CREATIVE INTELLIGENCE & Other Works on the Human Thought Process. Джон Дьюи

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СКАЧАТЬ makes Jack a dull boy." That the obverse is true is perhaps sufficiently signalized in the fact that fooling is so near to foolishness. To be playful and serious at the same time is possible, and it defines the ideal mental condition. Absence of dogmatism and prejudice, presence of intellectual curiosity and flexibility, are manifest in the free play of the mind upon a topic. To give the mind this free play is not to encourage toying with a subject, but is to be interested in the unfolding of the subject on its own account, apart from its subservience to a preconceived belief or habitual aim. Mental play is open-mindedness, faith in the power of thought to preserve its own integrity without external supports and arbitrary restrictions. Hence free mental play involves seriousness, the earnest following of the development of subject-matter. It is incompatible with carelessness or flippancy, for it exacts accurate noting of every result reached in order that every conclusion may be put to further use. What is termed the interest in truth for its own sake is certainly a serious matter, yet this pure interest in truth coincides with love of the free play of thought.

      In spite of many appearances to the contrary—usually due to social conditions of either undue superfluity that induces idle fooling or undue economic pressure that compels drudgery—childhood normally realizes the ideal of conjoint free mental play and thoughtfulness. Successful portrayals of children have always made their wistful intentness at least as obvious as their lack of worry for the morrow. To live in the present is compatible with condensation of far-reaching meanings in the present. Such enrichment of the present for its own sake is the just heritage of childhood and the best insurer of future growth. The child forced into premature concern with economic remote results may develop a surprising sharpening of wits in a particular direction, but this precocious specialization is always paid for by later apathy and dullness.

      The attitude of the artist

      That art originated in play is a common saying. Whether or not the saying is historically correct, it suggests that harmony of mental playfulness and seriousness describes the artistic ideal. When the artist is preoccupied overmuch with means and materials, he may achieve wonderful technique, but not the artistic spirit par excellence. When the animating idea is in excess of the command of method, æsthetic feeling may be indicated, but the art of presentation is too defective to express the feeling thoroughly. When the thought of the end becomes so adequate that it compels translation into the means that embody it, or when attention to means is inspired by recognition of the end they serve, we have the attitude typical of the artist, an attitude that may be displayed in all activities, even though not conventionally designated arts.

      The art of the teacher culminates in nurturing this attitude

      That teaching is an art and the true teacher an artist is a familiar saying. Now the teacher's own claim to rank as an artist is measured by his ability to foster the attitude of the artist in those who study with him, whether they be youth or little children. Some succeed in arousing enthusiasm, in communicating large ideas, in evoking energy. So far, well; but the final test is whether the stimulus thus given to wider aims succeeds in transforming itself into power, that is to say, into the attention to detail that ensures mastery over means of execution. If not, the zeal flags, the interest dies out, the ideal becomes a clouded memory. Other teachers succeed in training facility, skill, mastery of the technique of subjects. Again it is well—so far. But unless enlargement of mental vision, power of increased discrimination of final values, a sense for ideas—for principles—accompanies this training, forms of skill ready to be put indifferently to any end may be the result. Such modes of technical skill may display themselves, according to circumstances, as cleverness in serving self-interest, as docility in carrying out the purposes of others, or as unimaginative plodding in ruts. To nurture inspiring aim and executive means into harmony with each other is at once the difficulty and the reward of the teacher.

      § 3. The Far and the Near

      "Familiarity breeds contempt,"

      Teachers who have heard that they should avoid matters foreign to pupils' experience, are frequently surprised to find pupils wake up when something beyond their ken is introduced, while they remain apathetic in considering the familiar. In geography, the child upon the plains seems perversely irresponsive to the intellectual charms of his local environment, and fascinated by whatever concerns mountains or the sea. Teachers who have struggled with little avail to extract from pupils essays describing the details of things with which they are well acquainted, sometimes find them eager to write on lofty or imaginary themes. A woman of education, who has recorded her experience as a factory worker, tried retelling Little Women to some factory girls during their working hours. They cared little for it, saying, "Those girls had no more interesting experience than we have," and demanded stories of millionaires and society leaders. A man interested in the mental condition of those engaged in routine labor asked a Scotch girl in a cotton factory what she thought about all day. She replied that as soon as her mind was free from starting the machinery, she married a duke, and their fortunes occupied her for the remainder of the day.

      since only the novel demands attention,

      Naturally, these incidents are not told in order to encourage methods of teaching that appeal to the sensational, the extraordinary, or the incomprehensible. They are told, however, to enforce the point that the familiar and the near do not excite or repay thought on their own account, but only as they are adjusted to mastering the strange and remote. It is a commonplace of psychology that we do not attend to the old, nor consciously mind that to which we are thoroughly accustomed. For this, there is good reason: to devote attention to the old, when new circumstances are constantly arising to which we should adjust ourselves, would be wasteful and dangerous. Thought must be reserved for the new, the precarious, the problematic. Hence the mental constraint, the sense of being lost, that comes to pupils when they are invited to turn their thoughts upon that with which they are already familiar. The old, the near, the accustomed, is not that to which but that with which we attend; it does not furnish the material of a problem, but of its solution.

      which, in turn, can be given only through the old

      The last sentence has brought us to the balancing of new and old, of the far and that close by, involved in reflection. The more remote supplies the stimulus and the motive; the nearer at hand furnishes the point of approach and the available resources. This principle may also be stated in this form: the best thinking occurs when the easy and the difficult are duly proportioned to each other. The easy and the familiar are equivalents, as are the strange and the difficult. Too much that is easy gives no ground for inquiry; too much of the hard renders inquiry hopeless.

      The given and the suggested

      The necessity of the interaction of the near and the far follows directly from the nature of thinking. Where there is thought, something present suggests and indicates something absent. Accordingly unless the familiar is presented under conditions that are in some respect unusual, it gives no jog to thinking, it makes no demand upon what is not present in order to be understood. And if the subject presented is totally strange, there is no basis upon which it may suggest anything serviceable for its comprehension. When a person first has to do with fractions, for example, they will be wholly baffling so far as they do not signify to him some relation that he has already mastered in dealing with whole numbers. When fractions have become thoroughly familiar, his perception of them acts simply as a signal to do certain things; they are a "substitute sign," to which he can react without thinking. (Ante, p. 178.) If, nevertheless, the situation as a whole presents something novel and hence uncertain, the entire response is not mechanical, because this mechanical operation is put to use in solving a problem. There is no end to this spiral process: foreign subject-matter transformed through thinking into a familiar possession becomes a resource for judging and assimilating additional foreign subject-matter.

      Observation supplies the near, imagination the remote

      The need for both imagination and observation in every mental enterprise illustrates СКАЧАТЬ