September 12, 2013
Brent Wilson
"More Lessons From The Superheroes Of J.C. Holz:
The Visual Culture Of Childhood And The Third Pedagogical Site"
A Brief Overview
Wilson talks about the term transactional pedagogy, which he defines as “a special form of educational context where proposals and initiatives relating to learning and teaching may originate with any individual or visual cultural artifact within a learning community, governed by democratic principles” (Wilson19).
From this term he notes that there are three pedagogical sites, the first being within the student. The student does all the decision-making and information gathering, and the student’s peers act as the audience that may either accept or reject the child’s finished product, which can result in debate, discussion, and negotiation.
The second pedagogical site is within the classroom. In this instance, the teacher demands a student to create art by supplying them with techniques and curriculum they believe is essential, with no input from the student.
The third pedagogical site combines the first and second sites. It acknowledges both the student and teacher, creating a curriculum that has set standards that allow and require feedback. It combines formal, “school” art with popular culture, or “child” art.
Of these three pedagogical sites, Wilson values the first site above all and notes that it is not impossible but very difficult to achieve transactional pedagogy within the second site. He concludes, “What counts most about school art—or any school subject, for that matter—is what our students do with it outside of school” (Wilson 34).
From this term he notes that there are three pedagogical sites, the first being within the student. The student does all the decision-making and information gathering, and the student’s peers act as the audience that may either accept or reject the child’s finished product, which can result in debate, discussion, and negotiation.
The second pedagogical site is within the classroom. In this instance, the teacher demands a student to create art by supplying them with techniques and curriculum they believe is essential, with no input from the student.
The third pedagogical site combines the first and second sites. It acknowledges both the student and teacher, creating a curriculum that has set standards that allow and require feedback. It combines formal, “school” art with popular culture, or “child” art.
Of these three pedagogical sites, Wilson values the first site above all and notes that it is not impossible but very difficult to achieve transactional pedagogy within the second site. He concludes, “What counts most about school art—or any school subject, for that matter—is what our students do with it outside of school” (Wilson 34).
Reflections
I like the way Wilson differentiated the terms instruction and pedagogy. In my Introduction To Art Education course, my textbook let me know this as well. The author, and also an art educator, mentioned that our students have much to teach us. The idea that art educators, and in my opinion educators in any area of study, must incorporate both instructions and pedagogies is an idea I will incorporate into my lessons. The nice thing about art is that, yes, there are facts, but when you get down to the process of making art, there is always room for change. Every person has feedback that could potentially contribute and enhance the concept of a lesson, if the curriculum is diverse.
Before my college career, I had never thought of popular visual culture as a legitimate, formal teaching tool. It is very true that a child has the option to either accept or deny what is being taught to them. I thought Wilson’s point was extremely important to consider, that an individual will seek out popular visual culture in order to improve their skills. I think that it is important to include these aspects into art curriculum in order to both relate ideas to the students themselves, but also show how their interests relate to formal art education.
There is something called a schema in psychological terms. Is defined as an organized pattern of thoughts. We build these schemata at a very young age and when new information does not fit in these schemata, we falsify the information or just deny it. I think many children want to learn more about a specific subject, but because they do not like the supplied curriculum, or their schemata do not agree with it, they deny the curriculum that is presented to them. Linking this to our knowledge chart, having a plethora of techniques and materials for students to actually choose how to better the skills they are interested in is something teachers must have in their toolbox. As they strengthen their skills, they can be shown how to utilize those skills in a successful way to portray meaningful art.
Before my college career, I had never thought of popular visual culture as a legitimate, formal teaching tool. It is very true that a child has the option to either accept or deny what is being taught to them. I thought Wilson’s point was extremely important to consider, that an individual will seek out popular visual culture in order to improve their skills. I think that it is important to include these aspects into art curriculum in order to both relate ideas to the students themselves, but also show how their interests relate to formal art education.
There is something called a schema in psychological terms. Is defined as an organized pattern of thoughts. We build these schemata at a very young age and when new information does not fit in these schemata, we falsify the information or just deny it. I think many children want to learn more about a specific subject, but because they do not like the supplied curriculum, or their schemata do not agree with it, they deny the curriculum that is presented to them. Linking this to our knowledge chart, having a plethora of techniques and materials for students to actually choose how to better the skills they are interested in is something teachers must have in their toolbox. As they strengthen their skills, they can be shown how to utilize those skills in a successful way to portray meaningful art.