aesthetic approach to training and education
Patricia Vallet
Trainer at IRTS Montpellier
1011 rue du Pont Lavérune, 34077 Montpellier Cedex 3
E-Mail: bouloumagalma2@yahoo.fr
ABSTRACT. In the current training in education, very focused on competency frameworks and the pursuit of efficiency, can we open a different perspective from the aesthetic paradigm proposed by N. Heinich? Because the foundation for educational practices touch on subjects, it is necessary to deliver training to question the ideals and representations. It is a poetics of disruption that I moved, the art of upheaval crack prebuilt and gives speeches to see these other professions ...
KEYWORDS: aesthetic paradigm, worker training social sensitivity and intelligibility.
The current training of education professionals: Logic Skills operational thinking and denial of the puzzle.
As part of initial training for teachers and educators, we are a the obligation of a strong reference to the logic of jurisdiction, and we must we refer to benchmarks that determine craft a repository of activities describing the functions of professionals, and a repository of skills based training device according to a list of skills to ...
The notion of competence means a whole system of values that we will try to analyze here.
Underlying this new approach to training can agree to some form of packaging behavior for their effectiveness and the idea of a clear transmission of know-how carefully circumscribed around certain activities and the professional future will be perfectly centered on participation in the action, the concrete, the need to "do" to find ways to solve operational problems using methods and techniques ... every problem can be tackled, managed and resolved through "skills" in an ideal of transparency and efficiency.
This reification of the training process based on the idea of a future professional coherence and consistency, will gradually accumulate the means of power over oneself, one can act.
This utilitarian perspective looking at the bottom to reduce the amount of uncertainty inherent in our complex functions, by defining a priori activities and skills that make "good business", and bringing together training logic and logic of production ...
This model may shed light on his interest in technical training in the world of production industrial, but it does not seem the most appropriate in the relational field formations that affect us ...
Indeed, the reality of our business is always more complex than the models, and can thus be completely preconstructed ; It is basically a certain amount of shade, It is discreet, sometimes not visible, not detectable in concrete terms, it is difficult from this repositories of skills if they are focused on the visible activities of professional ...
And the initial training is not a wealth of know-how to acquire but a transformation of being a subject and a future. Learning and skills are useful but not sufficient, and training results from a process rather than a device, hidden by this type of schematic and orderly ...
design What about training?
The identity transformation into play for each student, in his report to the institution, its relationship to power and authority, its relationship to knowledge, its relationship to another, his report using, learning and so on. is absent from this perspective Basically, it's inherently subjective dimension to training that may be obscured by this model of rationality ...
My concern about this development is that the public and will meet future professionals are increasingly suffering in question, several difficulty levels, and they should be accompanied by educators that are sensitive, attentive, who have crossed these dimensions of complexity and mystery in the encounter, to face them without danger ...
Gold training "while full," which fills knowledge and know-how, may well leave them unprepared to situations of uncertainty, although embarrassed to engage in intersubjective.
So for me the training must remain a process that involves the construction as well as the deconstruction of knowledge acquired, for a thoughtful and creative adjustment of future professional situations difficult, complex, they will encounter. This perspective fits in a certain conception of clinical training and education is not new ... But E. Enriquez said 2 three major sections of the managerial logic with which we currently deal: First, "You're overwhelmed ! "Secondly," You resist change! "Third" Be realistic! "
But there is no world outside of the representations that you have, the reality is a psychic and social construction and ideology is not absent from theoretical guidelines describing the preference . The view that one chooses should not overshadow all the others or is the risk of a closure that leads to the dogmatic belief rather than towards knowledge, towards more certainty than to the questioning.
Devereux said at the time how important it is that the researcher questions himself before you even look at his research subject. And personally I would like to place here at the clinic and aesthetics, my project is located on the side of phenomenology (phenomenology of psychic movements at work in forming the subject from my daily observations of trainees) , philosophy and psychoanalysis, a complex human dimension of creativity and research are included at the core of this project. Opens the ethical side of deconstruction (not destruction) and displacement, less concerned about the training content as by the psychic dynamics across subjects training. The aesthetic component seeks to articulate it the sensible and the intelligible in the project to educate. 3
In terms of training and education, there is no objectivity, only partial views, interpretations. Multiply the angles of view, no part, reverse shots, background for a better view!
P o another approach to training and education
At repositories competit (apportionment?) That invade all the training on behalf of a improved profitability, a principle of "realism", can we then requestionner the direction of training in terms of other values? If we wanted to train writers capable of inventiveness, creativity in the game?
The emotional closeness that I maintain with the object of research does he not risk disturbing the scientific rigor expected here? But is it not also admitted that objectivity is a fantasy science which must be disposed of, without abandoning the logic of argument and evidence? Breaking with the scientific and standardized cold, here we dare give full value to the practice and experience to promote the "interpretative thinking" and innovative knowledge to emerge from that sought harmony between subjectivity and objectivity ...
aesthetic paradigm 4
"When you do not reduce the aesthetic doctrine of the Beautiful but they described as the doctrine dealing with the qualities of how we feel (...)
The concern is one of those areas. " 5
And if you saw this issue differently? Toward aesthetics? Of poetics? The art of training ... These views could they ask otherwise our epistemological horizon?
The smugglers of these strange lands (especially contemporary art) opened another thought possible, which is not perfect, normativity, formalism and efficiency at all costs, but leaves room movement, the unpredictable, the unseen, the unknown, to meet, invention, creativity, and it may interest us because we know that science education lean towards the arts in education.
And as Nathan said Heinich knowledge of art encourages them to make trips that affect the exercise of thought. My assumption in this work is that "the aesthetic paradigm" opens new perspectives for thinking about the territories that may be larger than the only artistic production, and could afford to work the common representations that we make Training and education. Move in that territory can open our frames of thought and promote a different perspective and other perspectives basis for our work.
Why an aesthetic education and training?
Because the values, the foundations of the poetic act or act choreographic 6 , photography, painting etc.. are often close to the essence of what I'm looking forward to training, our job coaching and education.
Where? What sign?
If aesthetics is the study Effects of a text or a work on an audience, and the poetic (Greek poiein , how) the study of manufacturing work, from the producer side, we could say that ' implement training " 7 and education can be approached on both sides. This will involve both identifying the principles, origins and epistemological models "at work" even if the aesthetic dimension is here detached from the production of lumber identifiable as such. And also to use the poetic stimulus to approach the training process as poetic a disturbance revelation of new and provocative way to subjective involvement.
other words, aesthetics is conceived here, not from the doctrine of beauty, but as thought experiments emotional and sensitive, it is also "aesthetic attention" 8 attention as aspectual oriented interests us, and poetry is not heard as to the time of Aristotle as a collection of rules or precepts, but as the field where the dominant feeling, its purpose is both side of the act, knowledge and affect, and I try to show what can touch the subject in its training process, between feeling and do.
1. From obviously necessary
The training is often some confusion with the teaching, learning as knowledge, and possibly know-how and know-being. We're here with a view to acquisition, accumulation, " ever!
Could we consider another movement, just as essential in training who would go to a little less!
That is to say a movement of disengagement, of abandonment, where people work the already-there, agreed, already thought to go to something else. This is to undo some of the ideas, representations, designs frozen for more open to uncertain shores, where the certainties begin to move, relativize knowledge, beliefs articulated with questions and doubts, and all the baggage conceptual and methodological service would come at a meeting that occurs primarily from the point of emptiness, openness to others that it leaves large square open field ...
As in the dance where he is opening new perspectives from a work release clichés ("Die your shiny skin!" Ingeborg says, "I removed the package!" you t wrapped up in your ways like a spider's web "it is not your game, you do not believe" we must get wet a little more "), trying to dig a little habits that we started to this point gap that constitutes us, and we launch into the unknown of the artistic gesture or gesture towards the other to respect our functions Cover.
Let's start with this need for abandonment of work to go to this point obviously necessary, indispensable if something really happens in the encounter that can happen. Growing this opening that opens the world of emptiness, with whom we work and who is ultimately our fulcrum.
Let's start with the need for a laissez-faire, more than a doing, a letting go more than an outlet, a choir, a falling motion than a control .
all starts with the work of abandonment, of dispossession, to nothingness, to the vacuum itself and for something to happen.
Gelassenheit This is "a fundamental human experience teaches that to find its ground in the absence of soil, to rest in the absence of any support to regain its be at the forefront of its annihilation. " 9
This requires training to be, to let the work of training, instead of wanting to" do some training, and do battle with certain ideals . Indeed, one of the foundations of training job is to dig the ideals of respect for him to understand something of his motivations for the exercise of the profession, and to mourn its full power without collapsing ; accompanied introspection can allow it to develop its position and aims to integrate "Harmony" of his inner demons, his "internal public, if one accepts the idea that at the foundations of career choices in education and education is still" a double component of professional identity, both restorative and sadistic. " 10
As I learned in the world of contemporary art, I practice in training: it is a patient work, discrete, dull, but essential, filing, roughing, buffing ideals as a sculptor, I work remove, I can help clear the slag, to undo the habits of gangue, decoys, early representations of the ideal of "good" professional.
2. Great place to make the elusive and otherness
demand people who come into training, and often also for future employers, is a reliable demand for content, knowledge and points of benchmarks that would stand to acquire knowledge, skills essential, basis of a professional identity recognized as valid! They ask "how to do well, how to deal with violent youth, suicidal, delusional, how to deal with incest, how to prevent child abuse, etc.. "
This application must be heard, considered, understood, but it should not respond too quickly in terms of revenue and solutions that work ... Instead demand in favor of a derailment of drift ... identify anxiety, of course welcome, but then offering other forms and directions; is a joint development, creative direction, but also new.
And just as the artist opens permanent confrontation with the unknown, still stands on the alert, unhinged not to wear, our training provoke Training beings out of their thought patterns and more spontaneous, it's the same position as porter, ready to engage against sleep habits, cons modes, cliches, speeches overrated.
is a poetics of disruption that I moved, an art of upheaval that the crack prebuilt speech, breaking with the ideology of a static truth but it is a threat to the stability of sense of identity that must be taken into account and support, when the ego is facing a radical change in the psychic economy of the subject. This metamorphosis of reality on which we advise (impose?) Leads on loose earth and dangerous, where he did not necessarily want to go explore ...
And this we also send some poets who tried to approach this point of indescribable and impossible, "we must return to the inexplicable" wrote Kafka 11 . Act and poetically is possible only one who was stripped of some illusions that crossed his ideal starting to come closer, close to the reality that some things remain unexplained, want to stop any streamline and explain, and if these words speak to us is that we can implement this part of inexplicable to our support functions, the human being carries him that part of that mystery and otherness at the same time disturbs us and makes a deeper, and it defeated the idea to help him at all costs by trying to understand as we move forward together towards a unknown more promising.
3. Trials, errors and wanderings
or "prefer the thinness in the fullness" 12
As we have seen, the aesthetic paradigm takes the opposite postures usual, it is an ongoing effort to fight against conformity, stereotypes and dogmas of the moment, this work is ours, if we consider that our project is to accompany the student to building his own professional model and not to impose the yoke of some techniques "ready to ask" so far, it is also initiate at a certain professional culture, certain values, some language middle, and is founder of the aporia that our place is in both a normalizer and emancipatory project.
Our job Hameline said, is "an earth and a tightrope" 13 that is to say he does not fear the action, located close to the ground of reality, and at the same time he is on a wire surrounded by many dangers: the danger of his desire to hold on the other, risking the normalization of the other, the danger of being dragged by the massive transfer of which it may be, at risk of falling into the methods and techniques for reassurance on his "to do", Danger of desperate remedies Knowledge when you feel helpless too.
"It is never here and it's better to know" 14 still says Hamelin.
is working on a razor's edge as the misfires is permanent, one is assured of nothing.
Mireille Cifal reminds us in his own way also: "Basically, if the end is still uncertain, the success is not enough, however predictable from the outset, disappointment and helplessness are the beginning. " 15
We are moving in the fog and the ongoing trial and error and this position is uncomfortable or exhausting! Provided the poets with us ...
is a call to the test, the measured movement (less than gestures for more movement, "said Ingeborg! Less agitated gestures that are displaced and many noise for more quality research in motion and just weighed), modesty courageous, then the infinitesimal, the tenuous, but the attempt without waiting for a definite result, an expectation which would almost (!) To itself, only by the scope happen might be a possible and uncertain.
4. Articulate intelligibility and sensibility
This leads me also to aesthetics, is the importance in our businesses to sharpen our senses; aesthetic attention, it is this presence, This acute sensitivity, this "perceptual activity intense and rigorous" spoken G. Genet. 16
The fineness of observation, the quality of a sensitive listening attentively to the speech below, the ability to sense tiny movements in changing groups, recognition of emotions that run through us, welcoming the embarrassment and the possibility of being touched by him, all that I feel should be refined in the training of future educators and anyone working with others, entered into a relationship.
Furthermore, we know that aesthetics is what leads us to the beautiful but also to the ignoble, the disturbing the terrifying, the immoral, the impure, etc..
And in our business future educators will encounter hardships: assault, separations, breaks and repetitive violent relationships, feelings of destruction, disillusionment, fragmentation, erosion of the cohesion of the self 17 . The training must work their sensitivity and ease their professional personality promised to important breaking. The analysis of practices in training seems "conducive to train people living and conscious professionals, who are not too attached to their ego, but know enough to make it a working tool and exchange. " 18
5. The work of the language: " of dialects in the sewing room" 19
is finally the idea that the conceptual language, formal and scientific Humanities not enough to speak of our duties, and that he would one that is closer to that act small, often impalpable, part in the encounter with another, there is a beyond that can not be described always envisioned but, speaking of bias, no doubt, by metaphors, digressions, etc..
"From dialects to the sewing room" is that we are workers of the word, we must open the dialogue beyond the conventional discourse, work task speech knowing that the language is fragile, that exchange is uncertain that our hard work they do not suffice. To each his style of carving ...
In conclusion, it seems to me that we could draw like a waltz or three time steps in the process of training and coaching:
the first time, an invitation to travel, opened the formative relationship, as Genet said: "It was of aflame, not to teach " 20 . The person who comes into training expressed most often from a career plan based on a desire to understand and especially to learn, a willingness to learn and a good image of its constrution needs connaissanceset skills, we will be brought to play the "troublemakers to idealize in circles, move its performances to allow it to confront its flaws, its failures and out of this quest for rational explanation. It's time for disenchantment!
This work of deconstruction is not without souffance and must be accompanied with sensitivity, we offer this space-time as the promise of home, sleep and presence, enabling the subject training to withstand the shock of his narcissistic foundations, and to endure this journey into the unknown. Reflections discussions and shared thoughts opacity work to bring out some lights ... It's time to coaching.
0 comments:
Post a Comment