Pedagogical “Hands and Eyes”: Embodied Learning and the Genesis of Ethical Perception

Author(s):  
Shirin Vossoughi ◽  
Meg Escudé ◽  
Walter Kitundu ◽  
Manuel Luis Espinoza

Evaluation is ubiquitous. Indeed, it isn't an exaggeration to say that we assess actions, character, events, and objects as good, cruel, beautiful, etc., almost every day of our lives. Although evaluative judgement—for instance, judging that an institution is unjust—is usually regarded as the paradigm of evaluation, it has been thought by some philosophers that a distinctive and significant kind of evaluation is perceptual. For example, in aesthetics, some have claimed that adequate aesthetic judgement must be grounded in the appreciator's first-hand perceptual experience of the item judged. In ethics, reference to the existence and importance of something like ethical perception is found in a number of traditions, for example, in Virtue Ethics and Sentimentalism. This volume brings together philosophers in aesthetics, epistemology, ethics, philosophy of mind, and value theory, to contribute in novel ways to debates about what we call Evaluative Perception. Specifically, they engage with (1) Questions regarding the Existence and Nature of Evaluative Perception: Are there perceptual experiences of values? If so, what is their nature? Are perceptual experiences of values sui generis? Are values necessary for certain kinds of perceptual experience? (2) Questions about Epistemology: Can evaluative perceptual experiences ever justify evaluative judgements? Are perceptual experiences of values necessary for certain kinds of justified evaluative judgements? (3) Questions about Value Theory: Is the existence of evaluative perceptual experience supported or undermined by particular views in value theory? Are particular views in value theory supported or undermined by the existence of evaluative perceptual experience?


2021 ◽  
pp. 073563312110272
Author(s):  
Neila Chettaoui ◽  
Ayman Atia ◽  
Med Salim Bouhlel

Embodied learning pedagogy highlights the interconnections between the brain, body, and the concrete environment. As a teaching method, it provides means of engaging the physical body in multimodal learning experiences to develop the students’ cognitive process. Based on this perspective, several research studies introduced different interaction modalities to support the implementation of an embodied learning environment. One such case is the use of tangible user interfaces and motion-based technologies. This paper evaluates the impacts of motion-based, tangible-based, and multimodal interaction merging between tangible interfaces and motion-based technology on improving students’ learning performance. A controlled study was performed at a primary school with 36 participants (aged 7 to 9), to evaluate the educational potential of embodied interaction modalities compared to tablet-based learning. The results highlighted a significant difference in the learning gains between all groups, as determined by one-way ANOVA [F (3,32) = 6.32, p = .017], in favor of the multimodal learning interface. Findings revealed that a multimodal learning interface supporting richer embodied interaction that took advantage of affording the power of body movements and manipulation of physical objects might improve students’ understanding of abstract concepts in educational contexts.


2013 ◽  
Vol 14 (1) ◽  
Author(s):  
Nisreen Feroz Ali ◽  
Amal Qureshi ◽  
Basmah Naser Jilani ◽  
Nosheen Zehra

2021 ◽  
Vol 39 (2) ◽  
pp. 147-157
Author(s):  
Susie Crow

The ballet class is a complex pedagogical phenomenon in which an embodied tradition is transmitted in practice from one generation to the next, shaping not just the dancing but the attitudes and perceptions of dancers throughout their careers. This paper emerges from observations and experience of recent and current ballet class practice, and theoretical investigations into embodied learning in the arts. It outlines the influential role of large hegemonic institutions in shaping how ballet is currently taught and learned; and the effect of this on the class's evolving relation to ballet's repertoire of old and emerging dances as artworks. It notes the increasing importation into ballet pedagogy of thinking rooted in sports science, engendering the notion of the dancer as athlete; and of historic attitudes which downplay the agency of the dancer. I propose an alternative model for understanding the nature of learning in the ballet class, relating it to what Donald Schön calls ‘deviant traditions of education for practice’ in other performing and visual arts ( Schön 1987 p16). I look at the dancer's absorption via the class of ballet's danse d’école, its core technique of academic dance content. I suggest how this process might more constructively be understood through the lens of craft learning and the development of craftsmanship via apprenticeship, the dancer learning alongside the teacher as experienced artist practitioner who models behaviours that foster creativity.


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