling) -Caring

‘IT knowing’ = the objective voice in the Sciences (Truth as sorting, measuring, replicating) -Criticality

 

The bad side of modernism = the domination by the IT voice (‘Scientism’) to create ‘Flatland’. That is the ITness of science has become so powerful that it has caused the other two voices, more or less, to become invalid. This has been called the dis-enchantment of the modern world.

 

Therefore:

Pre-modernism = science, the humanities & the arts couldn’t develop separate to ‘Church’

Modernism = all three could develop separately (includes separation of Church and State)

Post-modernism means different things to different people a) a reaction against modernism, b) a counter-balance to (Flatland) modernism or c) a continuation of modernism

 

More narrowly postmodernism = the idea that there is no ‘truth’ only interpretations, and all interpretations are socially constructed (by elites to exploit groups e.g. women or colonies)

 

Important in pm = ‘there is no grand narrative’ that binds – such as the Christian story. My answer = ‘yes there is – being human in the world, with others, seeking truth, beauty, goodness and justice = the perennial grand narrative’.

 

The bad side of modernism = the empiricism of science has like a cuckoo forced out ‘I knowing’ and ‘WE knowing’. Inappropriately applying the scientific way of knowing (empiricism) to other areas of life is called scientism . (Creates ‘Flatland’)

 

Fundamentalism is, in part, derived by rejection of modernism – especially separation of state & religion. Ultimately it = the unwillingness to let the I, WE & IT voices grow separately.

 

The good side of post-modernism – it teaches us that

1 Reality is not always pre-given, but in some significant ways is a construction, an interpretation. The belief that reality is simply given, is referred to as ‘the myth of the given’.

2 Meaning is context-dependent, and contexts are boundless.

3 Cognition must therefore privilege no single perspective. (SEE Wilber p121)

 

Conclusion: We still validate science (the empirical and the rational), though we teach it poorly, but we don’t validate contemplation. Contemplation can also be thought of as heart-knowing – which is inspiration that follows meditation, especially the experience of at-one-ment/egolessness.

 

Our interior self is a flow of ‘heart-mind’. – separating heart and mind has been a disaster that has invalidated, or diminished, the feminine principle in men and women. (Heart-mind is an ancient idea ‘xin’ or ‘hsin’ in Chinese).

 

I, WE and IT ways need each other. If a person gets inspiration from contemplation (as Einstein did) s/he needs to order it or check it with IT knowing and WE knowing. Science needs I knowing and WE knowing as well. The Humanities need I knowing as well as IT knowing. Art needs WE & IT knowing.

 

Organized religion has suffered because it couldn’t stay clear on I, WE and IT knowing. It has made a comeback via the arts and ‘pick and mix’ spirituality. Its special domain, like art is I knowing – + WE knowing as inspired by what it sees as the revealed word of God.

 

Action needed = The world (especially the religions, governments & parents) need to nurture the I, WE and IT voices to achieve balance and concord. Unity, peace & development depend on validating objective truth and knowing, subjective truth and knowing and the moral wisdom that lies at the heart of all of the great traditions. The call is to the balancing of these three ‘voices’ of the human spirit.

 

My educational model towards this end I have called SunWALK = we need to teach our children, and ourselves, to pursue Wise, Action, through Loving and Knowing guided by the Sun of higher-order values SEE www.SunWALK.org.uk Roger Prentice Email; rogerprentice@bigfoot.com Ver 8.7.06

Adapted from and inspired by the work of Ken Wilber in The Marriage of Sense & Soul

—–0—–

All postings to this site relate to the central model in the PhD. Summaries are HERE

 

Wilberian Studies; integral and holistic studies that draw on inspiration from Ken Wilber

 I therefore sought to outline a philosophy of universal integralism. Put differently, I sought a world philosophy—or an integral philosophy—that would believably weave together the many pluralistic contexts of science, morals, aesthetics, Eastern as well as Western philosophy, and the world’s great wisdom traditions. Not on the level of details—that is finitely impossible; but on the level of orienting generalizations . . . a holistic philosophy for a holistic Kosmos, a genuine Theory of Everything.        —Ken Wilber (TOE, p. 38).

For my own work, and for the benefit of those with similar interests, I have decided to keep a list of sources that I come across that fall under the category of ‘Wilberian studies’. That is integral and holistic studies that draw on inspiration from Ken Wilber. These include leadership studies, education, philosophy, psychology etc. I am collecting these interesting variations on, and adaptions and applications of Wilber’s four quadrants and three voices of I, WE and IT. – SEE especially Wilber’s The Marriage of Sense and Soul.

My own diagram/application is at the foot of this posting.

Here are the first few other Wilberian ‘four quadrants’ variations, adaptations and applications ;

5 The Promise of Integralism A Critical Appreciation of Ken Wilber’s Integral Psychology by Christian de Quincey

wilber-grid2-four-quadrants.jpgHERE

4 Intimations of Jung in Integrative Psychology and in Ken Wilber’s Quadrants by John Giannini

four_arch-four-quadrants.gifHERE

3 Integral Spiral Dynamics by Michael Dowd

spiral-integral-spiral-dynamics-by-michael-dowd-four-quadrants.jpg HERE – click to see full size. Click HERE to see the 4 parts of the diagram in detail.

2 Developing Leadership Capacity: Searching for the Integral – by Wood and Hessler-Key

wilber2-wood-and-hessler-key.gifHERE

1 Prof Slaughter’s article

slaughter-3-1-four-quadrants.jpgHERE

My own application;
sunwalk-logothumbnail1.jpgHERE was to suggest that teachers see the raw material of their work as the flow of spirit (the student’s spirit and their own) – that spirit inevitably being socialized in to the three voices of I, WE and IT. Teaching thus becomes the work of nurturing refinement in abilities within the I WE and IT voices. The real concern is the learner and her/his holistic development
The real stuff of education thus is spirit – that uses community and cultural stuff drawn from the Arts, Humanities and Sciences – the Arts being the ‘food’ of the I voice, the Humanities being the food of the WE voice and the Sciences being the ‘food’ of the IT voice. Proceeding like this I have suggested constitutes a) integralization and b) spiritualization i.e. a paradigm shift and one that in my personal experience greatly strengthens the academic concerns of teaching.

“The Self is an ocean without a shore”: Bill Viola, a perfect match of spirit and form?

THE ARGUMENT The past lives only in the present in that our consciousness is marked and shaped by those whose insights we come to re-realize – including those that come from the great spiritual teachers. Memories are like art and sacred writings that are simply marks made – but marks made that can transport us to our own high realization in inspired consciousness. Bill Viola is now re-presenting us through his mastery of one of newest of mediums, video, with access to that spiritual core at the heart of the great world wisdom traditions. Is this a perfect post-modernist match of spirit and form?

In my SunWALK model about ‘what it is to be human‘ and about ‘how can we spiritualize education without the exclusivity of sectarian religion‘ I was inspired by several quotations as well as by Seamus Heaney’s poem Personal Helicon.

Bill Viola from ‘Ocean Without a Shore‘ – click to see full size – Source artdaily

“One of the things the camera taught me was to see the world, the same world that my eye sees, in its metaphoric, symbolic state. This condition is, in fact, always present, latent in the world around us .”
– Bill Viola

I was interested to see news about Bill Viola’s recent work ‘Ocean Without a Shore’ (shown at Chiesa di San Gallo, Venice). Viola’s website cites the following two inspirations;

“The Self is an ocean without a shore. Gazing upon it has no
beginning or end, in this world and the next.”
Ibn al’Arabi (1165 – 1240)

From the Viola site we learn;

‘Ocean Without a Shore’ is about the presence of the dead in our lives. The three stone altars in the church of San Gallo become portals for the passage of the dead to and from our world. Presented as a series of encounters at the intersection between life and death, the video sequence documents a succession of individuals slowly approaching out of darkness and moving into the light. Each person must then breakthrough an invisible threshold of water and light in order to pass into the physical world. Once incarnate however, all beings realize that their presence is finite and so they must eventually turn away from material existence to return from where they came. The cycle repeats without end.

The work was inspired by a poem by the 20th century Senegalese poet and storyteller Birago Diop:

“ Hearing things more than beings,
listening to the voice of fire,
the voice of water.
Hearing in wind the weeping bushes,
sighs of our forefathers.

The dead are never gone:
they are in the shadows.
The dead are not in earth:
they’re in the rustling tree,
the groaning wood,
water that runs,
water that sleeps;
they’re in the hut, in the crowd,
the dead are not dead.

The dead are never gone,
they’re in the breast of a woman,
they’re in the crying of a child,
in the flaming torch.
The dead are not in the earth:
they’re in the dying fire,
the weeping grasses,
whimpering rocks,
they’re in the forest, they’re in the house,
the dead are not dead.”
(from David Melzter, ed. Death – An Anthology of Ancient Texts, Songs, Prayers and Stories (San Francisco: North Point Press, 1984)

The Ibn al’Arabi quotations reminded me of my attempt to portray our state in visiting ‘the shoreline’ and encountering the unknowable Whole – in my Personal Myth and the four key qutations (SEE below)

The poetic sense of the dead speaking in the ‘dying fire, the weeping grasses’ etc is secondary for me to how they live on in the consciousness that we possess, because of them. Our spirits continue to live out their consciousness through ours.

FOUR KEY QUOTATIONS

The Ibn al’Arabi quotation also reminded me of the inspiration I got from four key quotations in relation to a sense of the Whole and to a panentheistic and Universalist perspective I hoped that they contributed to the leitmotif that made of the thesis parts, a whole;

Text 1)

“The larger the island of knowledge, the longer
the shoreline of mystery.” Unknown author

Text 2)

The search for reason ends at the shore of the known;
on the immense expanse beyond it
only the sense of the ineffable can glide.
It alone knows the route to that
which is remote from experience and understanding.
Neither is amphibious:
reason cannot go beyond the shore,
and the sense of the ineffable
is out of place where we measure, where we weigh…….

Citizens of two realms, we must all sustain dual allegiance:
we sense the ineffable in one realm;
we name and exploit reality in another.

Between the two we set up a system of references,
but can never fill the gap.
They are as far and as close to each other

As time and calendar, as violin and melody,
as life and what lies beyond the last breath.

The tangible phenomena we scrutinize with our reason,

The sacred and indemonstrable we overhear

with the sense of the ineffable.

Heschel A. J. (1971), Man is Not Alone, New York: Octagon Books p.8

Text 3)

Tao, the subtle reality of the universe

cannot be described.

That which can be described in words

is merely a conception of the mind.

Although names and descriptions have been applied to it,

the subtle reality is beyond the description.

One may use the word ‘Nothingness”

to describe the Origin of the universe,

and “Beingness”

to describe the Mother of the myriad things,

but Nothingness and Beingness are merely conceptions.

From the perspective of Nothingness,

one may perceive the expansion of the universe.

From the perspective of Beingness,

one may distinguish individual things.

Both are for the conceptual convenience of the mind.

Although different concepts can be applied,

Nothingness and Beingness

and other conceptual activity of the mind

all come from, the same indescribable subtle Originalness

The Way is the unfoldment of such subtle reality.

Having reached the subtlety of the universe,

one may see the ultimate subtlety,
the Gate of All Wonders.

Ni, Hua-Ching (1997), The Complete Works of Lao Tzu, Santa Monica, USA: Seven Star Communications – Tao The Ching (‘Chapter’ 1)

Text 4)

….set then yourselves towards His holy Court, on the shore of His mighty Ocean, so that the pearls of knowledge and wisdom, which God hath stored up within the shell of His radiant heart, may be revealed unto you….
(Baha’u’llah: Proclamation of Baha’u’llah, Pages: 8-9)

The past lives only in the present in that our consciousness is marked and shaped by those whose insights we come to re-realize – including those that come from the great spiritual teachers. Memories are like art and sacred writings that are simply marks made – but marks made that can transport us to our own high realization in inspired consciousness. Bill Viola is now re-presenting us through his mastery of one of newest of mediums, video, with access to that spiritual core at the heart of the great world wisdom traditions. Is this a perfect post-modernist match of spirit and form?

The mystic inner core of the great world wisdom traditions is incorrectly named as Perennial Philosophy

• There’s a reality beyond the material world:
• Which is uncreated.
• It pervades everything,
• but remains beyond the reach of human knowledge and understanding.
• You approach that reality by:
• Distinguishing ego from true self
• Understanding the nature of desire
• Becoming unattached
• Forgetting about preferences
• Not working for personal gain
• Letting go of thoughts
• Redirecting your attention
• Being devoted
• Being humble
• Invoking that reality
• Surrendering
• That reality approaches you through:
• Grace
• The teacher
• You’re transformed so that you embody that reality by:
• Dying and being reborn

Two views of the structure of Perennial Philosophy are HERE

Viola in our sea of uncertainty, and maelstrom of violence, is helping us re-connect.

Perhaps also Viola is showing us that video can do more fully what photographers – Minor White for example – have longed to do – to ‘en-form’ the spiritual?

—–0—–

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

Summaries are HERE

Inspiring quotations for PhD thesis

Like heroes and heroines certain key sayings inspire us. Here I’m assembling the ones that have meant most to me.

As I re-find them I am putting the NEWEST at the top:

From my thesis;

The four texts that contributed to the leitmotif that, I hope, makes, of the thesis parts, a whole

Text 1)

“The larger the island of knowledge, the longer
the shoreline of mystery.” Unknown author

Text 2)

The search for reason ends at the shore of the known;
on the immense expanse beyond it
only the sense of the ineffable can glide.
It alone knows the route to that
which is remote from experience and understanding.
Neither is amphibious:
reason cannot go beyond the shore,
and the sense of the ineffable
is out of place where we measure, where we weigh…….

Citizens of two realms, we must all sustain dual allegiance:
we sense the ineffable in one realm;
we name and exploit reality in another.

Between the two we set up a system of references,
but can never fill the gap.
They are as far and as close to each other

As time and calendar, as violin and melody,
as life and what lies beyond the last breath.

The tangible phenomena we scrutinize with our reason,

The sacred and indemonstrable we overhear

with the sense of the ineffable.

Heschel A. J. (1971), Man is Not Alone, New York: Octagon Books p.8

Text 3)

Tao, the subtle reality of the universe

cannot be described.

That which can be described in words

is merely a conception of the mind.

Although names and descriptions have been applied to it,

the subtle reality is beyond the description.

One may use the word ‘Nothingness”

to describe the Origin of the universe,

and “Beingness”

to describe the Mother of the myriad things,

but Nothingness and Beingness are merely conceptions.

From the perspective of Nothingness,

one may perceive the expansion of the universe.

From the perspective of Beingness,

one may distinguish individual things.

Both are for the conceptual convenience of the mind.

Although different concepts can be applied,

Nothingness and Beingness

and other conceptual activity of the mind

all come from, the same indescribable subtle Originalness

The Way is the unfoldment of such subtle reality.

Having reached the subtlety of the universe,

one may see the ultimate subtlety,
the Gate of All Wonders.

Ni, Hua-Ching (1997), The Complete Works of Lao Tzu, Santa Monica, USA: Seven Star Communications – Tao The Ching (‘Chapter’ 1)

Text 4)

….set then yourselves towards His holy Court, on the shore of His mighty Ocean, so that the pearls of knowledge and wisdom, which God hath stored up within the shell of His radiant heart, may be revealed unto you….
(Baha’u’llah: Proclamation of Baha’u’llah, Pages: 8-9)

“The utterances of the heart — unlike those of the discriminating intellect — always relate to the whole.” (Jung)

Also from the thesis;

Introduction to Chapter 1 – an ‘overture’

By way of a short introduction I want to ‘sound’, as in an overture, certain ‘notes’, or themes or resonances. They are from writers, and a film-maker, whose statements have come to mean a great deal, in the struggle to search out my own story, and its meaning educationally.

Autobiography is a journey inward. St Augustine said:

Men go to gape at mountain peaks, at the boundless tides of the sea, the broad sweep of rivers, the encircling ocean and the motion of the stars; and yet they leave themselves unnoticed; they do not marvel at themselves.
St. Augustine, Confessions X2

Autobiography is not entirely a matter of re-collecting objective facts: it is re-creation as well as re-collection, but it is a seeking after a kind of truth; the truth of authentically being in oneself. Peter Abbs (1974 p. 7) calls autobiography: the search backwards into time to discover the evolution of the true self. It is, as such, about self-knowing, but something beyond the fripperies of the ego. Baha’u’llah, Founder of the Baha’i religion, in one of His own writings, cites a tradition from Islam: He hath known God who hath known himself. (Baha’u’llah: Gleanings, MARS database3 p.178).

For the theistically religious the more we come to know our true selves, the closer we come to the Divine within us, and vice versa. I make no claim, beyond a few faltering steps, but the ideas continue to inspire.

The ‘Thesis Poem’
I have chosen the following poem by Seamus Heaney (1996 p.14) as ‘the poem’ for the thesis because it shows beautifully how we resonate now, in relation to what we sensed and experienced as children. It also shows how, through metaphor, the objective connects with the subjective to thrill, to the very quick of our being.

About the poem, ‘Personal Helicon’ Pelligrino (2003 p.1) explains;

Mount Helicon is a mountain in Greece, that was, in classical mythology, sacred to Apollo and the Muses. From it flowed two fountains of poetic inspiration. Heaney is here presenting his own source of inspiration, the “dark drop” into personal and cultural memory, made present by the depths of the wells in his childhood. Now, as a man, he is too mature to scramble about on hands and knees, looking into the deep places of the earth, but he has his poetry – and, thank God, so do we.

Of course if Heaney was reading it we would have that wonderful voice, like an aromatic tree giving up the sap, and perfuming the air with all the good things from the soil.

Personal Helicon by Seamus Heaney
for Michael Longley

As a child, they could not keep me from wells
And old pumps with buckets and windlasses.
I loved the dark drop, the trapped sky, the smells
Of waterweed, fungus and dank moss.
One, in a brickyard, with a rotted board top.
I savoured the rich crash when a bucket
Plummeted down at the end of a rope.
So deep you saw no reflection in it.
A shallow one under a dry stone ditch
Fructified like any aquarium.
When you dragged out long roots from the soft mulch
A white face hovered over the bottom.
Others had echoes, gave back your own call
With a clean new music in it. And one
Was scaresome, for there, out of ferns and tall
Foxgloves, a rat slapped across my reflection.
Now, to pry into roots, to finger slime,
To stare, big-eyed Narcissus, into some spring
Is beneath all adult dignity. I rhyme
To see myself, to set the darkness echoing.

Later I take up the issues of resonance, and of objective and subjective meaning combined in metaphor, and the power of the subjective in personal history, to continue to generate the new in the meaning-making we do. The darkness echoes, as we stare into the part darkness of the self, and its memories – we stare, each a big-eyed Narcissus.

The final ‘sounding’, or theme, in the Introduction to Chapter 1 concerns identity and the moment, which lives on, and in which the past continues to create. The piece is by Jorge Luis Borges4, who says:

Any life, no matter how long and complex it may be, is made
up of a single moment – the moment in which a man finds
out, once and for all, who he is.

The one moment could conceivably be a choice – as in Japanese filmmaker Hirokazu Kore-eda’s After Life where a group of 22 people are suspended between earth and heaven with a week to answer the important question: “What is the one memory that you choose to carry into the afterlife?” When each chooses his or her memory, this is all that will be remembered for eternity.

Professionally, the lesson, or pair of lessons, upon which this thesis is, in part, an extended reflection contains the one memory I would choose. Ideally it would be the whole of the two ‘story’ lessons.

If it was reduced just to seconds it would be the moment that one ‘deviant’ boy offered an explanation of the possible symbolic meaning of the two fishes that I had drawn on the blackboard. One fish was a line drawing, the other a similar shaped fish, but its shape was delineated via chalk shading (i.e. from ‘the outside’).

“Mr P I think one fish represents bounded imagination, and the other stands for unbounded imagination.”

His brilliantly insightful comment was the jewel in the crown of an outstanding lesson in which the class and I, so I felt, was as ‘one-mind’, intellectually sharp but attitudinally contemplative, in ‘cross-over’ from extreme left-brain and extreme right-brain engagement – and here he was, the boy always in trouble with various teachers, speaking my as yet unrealized thoughts, and riveting me to that moment.

It was the supreme moment, within the supreme experience in a life-time of teaching, and it was, as Jack Nicholson and the movie title say, ‘As good as it gets’.

One key quotation is missing from this section. It is; “The larger the island of knowledge,the longer the shoreline of mystery.” Anon. I now find that in a piece of his work Bill Viola was inspired by;

“The Self is an ocean without a shore. Gazing upon it has no
beginning or end, in this world and the next.”
Ibn al’Arabi (1165 – 1240)

The ocean and island metaphors, the limitless Self, the fathomless self, the moment and memories, ‘After Life’, self-knowledge and the impossibility of knowing the Self – all these and more are essential threads in my attempt too present in SunWALK a model of what it is to be positively and fully human as well as a model of how education can be intrinsically spiritualizing without the narrow sectarian religion.

—–0—–

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

Summaries are HERE


Where does Aesthetics and Aesthetic experience fit in all of this? (re Wilber, heart-knowing, head-knowing, and the 3 ‘voices’)

see post on September 5th, 2007

 

Where does Aesthetics and Aesthetic experience fit in all of this?

Aesthetics belongs to the science of philosophy (Criticality) BUT aesthetic experiences are ‘subjective-creative-mystical’ i.e they are Creative and subjective.

 

The Indian philosopher Coomaraswami said that art and religion were not similar – they are, he said, the same. I would say that they are the same in that both involve engagement that involves a ‘loss of ego boundaries’ i.e. they are ‘unitive’ experiences. But both of these are or can be morally neutral activities. Religion on the other hand is false if its spirituality does not engender right action.

 

Aesthetic experience then, so I argue, is closer to artistic creation and is similar to mystical experience. We may or may not see our unitive experience as taking place within a moral context or a moral world-view, such as a religion. That is a unitive experience like membership of a religion, or a taste for spiritual food does not of itself mean that we and our actions are moral. We have more or less the sensibility and will to grasp the moral implications and act on them

 

Our moral sense comes from parents, family, schooling etc. If we are religious then a major shaper of our moral sensibility is the founder of the religion and his/her teachings. If we are Humanist or a ‘Free-thinker’ other inspiring individuals shape our moral sensibility.

—–0—–

All postings to this site relate to the central model in the PhD. Summaries are HERE

 

 

 

Wilber, heart-knowing, head-knowing, and the 3 ‘voices’ through which we engage with reality

Heart-knowing, head-knowing, and the 3 ‘voices’ through which we engage with reality

The three intrapersonal ‘voices’ of human engagement, have previously been presented as Caring, Creativity and Criticality.

Our Caring, Creativity and Criticality ways of engaging are developed through internalizing the voices of parents and family and then all of the Humanities, the Arts and the Sciences experiences we have at school and in the wider society.

 

Corresponding to the three voices we have three ways of knowing:

1 the ‘social-others-centred’ way of knowing – in the case of Caring

2 the ‘subjective-creative-mystical’ way of knowing – in the case of Creativity and

3 the ‘objective-reasoning-scientific’ way of knowing – in the case of Criticality

So;

Caring, the ‘social-others-centred’ way of knowing = the internalized voice of the Humanities, and is about engaging with reality via the moral viewpoint

 

Creativity, the ‘subjective-creative-mystical’ way of knowing = the internalized voice of the Arts, and is about engaging with reality via the subjective viewpoint

 

Criticality the ‘objective-reasoning-scientific’ way of knowing = the internalized moral voice of the ‘Sciences’ and is about engaging with reality via the (supposed) objective viewpoint.

 

NB Criticality is wider that what is normally meant by the Sciences and scientific methods. It includes philosophy and such activities as Eng Lit criticism. Why? Because it is about reasoning and other ‘left-brain’ objective activities. The participant assumes the position of being objective and is learning or teaching about phenomena – s/he is not learning or teaching in the phenomena – a distinction that correlates with that between ‘knowing that’ (Paris is the capital of France) and ‘knowing how’ (being able to dance a response to a tragic event).

 

Heart-knowing and head-knowing, left-brain and right-brain

Heart-knowing, the ‘subjective-creative-mystical’, is seen as partly an innate, intuitive way of knowing and seems to relate to right-brain activities.

 

The ‘methods of the ‘objective-reasoning-scientific’’voice’ seem to relate to right-brain activities.

 

The third form, i.e. social knowing, is seen as deriving from the cultural interpersonal matrix of family and community relationships, internalized as the Caring seems to draw upon both sides of the brain (as do architects!).

—–0—–

NB All postings to this site relate to the central model in the PhD.

Summaries are HERE

 

 

 

 

Heart-rending testimony of an Afghan woman in Fazal Sheikh’s online book, ‘When Two Bulls Fight the Leg of the Calf is Broken’

afghan-woman.jpgBe sure to visit Fazal Sheikh’s on-line HERE

Take a look at the heart-rending testimony of an Afghan woman in ‘Fazal Sheikh’s online book When Two Bulls Fight the Leg of the Calf is Broken’.

Here is a short extract;

‘When our great Islamic revolution succeeded, we thought our day of deliverance had come. Finally we would be free and independent. Afghanistan was released. But once again women were treated as the goat in the game, pulled this way and that by one faction or another. Once again, on all sides, indiscriminate bombing and rocket-attacks, bullets and mines killed Afghan children in their mother’s wombs. We were forced to flee with bare feet and uncovered heads to escape the killing. Some of us fled to foreign countries and became refugees. It should not be forgotten that some of us were forced to flee to Moscow for our safety!

I shall never forget how so many of us spent frightened lonely nights waiting patiently in the front line for a single loaf of bread. How many of us were abducted by armed men from Mujahedin parties in the middle of the day in busy streets. How many of us were raped. How many of us threw themselves from buildings to keep their chastity. How many of us were taken from the scorching refugee camps in Jalalabad to become a commodity for men in neighboring countries. How many widows were forced to sell themselves to feed their families.

Those who have come to power, those with guns, continue to leer at us, to make fun of us, to take pleasure in harassing us. These men who think of themselves as the defenders of our faith, as our fathers and brothers sent to protect us, are the same ones who call us “Honey”. They say: “Don’t come out of your bottle, the flies might touch you.” The flies are the men that rush at you. Others tell us that we are “live wires that must be covered.” It is a pity they don’t recognize us as individuals, as fellow human beings. Over the loudspeakers they announce that years of holy war has simply been to cover Afghan women in Muslim dress.

That, dear brother, dear father and son, I am sure was not the purpose of the holy war……’

—–0—–

Of course people need water and food but as Maslow pointed out long ago security is a comparably important need.

—–0—–

NB All postings to this site relate to the central model in the PhD.

Summaries are HERE

Key photography quotations toward defining a photographic aesthetic

This is a running list of quotations selected to help me move toward an understanding of my own photographic aesthetic – based on the SunWALK model.

“The camera is an instrument of detection. We photograph not only what we know, but also what we don’t know. ” Lisette Model

The book (Camera Lucida by Roland Barthes) develops the twin concepts of studium and punctum: studium denoting the cultural, linguistic, and political interpretation of a photograph, punctum denoting the wounding, personally touching detail which establishes a direct relationship with the object or person within it. Wiki

While there is perhaps a province in which the photograph can tell us nothing more than what we see with our own eyes, there is another in which it proves to us how little our eyes permit us to see. ~Dorothea Lange

A photograph is usually looked at – seldom looked into. ~Ansel Adams

There are always two people in every picture: the photographer and the viewer. ~Ansel Adams

The camera can photograph thought. ~Dirk Bogarde

I think the best pictures are often on the edges of any situation, I don’t find photographing the situation nearly as interesting as photographing the edges. ~William Albert Allard, “The Photographic Essay”

When words become unclear, I shall focus with photographs. When images become inadequate, I shall be content with silence. ~Ansel Adams

The goal is not to change your subjects, but for the subject to change the photographer. ~Author Unknown

A photograph is memory in the raw. ~Carrie Latet

All photos are accurate. None of them is the truth. ~Richard Avedon

The camera cannot lie, but it can be an accessory to untruth. ~Harold Evans, “Pictures on a Page”

You don’t take a photograph, you make it. ~Ansel Adams

Most things in life are moments of pleasure and a lifetime of embarrassment; photography is a moment of embarrassment and a lifetime of pleasure. ~Tony Benn

A great photograph is a full expression of what one feels about what is being photographed in the deepest sense, and is, thereby, a true expression of what one feels about life in its entirety. ~Ansel Adams

I never question what to do, it tells me what to do. The photographs make themselves with my help. ~Ruth Bernhard

A Ming vase can be well-designed and well-made and is beautiful for that reason alone. I don’t think this can be true for photography. Unless there is something a little incomplete and a little strange, it will simply look like a copy of something pretty. We won’t take an interest in it. ~John Loengard, “Pictures Under Discussion”

I just think it’s important to be direct and honest with people about why you’re photographing them and what you’re doing. After all, you are taking some of their soul. ~Mary Ellen Mark

Photography records the gamut of feelings written on the human face, the beauty of the earth and skies that man has inherited, and the wealth and confusion man has created. It is a major force in explaining man to man. ~Edward Steichen

The photograph itself doesn’t interest me. I want only to capture a minute part of reality. ~Henri Cartier Bresson

The creative act lasts but a brief moment, a lightning instant of give-and-take, just long enough for you to level the camera and to trap the fleeting prey in your little box. ~Henri Cartier Bresson

Photographers deal in things which are continually vanishing and when they have vanished there is no contrivance on earth which can make them come back again. ~Henri Cartier-Bresson

If I could tell the story in words, I wouldn’t need to lug around a camera. ~Lewis Hine

A photograph is like the recipe – a memory the finished dish. ~Carrie Latet

Everyone has a photographic memory, but not everyone has film. ~Author Unknown

Photographs that transcend but do not deny their literal situation appeal to me. ~Sam Abbel

A picture is worth a thousand words; a slide show is both. ~Author Unknown

One photo out of focus is a mistake, ten photo out of focus are an experimentation, one hundred photo out of focus are a style. ~Author Unknown

All photographs are there to remind us of what we forget. In this – as in other ways – they are the opposite of paintings. Paintings record what the painter remembers. Because each one of us forgets different things, a photo more than a painting may change its meaning according to who is looking at it. ~John Berger

I didn’t want to tell the tree or weed what it was. I wanted it to tell me something and through me express its meaning in nature. ~Wynn Bullock

Photography deals exquisitely with appearances, but nothing is what it appears to be. ~Duane Michals

The negative is the equivalent of the composer’s score, and the print the performance. ~Ansel Adams

Useful sites

http://www.photoquotes.com/ Blogs on Photography

http://photosleavehome.blogspot.com/2005/03/john-berger-understanding-photograph.html

http://www.temple.edu/photo/photographers/

http://moma.org/collection/depts/photography/index.html

http://www.photo-seminars.com/fame.htm

—–0—–

NB All postings to this site relate to the central model in the PhD.

Summaries are HERE

 

Story and storying: the teacher’s self as text in reform of education

Parker Palmer in, The Courage to Teach, (1998 p.3), says that his book:

explores the teacher’s inner life, but it also raises a question that goes beyond the solitude of the teacher’s soul: How can the teacher’s selfhood become a legitimate topic in education and in our public dialogues on educational reform?

It turns out that this site is an attempt to answer Palmer’s question.

In a similar vein Sondra Perl (1994), (in Laidlaw, Mellett and Whitehead 2003) says:

Stories have mythic powers. To know this … is to know the shaping power of the tale. But how, I wonder, do we see beyond the boundaries of a familiar story and envision a new one? What, in other words, are the connections between texts we read and the lives we live, between composing our stories and composing ourselves?

Stories are one answer to the question; ‘What is it that makes of the parts a whole?’.  Story-making of our experience is in-built.  Conversely we tend to read the world according to the stories to which we subscribe, or that we ourselves have created.  A religious world-view would be an example of the former.  Concerning personal stories and how we construe the world see the psychology, and methodology, of George Kelly HERE

I am seeking on this site, and have sought in my thesis, to see beyond the familiar stories of my life, and of education as it is has been, and, through ‘a re-composing’ of my life via autobiography, my teaching and dialogues, I have sought to envision a new story for education.  This is what is meant by ‘applied autoethnography’.

Personal Helicon by Seamus Heaney; resonance, memory, self-understanding and depths of the soul

well-of-life.jpgSculpture the ‘Well of Life’, Zagreb – source

I chose the following poem by Seamus Heaney (1996 p.14) as ‘the poem’ for my doctoral thesis because it shows beautifully how we resonate now, in relation to what we sensed and experienced as children. It also shows how, through metaphor, the objective connects with the subjective to thrill, to the very quick of our being.

About the poem, Personal Helicon Pelligrino (2003 p.1) explains;
Mount Helicon is a mountain in Greece, that was, in classical mythology, sacred to Apollo and the Muses. From it flowed two fountains of poetic inspiration. Heaney is here presenting his own source of inspiration, the “dark drop” into personal and cultural memory, made present by the depths of the wells in his childhood. Now, as a man, he is too mature to scramble about on hands and knees, looking into the deep places of the earth, but he has his poetry – and, thank God, so do we.

Of course if Heaney was reading it we would have that wonderful voice, like an aromatic tree giving up the sap, and perfuming the air with all the good things from the soil.

Personal Helicon by Seamus Heaney
for Michael Longley

As a child, they could not keep me from wells
And old pumps with buckets and windlasses.
I loved the dark drop, the trapped sky, the smells
Of waterweed, fungus and dank moss.
One, in a brickyard, with a rotted board top.
I savoured the rich crash when a bucket
Plummeted down at the end of a rope.
So deep you saw no reflection in it.
A shallow one under a dry stone ditch
Fructified like any aquarium.
When you dragged out long roots from the soft mulch
A white face hovered over the bottom.
Others had echoes, gave back your own call
With a clean new music in it. And one
Was scaresome, for there, out of ferns and tall
Foxgloves, a rat slapped across my reflection.
Now, to pry into roots, to finger slime,
To stare, big-eyed Narcissus, into some spring
Is beneath all adult dignity. I rhyme
To see myself, to set the darkness echoing.

—–0—–

All postings to this site relate to the central model in the PhD. Summaries are HERE

The Whole and the parts, awe and concepts, head and heart

loch_awe_wild_island-600.jpgSource

Central to Heschel’s belief and teachings was that we should stay in touch with that experience of the Whole that engenders awe and wonder (what he also calls ‘radical amazement’). He says that;

The secret of being human is care for meaning. Man is not his own meaning, and if the essence of being human is concern for transcendent meaning, then man’s secret lies in openness to transcendence. Existence is interspersed with suggestions of transcendence, and openness to transcendence is a constitutive element of being human……. Indeed, the concern for meaning of human being is what constitutes the truth of being human. A J Heschel P66 Who is Man 1965 Stanford Unity Press

This emphasis on at-one-ment however is not to the exclusion of our duality with the ‘real’ world:

The search for reason ends at the shore of the known;on the immense expanse beyond it only the sense of the ineffable can glide.It alone knows the route to that which is remote from experience and understanding. Neither is amphibious: reason cannot go beyond the shore,and the sense of the ineffable is out of place where we measure, where we weigh. Citizens of two realms, we must all sustain dual allegiance:we sense the ineffable in one realm;we name and exploit reality in another. Between the two we set up a system of references,but can never fill the gap They are as far and as close to each other…as life and what lies beyond the last breath. Man is Not Alone p8.

We learn through the dynamic switching between experiences of the Whole and experiences of the parts. Wilber also helps illuminate the ‘dance between the Whole and the parts;

“To understand the whole it is necessary to understand the parts. To understand the parts, it is necessary to understand the whole. Such is the circle of understanding. We move from part to whole and back again, and in that dance of comprehension, in that amazing circle of understanding we come alive to meaning, to value, and to vision: the very circle of understanding guides our way, weaving together the pieces, healing the fractures, mending the torn and fractured fragments, lighting the way ahead – this extraordinary movement from part to whole and back again, with healing the hallmark of every step, and grace the tender reward.”

Eye of Spirit; an integral vision for a world gone slightly mad by Ken Wilber (1997)pub. Shambhala p.1.

Since on this site, and in the Build a Better Model of Education course, we are about to become ‘traders in concepts’ we should keep in mind Heschel’s wonderful statement:“Concepts are delicious snacks with which we try to alleviate our amazement”- A. J. Heschel, Man Is Not Alone p.7

This need to experience the Whole as well as focusing on parts, such as concepts, is also contained in the following metaphor:“The larger the island of knowledge,the longer the shoreline of mystery.” Anon

The above quotations teach us a lot about the theme of ‘parts and the Whole’. Another major theme is that of generacy, as opposed to degeneracy. This includes the ability to see particulars as part of the Whole in such a way as to experience their full significance (and perhaps stop time and go beyond place). The alternative to being taken out of yourself is to be eternally burdened with self!

—–0—–

All postings to this site relate to the central model in the PhD. Summaries are HERE

‘To see a world in a grain of sandand a heaven in a wildflower,

Hold infinity in the palm of your hand,and eternity in an hour.’ William Blake

Mystical implications of photography

andre-ker1.jpg Photo by: Andre Kertesz – source

For some time now I have been interested in how both cinema and photography might be compared to mystical experience. I will post separately re cinema.

One point of comparison lies in how the two see the moment.

In the mystical the moment is seen as out of time – a visit to the eternal present.

In photography the moment is given duration, brought frozen into time – up to a theoretical eternal existence.

Of course a major source of inspiration, in both his photography and his writings, is Henri Cartier-Bresson;

cartier-bresson2.jpg

A wonderful retrospective is HERE at Magnum

However in assembling some materials to help articulate a view re photography and the mystical I have discovered some fine materials high amongst which is The Ongoing Moment by Geoff Dyer. Concerning Andre Kertesz, see photo at the top of this post, he says;

What Kertesz sees when he looks out at the street is often this silhouetted representative of his own feelings about being adrift and unappreciated in New York. The people in the streets, heading to shops, are emissaries of his own sadness. That is the lot of the photographer: you walk the streets or sit on a bench – or you look out of the window at people……

Some more wonderful photographs by Andre Kertesz;

TO BE DEVELOPED

andre-old-musician-and-little-boy.jpg

andreker3.jpg

andreker4.jpg

andreker5.jpg

andreker6.jpg

andreker7.jpg

andreker8.jpg

andreker9.jpg

You can hear a fascinating  interview with Geoff Dyer HERE

 

—–0—–

All postings to this site relate to the central model in the PhD. Summaries are HERE

Love is Beauty, Knowledge, Intellection: Abdu’l-Baha, St Augustine and Saul Bellow

dawndeer_33500v3.jpgSource

Experience needs to be transcendent as well as of the here and now if we are to create teaching that is holistic – that is we have to give kids opportunities to sense the Wholeness as well as the parts. But it doesn’t necessarily have to be within one particular religious context.

Happiness and peace and development would be greatly helped if we recognized that there are many paths to the summit of the hill.

From Christianity, amongst other sources, we learn that ‘God is love’. But what else is love and how does it relate to learning and knowing? Perhaps the following quotations indicate that love (affect) and what we choose to identify with determines, or at least shape, what we come to know. Learning ultimately takes place within a love relationship:

A person is only as good as what they love.” Saul Bellow.

Love revealeth with unfailing and limitless power the mysteries latent in the universe.”
‘Abdu’l-Baha.

Love is the beauty of the soul.” St. Augustine.

“Knowledge is love.” `Abdu’l-Baha.

—–0—–

All postings to this site relate to the central model in the PhD. Summaries are HERE

40 Meditation Practices – the Chris Corrigan collection

buddha.jpgSource Wiki on Meditation

A certain Chris Corrigan has assembled 40 meditation practices (a few links need re-newing)

 

 

Forty meditation practices

 

40 meditation practices in 4 positions

Walking Meditation

Standing Meditation

Sitting meditation

Lying meditation

Be sure to visit Chris Corrigan’s amazing collection of stuff HERE

—–0—–

All postings to this site relate to the central model in the PhD. Summaries are HERE

What is art? – definitions

tate_modern_london_2001_07.jpgSource

What is art?

One definition that works for me is;

Art is culturally significant meaning, skilfully encoded in an affecting, sensuous medium.

Richard Anderson quoted in Freeland (2001 p. 77)

I would make one change;

Art is culturally, and personally, significant meaning, skilfully encoded in an affecting, sensuous medium.

There is a whole range of art that I know has cultural meaning but for it to enable an aesthetic experience in me it has also to have personal as well as cultural meaning.

TASKS:Lesson questions

How far, and in what ways, has art , through the dominance of conceptual art, replaced philosophy?

How far, and in what ways, has art replaced religion?

More resources

Extensive quotations from Tolstoy at Professor Julie van Camp’s site are HERE

—–0—–

All postings to this site relate to the central model in the PhD. Summaries are HERE

Story and Personal Myth in making our selves, and our education, whole

island.jpg

My personal myth Island, Shoreline and Ocean –

a view of story in Personal Development and in Holistic Education

Introduction:

By way of an introduction here are a few succinct thoughts. Skip this if you want to go straight to my ‘personal myth’;

Myth operates in us – its part of being human – like philosophizing. Therefore we should make the most of it – in terms of the mythology we make, and that with which we choose to identify.

Story is central to our meaning-making and how we (choose) to make sense of the world and give account of our encounters and experiences.

Myth, as opposed to story generally, is about our deepest concerns and is characterized as narrative that gives account of the unknown and unknowable as well as some of the known. E.g. we die but we don’t know what, if anything, happens after that. Myth creates and is derived from beliefs.

Myth intrapersonally is the clothing we give to the psycho-spiritual dynamics of inner experience.

Myth interpersonally is the stories we tell each other to explain encounters with the (mainly) unknown and unknowable.

Karen Armstrong’s A Short History of Myth is a must because it makes clear the relationship between myth and religion and world-views.

“Without myth, cult, ritual and ethical living, a sense of the sacred dies,” says Armstrong. Without the discipline of mythical thinking and practice, it was difficult for many to avoid despair. The dark epiphanies of the 20th century can be blamed on “the absence of a viable mythology” that could help us face the unspeakable. Guardian review by Tim Radford

A personal myth operates in us whether we choose to articulate it or not. It is closely allied to what one psychologist called ‘our personal script’ and the another (Kelly) called our set of ‘personal constructs’.

We can help in healing ourselves by articulating our personal myth in comparison and contrast to the group myths around us – or that exist as historical artifacts.

Restorying, (e.g.by writing different versions of) our personal myth can enable us to re-frame our personal experience and gain degrees of control and depths of energy that previously were denied us through locked-up pain.

Creating a personal myth can facilitate better self-understanding and there is potentially a powerful tool for teaching and learning.

My personal myth is here;

The ‘Island, Shoreline and Ocean’ personal Myth

The personal myth that follows was written as a ‘one-page’ way of expressing a) a sense of the relationship with the cosmos, the Whole, and b) of a range of the ideas in, and behind, SunWALK. Jane is part of me, perhaps the same Jane as in Jane’s Short Story in Chapter 1.

The personal myth is an attempt at re-storying one kind of knowing. A felt need to undertake a re-storying of knowing can lie in acknowledgement of the fact that we know, and need to know, and need to express that knowing, in more ways than the empirical-reasoning mode – hence Island, Shoreline, Ocean. To admit other ways of knowing, is to admit that in our wholeness we are more than our senses and our reasoning. It is also to admit that in our knowing we are surrounded by mystery, which we encounter. We in various ways give accounts of those encounters.

3:3 Island, Shoreline and Ocean

a personal myth concerning the nature of mystical experience & its relationship to consciousness, & to knowledge creation – as such it is an attempt to include as much as possible of what I learned during the eleven year journey of the thesis – in a ‘one page’ story

The sun always woke her. Every day Jane walked through her garden, inspecting this plant and that, analysing what needed to be done. The quest was never-ending. Sometimes she sat a while on an old tree stump in order to consider the tasks and challenges, trying to work out the feelings and puzzles of what didn’t seem quite right, what didn’t feel quite right. What she couldn’t physically arrange she sometimes tried to paint or write – she had an imaginary garden as well as a real one. Sometimes she looked at her neighbours’ gardens, wondering if that would give her inspiration, but she was always left with the feeling that her most important answers came from elsewhere.

Every day beneath the practical considerations she felt a longing. Having made her review of her garden Jane walked over the fields, across the two streams that eventually made their way down to the sea, and along the cliff, and down to the shoreline. At the shoreline she breathed in her sense of the infinity of the ocean, along with the ozone-heavy, sea-weedy, sea air.
Frequently she imagined the island’s shoreline around the island’s circumference. In her mind’s eye she saw each place being shaped in some different way by the ocean – which was sometimes gentle, and was sometimes awesome in its relentless might. Sometimes the feelings that filled her were so powerful that she was overcome. Sometimes the beauty of being in the presence of the ocean was so great that she felt that neither garden nor painting nor poetry would ever fully satisfy the deepest longing.

Often after such reverie she slipped into the sea.

The sea had so much salt that she just floated. And, when the temperature was right, in floating, eyes closed, she lost all sense of where she ended and where the surrounding sea began. There was no separate sea, no separate self – it was just ….. being. It was always that way, just being. At such times she felt both full and empty, both powerless and at that same time she felt herself to be the very ocean that insistently carved and re-carved the island shoreline.

Mostly at that point she just wanted to stay, to be just part of this place between land and sea, like a driftwood sculpture, ocean-polished, that had been thrown up after a long journey from some river bank, high up some vaguely-remembered river. The shoreline was exquisitely the best of places. But she always took that first step. A first step on the walk back to her garden. And with the walking the experience that was ineffable started to give up insights and possibilities to both refine the garden, and to extend it into some more of the island’s familiar, wilderness, space.

In the evenings she and her friends sat beneath the moon, in whichever was the most interesting of their gardens, at that particular time, and they discussed the issues that concerned them. They all, more or less, had similar such deep experiences as Jane. The ongoing conversation was what united them, along with their respect for how they clothed so differently, in imagination and form, the experiences that were ineffable.
C. from an unpublished doctoral thesis by Roger Prentice, Northumberland ver July 2003

—–0—–

Karen Armstrong’s book A Short History of Myth is HERE NB Read the Customer Reviews which are excellent and ignore the Editorial Reviews which are carping, mean-spirited and self-serving!

Relevant book that looks interesting Restorying Our Lives: Personal Growth Through Autobiographical Reflection HERE

Island map SOURCE

—–0—–

All postings to this site relate to the central model in the PhD. Summaries are HERE

‘Practical theory’ re: Jane’s Short Story, meaning, interpretation, stories, meta-thinking, the teacher – and generating an antidote to fundamentalism!

logo_triskelion.gif

 

     Teachers, and other professionals, deal in a) texts (written and other kinds) and b) discourse about their meaning and interpretation with students every day.

 

     When we engage with texts we do so in one of three voices – the philosophical-scientific, the creative or the moral-caring. This article comprises the first of a few reflections about hermeneutics in relation to the process of teaching – and in relation to the SunWALK model and ‘what it is to be fully and positively human’ – the main focus of this site.

 

‘Essentially, hermeneutics involves cultivating the ability to understand things from somebody else’s point of view, and to appreciate the cultural and social forces that may have influenced their outlook. Hermeneutics is the process of applying this understanding to interpreting the meaning of written texts and symbolic artifacts (such as art or sculpture or architecture), which may be either historic or contemporary.’ Wiki

 

     1 It makes sense for middle school children, and above, to come to understand that texts represent possible meanings and ‘critiques’ represent readings of texts. It might also be useful from this to understand that readings can both change over time in our lives, but principles might remain constant.

 

    
Developing meta-thinking via periodic re-visits to a useful text

     There are calls for teachers to help children to achieve meta-thinking and one enjoyable way is to re-visit a story in succeeding years with the discourse centred around such questions as;

“How do you read the story?” and

“How do you feel what you’ve learned over last year has changed your views and, what you value – in relation to the story?” and

“In what respects have you, and your thinking, changed and developed over the last year?”and

“How do you read the story now compared to when you first ‘met it’ – what’s stayed the same and what has changed?”

 

     One re-visiting was to Jane’s Short Story in a Roman Catholic middle school. Jane’s Short Story was posted to this site yesterday (8th Aug 2007). I wrote Jane’s Short Story to see how good Year 7 children (11 to 12 year olds) were at de-constructing and critiquing a piece that was deliberately stream-of-consciousness, oblique and cryptic! They surprised me the first time we used the story as a text and they also impressed me with their reflections on how their thinking had developed and the differences they saw on their second encounter.

 

     Such work is also an antidote to the shallowness and superficiality that blights much of what children suffer in school. If you treat children as profound thinkers they show that they are profound thinkers – that’s part of the genius of the process in Lipman’s Philosophy for Children

 

What’s the connection with the SunWALK model?

sunwalk-logo.jpg

 

     PFC Philosophy for Children is the exemplary programme for the ‘IT’ voice, the objective mode of engaging with truth. The spirit flows even more powerfully if we combine IT engagement with working with the ‘I’ voice of creative expression. This means that the children can treat the text, including occasionally pieces by the teacher and/or other pupils both as literary text and as philosophical text. Switching back and forth between the two activities and the two treatments of text becomes a very powerful mode of teaching – including for the third voice, that of the moral and other-centred i.e Caring.

 

What’s the connection with fundamentalism?

     There are many including;

Once you have separated out the different forms of truth-telling, the IT voice of philosophy and science, the ‘I’ voice of Creativity and the ‘WE’ voice of Caring you no longer have to defend texts in inappropriate and very dangerous ways. Treating religious texts as the supreme sources of inspiration for acting with justice, truth, beauty and goodness makes sense. Treating such texts as finite and fixed in their meaning as if they were simply mathematic formulae doesn’t.

     It is we who make the meaning, not God – which is why we should always be tentative in how we assert our interpretations (including this one!). Sacred texts are gifts of meaning-making possibilities. Of course part of the texts is time-related and part constitutes eternal realities, but understanding what we are doing as we engage in objective, subjective or moral truth-seeking helps minimize confusion.

     Literalism is the denial of God because it is the denial of meaning-making possibilities in relating to sacred texts – it limits the text to fixed and finite meaning – and tends to take us away from the focus on the need to act in the world with justice, truth, beauty, goodness – and all of the other so-called names and attributes of God.

 

     It also allows people to start believing that the ‘others’ have broken whatever covenant is deemed to have existed so that no ‘rules’ of war’ need be complied with.

     Its only in early life that we can prevent the kind of indoctrination of hatred for others. Understanding that spirituality, be it theistic or humanist, is simply the process of gaining the will to act morally is vital. Understanding the ‘voices’ with which engage and the texts that we engage with are all either objectively focused or subjectively focused or morally focused is vital in developing the truly mature mind-set and world-view.

 

Jane’s Short Story; teaching children ‘nowness’ in creative writing and photography

cartier-bresson-child-carrying-painting.jpgSource

In the unpublished doctoral thesis, from which this piece and Jane’s Short Story, is largely taken, the range of concerns include ‘the perpetuation in the present of early experience’. I’m interested to discover that one definition of ‘nowness’ is presentness: the quality of being the present; “a study of the pastness of the present and…of the presentness of the past”.

I wrote Jane’s Short Story to see what a Year 7 class (11 – 12 year olds in the UK) could ‘handle’, but it has become a major piece for teaching me, as well as for teaching others.

Jane’s short story (line numbers are simply to help in discussion)

1 “Come to mummy Jane. Come on, yes, you can do it.” Ste…steppp…stagger step..step got there BIGKISSmmmms’nice. Her mother’s nose stroked back and forth across her neck, as giggles of delight and laughter bubbled from Jane.
“Jane pay attention otherwise you’ll be asking me what the work is in five minutes time.”
5 (’Oh no I won’t Mr Moaner, I know perfectly well what you’re asking – so stop picking on me!’)
“Images Jane, images.”
Tulips. Gigantic red tulips, opened a bit beyond their best, and bigger than any red thing and redder than any red thing and she crawled to grasp, to know the greenness of the green cool green stems and embrace them and lose herself in the redness that was ……..
10 “I want you all to pay attention to the structure of your story……..”
How could she tell her mother that she never felt safe after he left. Only in his hugs with the smell of him did she ever, could she ever, feel safe. She chewed over this and poured herself another bowl of corn-flakes, sensing school time getting nearer and nearer. Her mother had left without giving the bus fare.
Yet again Jane’s leg itched from the nylon thread in the seam of her skirt.
15 She grasped the chair to ease her leg away from the itch, only to put her fingers under her chair and into some freshly placed chewing-gum. “Ugh! Boys are so disgusting!”
“Thank you Jane. I’m not sure what that has to do with careful control of your narrative but I suppose we should be grateful that at least you’ve re-visited our world, even though the visit will no doubt be brief. The trouble with you Jane is that you don’t use the possibilities and talent you have.”
20 Endless possibilities. The muddy brown wet sand, miles and miles of it. She sensed freedoms beyond the edge of her imagination, she would be all creation itself.
“Put your hat on Jane and come here – you’re not going in the sun until I put some cream on you.” Jane submitted to the sun-cream and enjoyed it but also remembered the tug of the harness around her shoulders – tug tug, with her running but not going anywhere.
25 “……and do try to put some images into your writing – do make it come alive.”
The finch, with feathers going in directions they shouldn’t, struggled on its side. The broken leg would not need mending because the shock was already killing the tiny creature. Jane hated the cat with an acid and granite hatred.
“You have ten minutes to finish your story.”
30 Jane sat back on her rump and examined her mother’s radiant face.
She spat out the tulip petals as her sadness entered her.
She was as rigid as the door he had slammed behind him.
She willed the incoming tide to consume her castle and leave only empty sands.
The finch stopped its fluttering and took on the stillness of death.
35 Jane wrote some lines.
Jane felt the tug tug of the harness and struggled to go somewhere.

—–0—–

Jane is, substantially, but not wholly, me.  It was an attempt to make the feminine side of my soul ‘walk and talk’

In writing the story I reached back down to early memories with which to ‘clothe’ some of the levels in the streams of consciousness.

In continuing to work with children, or adults, I still sometimes use Jane’s Short Story – as a way to encourage others to create their own stories, made from their own real, and imagined, experience. I discovered how powerful it is if PFC (Philosophy for Children), and creative task-setting, are combined/interwoven – so much so that I believe that the two, when harnessed, together create something akin to ‘exponential development’ i.e the most powerful form of transformative learning. It is still a joy, and a learning experience, when children make their own creations walk and talk, sing and shout, just as Jane became ‘real’ to me, some 9 or 10 years earlier. From time to time I revisit the story and change a few words. Once I also gave it to the same class on succeeding years and asked them to see what they could see compared to their ‘reading’ of the previous year – and to say what differences they felt between the two readings. On the success of this I think that it is worth doing something similar with every class, i.e. for them to re-visit a piece two years running. What they are looking at, with each re-visiting, is, in part, the growth they have had via another year’s experience – a very useful exercise in meta-cognition for the children.

Although it was written when I was in my early fifties I include the story here because it encapsulates some of how autobiography is expressed in even the most creative, or the most abstract, of our work. The story was written in a ‘stream of consciousness’ style to see how well my classes could be at deconstructing the text. It was written in my second year of doing PFC. Sometimes I use it just as a text, sometimes the classes go on to write their own episodes from Jane’s life.

My experience is that children in Year 7 or 8 take a little time to decode the levels in the ‘stream of consciousness’ but then respond most sensitively to the possibilities that exist in and around the story. It seems to work at quite a deep level for some, and very few, except perhaps in initial perplexity, reject the story. It also helps to teach them that story, in its different kinds of truth, can combine re-collected personal experience and meld it with imaginative material. It can be a minor revelation for children who see ‘story is story’ and ‘real life = the truth.

Jane, both as part of my spirit and personal history, and as an independent spirit, has continued to exist, but she has also been transmogrified into the creations of other authors, adults as well as children. It is Jane in the personal myth called Island Shoreline Ocean, presented at the beginning of Chapter 3. My (our) past is re-presented and it is continuously transmogrified, in further re-representations. Each of us re-experiences what we are, as we engage or re-engage, with our beliefs, values, attitudes memories and new experiences. We echo past experiences in each new experience, even when we are seeking to help others in their creativity. Jane’s short story lives on in me as a crystallization of the feelings and images deep in my soul, deep, one might say, in my ‘present’. It has generated versions from 11 – 12 year olds, but also from an 84 year old man who, on one of my courses, wrote the first story he had ever written in his life. (He was pleased and amazed; I was deeply moved by his openness and courage!)

TASK/SUGGESTED LESSONS: It would be fascinating to combine the ideas above with photography!

Great photography blog HERE

Dialogue, ‘I’, ‘WE’ and ‘IT’ modes of engagement for Caring, Creativity & Criticality

dialogue2.jpgSource

Within any model of holistic education, including my own SunWALK, I see dialogue as being multi-level.

i) At the interpersonal level we have dialogue with each other, or group to group – including about any aspect of the Arts, Sciences and Humanities.

ii) At the intra-personal level we have;

In the creative ‘I’ voice we have meditation/mystical union in which, ironically, ego is set aside in order to achieve subjective expression. The loss of the ‘ego boundary’ in the creative act

In the critical ‘IT’ voice we also have inner dialogue – thought is often seen as internalized speech. However if Einstein’s many references to what is essentially a mystical view of his own scientific creativity – as we shape the before and after

In the caring ‘WE’ voice we have a wider set of forms of dialogue set as it is in relationships e.g. body language as well as spoken and written language.
Intra-personal meditation has been described as conversing with our own spirit!

—–0—–

All postings to this site relate to the central model in the PhD. Summaries are HERE