Abstract
While the experimentation of artists and curators has been pivotal in remodelling art education’s ethics of identification, its largely transient and centripetal nature has prevented it from codifying and sharing its insights through an accompanying andragogics. In this wake, paragogy forms an adaptive set of learning principles that might be adopted more widely in art education. Developed by Joseph Corneli and Charles Danoff in 2010, paragogy forms a crucial suture between D-I-T art schooling and para-academia. This chapter begins by considering some of the educational influences that intermingle in Corneli and Danoff’s ‘Five Principles’ for structuring peer-learning environments. This leads to a consideration of if, and how, the foundational theories of knowledge that inform paragogy’s principles—ba/sho—might be of particular significance to artistic learning. Since there are, as yet, few examples of artistic learning self-consciously inspired by paragogy, the concluding part of this chapter illustrates a few examples of art education that (unwittingly) align with Corneli and Danoff’s five principles. This demonstrates that while paragogy is a relatively new tool for understanding peer learning, it can be said to focus our attention on peer-learning practices that already exist and might assist in nurturing them. If today’s art academies aspire to be as educationally influential as their modernist forebears and their D-I-T contemporaries then, like constructivism before it, paragogics has the capacity to become one of the transformative educational developments of the twenty-first century.
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Notes
- 1.
Siemens and Downes’ Connectivism and Connective Knowledge—designed in 2008—was a credit-bearing course in Manitoba’s Certificate in Adult Education, offered by the University of Manitoba, Winnipeg, Canada. As a MOOC, it enrolled 2200 participants worldwide (Downes 2012: 503).
- 2.
- 3.
Heutagogy’s emphasis on self-determined learning partly corroborates gnothi sauton art education which is driven entirely by the desires of the learner. However, Hase and Kenyon hastily castigate ‘discipline’ both as a form of coercion and as an inflexible learning style unsuited to ‘modern communities and workplaces’ (Hase and Kenyon 2000). Heutagogy thus neglects the reciprocal relationship between disciplinary habitus and habitat, a relationship theorised by many of its own influences (systems thinking, action learning and double-loop organisational learning).
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This approach has been codified by Corneli et al. in The Peeragogy Handbook (2016).
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Corneli and Danoff’s five principles modify Malcolm S. Knowles’ five principles of andragogy, his theory of educating adults, to support peer learning (Knowles 1968).
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The resemblance is merely superficial; since basho is a non-binary philosophy, the SECI square does not support Western oppositional duality, nor does it limit knowledge to semantic structures. Rather, each quadrant represents a cyclical stage in the experiential formation of knowledge.
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This is comparable to Biesta’s bilateral concept of ‘socialisation’, the process wherein groups of prospective learners form and are, in turn, formed by a cohort.
- 8.
‘…instead of focusing on how learners see themselves (e.g. as “self-directed” or “dependent” or something else), we should be asking how the learning context shapes what learners are actually able to do. Note that this includes looking at ways in which learners can contribute to reshaping the learning context’ (Herlo 2014: 37).
- 9.
‘To participate in a ba means to get involved and transcend one’s own limited perspective or boundary’ (Nonaka and Konno 1998: 41).
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‘Knowledge is not just a part of the reality. It is a reality viewed from a certain angle. The same reality can be viewed differently depending on from which angle (context) one sees it. […] That is why limited environmental interaction and externalization of personal knowlege can lead to ontological ills and fallacies’ (Nonaka and Toyama 2003: 3).
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Mulholland, N. (2019). Paragogy. In: Re-imagining the Art School. Creativity, Education and the Arts. Palgrave Pivot, Cham. https://doi.org/10.1007/978-3-030-20629-1_6
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