How to use it When you are doing something new, you often need to get a full commitment to getting people to buy into your idea.
The laborer works with his hands, the craftsman works with his hands and his head, the artist works with his hands, his head and his heart. This theory makes the great mysteries of consciousness, cognition, perception and creativity a bit more accessible and understandable.
It is helpful as a starting point for understanding aspects of brain activity and the rich nature of our learning process. However, twofold, lateral brain functions occur within the wider context of the trifold brain — the so-called reptilian hindbrain Rhombencephalon—made up of brainstem and cerebellum that deals with involuntary actions and survival mechanismslimbic midbrain Mesencephalon—thalamus, hypothalamus, and other brain centers which control emotion, sexuality and memoryand neocortex forebrain or cerebral cortex Prosencephalon—neomammalian brain involved with muscle function, sense perception, and thought processes.
According to contemporary neurology, up to age three, children learn by way of imitation with the engagement of the reptilian and limbic brains. After age three, there is a growth spurt activating the right hemisphere of the neocortex. The right hemisphere brings intuitive, imaginative, non-linear thinking into action as well as an integrated functioning between the three brain regions.
About the age of nine, the left hemisphere of the neocortex begins to function more actively. This hemisphere of the brain gives us abilities for abstraction, objectivity, and linear thought. These latter two events allow a momentous leap in learning as they open the possibility for reading and writing to organically take place, not to mention, continued creative activity.
Around eight years of age, children develop foveal focus; the ability to visually scan two-dimensional space. This drawing was done by a first grader.
These functions of the three brains, as described by neuroscience, are integrated into the still wider nervous system and sense organization, respiratory and circulatory systems, as well as the metabolic and limb systems. It is the basis for speaking of drawing with head, heart and hand—the representative areas of the three bodily systems that serve our capacities for thinking, feeling and will.
Thinking, feeling and will are in turn faculties of our soul-spiritual being that allow for understanding of and experiential meeting with the world, as well as our awakening to individuality and selfhood. Ultimately, when we act in the world—when we draw—we do so with the use of both our brain hemispheres, the three brain regions, and the three bodily systems, all of which are active to some degree.
When we speak of thinking we generally mean the left-brain activity—reflective, logical thinking.
If we act or draw with engaged emotion, with awakened feelings, we engage our right-brain activity and supercede the strictly analytical processes of the left-brain. Naturally, our limb system is engaged when we draw, and this involves the deeper limbic and reptilian brain functions, ie.
According to this picture we know things with our heads IQ—intellectual quotientwe feel things with our hearts EQ—emotional quotientand we experience things through active doing at a gut level or in our fingertips WQ—will quotient.
In teaching and learning any subject it is helpful to keep in mind these three spheres of human activity, recognizing that especially in the child, access to understanding usually occurs from an active doing, simultaneously involving the engagement of feelings, and only later arriving at the formulation of concepts in thinking.
When teaching children it is almost always best to first engage the will in an activity that may be experienced inwardly through the feelings, and then be brought to reflection, after the fact, in order to understand it.
As a general guideline, before the age of seven to nine, children learn from doing things by example because they learn from imitation not from being told information. They will always imitate what they see being done around them more than what they are told. This is why the arts are such effective learning tools for children of this age.
Only in adolescence, between fourteen and twenty-one, does independent judgment and abstract learning Healy or formal conceptual knowledge Gardener begin to come into its own. In each of these life periods learning can be approached differently in order to be most effective, hygenic and developmentally appropriate.
These three stages of knowledge were clearly noted millennia ago by Confucius BCE who declared: Telling—abstract thinkingneocortex left-brain function; Showing—symbolic feelingneocortex right-brain activity; Involving—concrete willinglimbic-reptilian and other brain functions.
In order to understand the way children, and adults, learn it is important to take a larger view of learning as a process fig. The education of a child is like the architectural elements of a building, requiring a firm foundation, strong supports and walls, and a protective, over-arching roof or load.
Hands-on, concrete-intuitive learning provide a foundation for early childhood, while artistic, symbolic-notational learning establishes the columns of support in the middle school years, and the formal conceptual, abstract knowing becomes a kind of roof for the education in adolescence.
How we teach the art of drawing will depend on the age of the child and its particular developmental learning needs: As the avenues of hands-on, concrete-intuitive learning provide a foundation for early childhood, and artistic, symbolic-notational learning establishes the walls and columns of support in the middle school years, so the formal conceptual, abstract knowing becomes a kind of capping-off and roofing-over in the architecture of education through the first twenty-one years of life.
As foundation, support and load of education are established, all three types of knowing need to become integrated fig. As hands-on, concrete-intuitive learning, symbolic-notational knowing, and formal conceptual, abstract understanding become established, all three types of knowing need to become integrated and work harmoniously together.
Here is a main lesson book drawing by a high school student. With a comprehensive picture like that of the threefold human being we begin to see what a pivotal place the arts hold in the dynamics of learning; for it is between cognition and action that the arts stand as a great mediator. They imbue thinking with warmth, imagination, originality and enthusiasm, while they strengthen, focus, discipline and give order to the will.
Therefore, more and more educational research such as the Visible Thinking, Artful Thinking, Studio Thinking, and other arts integration programs move in this direction of recognizing artistic activity as knowing in action.
As Gardener points out:Hearts And Hands. At Denver there was an influx of passengers into the coaches on the eastbound B. & M. express. In one coach there sat a very pretty young woman dressed in elegant taste and surrounded by all the luxurious comforts of an experienced traveler.
Hearts and Hands Therapy was established in and we have 2 facilities to meet the needs of the special needs population in our communities. Our team of dedicated specialists help to guide each and every child who enter our doors through their developmental milestones from birth to 21 years of benjaminpohle.comon: United States.
Hearts and Hands is a best efforts program at no expense to the care recipient. Services are provided by volunteers who give of their time as they have it available.
Hearts and Hands Volunteers can provide: “Door through Door’ transportation for medical appointments and local errands. Phone Pals, companion visits and wellness checks. Hearts And Hands.
At Denver there was an influx of passengers into the coaches on the eastbound B. & M. express. In one coach there sat a very pretty young woman dressed in elegant taste and surrounded by all the luxurious comforts of an experienced traveler. The ''heart'' part of the title is dedicated to him.
The ''hand'' part is about Mr. Easton. O. Henry's known for writing about good people, irony, and symbolism. This story has all three. Themes of ''Hearts and Hands'' The main theme of the story is kindness. The real marshal is a kind man who spares Mr. Easton, as well as Miss Fairchild, some .
Sequential order arranges things or is an arrangement of items in a predicable order; like pages of a book. This is not the same as chronological order which sorts by the o ldest to the newest.