“A Fantasy of Untouchable Fullness”: Melancholia and Resistance to Educational Transformation

The progressive language of growth and development that informs our shared ideal of the educated subject also informs the curricular structure of schooling, in which new learning builds upon established knowledge and students' development depends upon their desire to take on those identities associated with various achievements of knowledge. Each re‐creation of the student's identity requires a new production of the student's former identity as an uneducated self — a negative statement of the self‐overcome, fashioned in the language of the curriculum. But what of those objects of attachment or aspects of the child's identity that can neither be integrated in the student's educated identity nor accounted for as a recognizable lost object of childhood? In this essay James Stillwaggon argues that considering the student subject in terms of its melancholic attachments offers some alternatives to thinking of student identity primarily in terms of its progressive learning function. Julia Kristeva's treatment of melancholia as “asymbolia,” or against the representational function of language, is especially significant to this discussion, as it highlights the melancholic's resistance to the most basic educational purpose, namely the further engagement of the subject in language.     

“GAME” VERSUS “TEST” INSTRUCTIONS FOR THE WISC1

“Game” or “test” instructions on either verbal or nonverbal WISC scales were given to 160 third- and sixth-grade children. Ss in one condition were told they were going to take several tests, while Ss in the other condition were told they were going to play several games. Significant differences in performance due to task definition were found only on verbal tasks at the sixth-grade level with test instructions yielding superior performance. Results at the third-grade level failed to replicate previous results which suggested game instructions produce superior performance on nonverbal tasks.     

Progressive drawing: A novel “lid–opener” and “monotony–breaker”

An innovative strategy called “progressive drawing” was used at the beginning (lid‐opener) and later (monotony‐breaker) during gross anatomy lectures. Diagrams were drawn on the classroom blackboard with anatomic structures added one by one. Students identified and labeled the diagrams and predicted the next structures to be drawn. Students felt that the strategy helped to activate prior knowledge, created interest in the current lecture, and made lecture sessions more interactive. The strategy has appeal for visual, auditory, read/write, and kinesthetic learners. Anat Sci Educ, 2010. © 2010 American Association of Anatomists.     

“Neuromyths”: A Critical Consideration

The term “neuromyth” is becoming part of discourse in the field of mind, brain, and education. In this article, I review some problematic aspects of the practice, critique specific examples, and propose an alternative way of communicating with the public about findings in psychology and neuroscience.     

Keep the “H”

This commentary advocates “keeping the H” in “human performance technology” to help make it clear to nonpractitioners what human performance consultants do. There are different types of performance (e.g., financial performance) and different means of achieving performance (e.g., engineering) that are outside the average human performance technologist's repertoire. Though the human performance technologist should target business results and intervene at more than just the individual level, ultimately, their emphasis is improving human work.     

The Necessity of Being “Un-Disciplined” and “Out of Control”: Design Action and Systems Thinking

This paper introduces; design, integrated with systems thinking, as a necessary if not sufficient means for meeting the challenge of how to create or recreate organizations and institutions which better serve the needs and desires of clients, customers, and stakeholders in a rapidly changing world. As a way of moving conceptual thinking into concrete action, design is dramatically different from the scientific or artistic traditions, which primarily describe or explain the natural or phenomenal world. Three key points that will be explained are: (1) The limits of problem-solving strategies when applied to complex organizational change leave design the strategy of choice; (2) The designer's role is animated by other expression rather than self expression; and (3) From within this role, designers engage in the task of creating the un-natural world by being un-disciplined using systems thinking and by being out-of-control as part of the creative process of design.