This document discusses theories of learning in museums, focusing on constructivist and experiential learning. It explores how emotion is core to effective non-formal learning and outlines four types of embodied cognition ("gene-scape," "net-scape," "skill-scape," and "word-scape") that allow intuitive knowing and sharing of experiences. The document argues that museum space provides an immersive environment well-suited to embodied cognition, and visitors should be allowed to learn at their own pace by dwelling in, negotiating with, and reflecting on the space.

1. Understanding Learning in the MuseumWho’s afraid of Informal Learning?StedelijkMuseum Amsterdam second conference day Friday 15 October 2010

2. Understanding Learning in the Museuming. Ruben Smit MA (ruben.smit@ahk.nl)Lecturer Audience Development Reinwardt Academy - Cultural Heritage / Museology The Amsterdam School of the Arts

4. Museological Paradigm Shift (Gail Anderson - 2004)

5. Museological Paradigm Shift (Gail Anderson - 2004)

6. Museological Paradigm Shift (Gail Anderson - 2004)

7. Museological Paradigm Shift (Gail Anderson - 2004)

8. Museological Paradigm Shift (Gail Anderson - 2004)

9. Museological Paradigm Shift (Gail Anderson - 2004)

10. Museological Paradigm Shift (Gail Anderson - 2004)

11. Museological Paradigm Shift (Gail Anderson - 2004)

12. Museological Paradigm Shift (Gail Anderson - 2004)

13. Museological Paradigm Shift (Gail Anderson - 2004)

14. What do we mean by ‘learning’? From ‘education’ to ‘learning’ - J.Dodd (9-9-10)LEARNING:> People, visitors, users, learners> Preferred learning styles, values, desires> Learning processes and outcomes> Enabling,facilitating museum usersEDUCATION:System

15. Didacticism

16. Delivery methods

17. Products, outputs

18. Management

19. Museum focus

20. Museum staff

21. Museum issuesWhat do we mean by ‘learning’? From ‘education’ to ‘learning’ “Learning is me doingitmyself, whileeducation is some-onedoingitto me…”Linda Kelly interviewing a museum visitor

23. De-constructing four types of learning in the museum(George Hein, 1998)

25. Constructivist learningWe useournaturalproblem-solvingcapacities. Intrinsicmotivation is key in learning.We learnactively

26. Constructivist learning:We need a knowledge base forfurtherlearning. New knowledge must relateto prior knowledgeandearlierlearningexperiences.Learning is a social activity.

27. Constructivist learning:Children use other thinking strategies than adults use. Learning is both concrete and abstract. Cognition and emotion are at a par in the learning process.

28. We assimilate new learningexperiences in existingmentalschemata. We must accept that new knowledge does not simply replace existing knowledge. We therefore acknowledge that new frames of knowledge rather lead to new associations and concepts (new tracks and roads in the ‘old landscape’) than to a brand new ‘Eureka’ insight.Constructivist learning:

29. Constructivist learning:“Constructivist educational theory argues that in any discussion of teaching and learning the focus needs to be on the learner, not on the subject to be learned. For museums, this translates into the dictum that we need to focus on the visitor, not the content of the museum.”George Hein

30. Constructivist learning:“Constructivism permits us to allow visitors to expand or rebuild their view of the world in their own way - to experience the exhibition socially, emotionally, spiritually and imaginatively, as well as intellectually and esthetically.”Marlene Chambers

32. “Museums and Education – purpose, pedagogy, performance” E. Hooper-Greenhill

33. “Museums and Education – purpose, pedagogy, performance” E. Hooper-GreenhillWhat is the essence of learning?Expierentiallearning is the process of creatingandtransformingexperienceintoknowledge, skills, attitudes, values, emotions, beliefs andsenses. It is the processthroughwhichindividualsbecomethemselves. Jarvis, 1998

34. “Museums and Education – purpose, pedagogy, performance” E. Hooper-GreenhillWhat is the essence of learning? Learning is whatyou do whenyoudon’tknowwhattodo. Claxton, 1999

35. “Museums and Education – purpose, pedagogy, performance” E. Hooper-GreenhillMuseums, Archives and Libraries Council (UK):Learning is a process of active engagement with experience. It is what people do when they want to make sense of the world. It may involve increase in or deepening of skills, knowledge, understanding, values, feelings, attitudes and the capacity to reflect. Effective learning leads to change, development and the desire to learn more.

36. Not necessarily positivist: “Not that the gallery was bad because I am sure boring people love to pine over things like that all day. I have better things to do than ask questions about a picture. It’s very boring – also I think a lot of the so called art in this museum is over-pretentious and hence depresses me, this art gallery has given me an insight into other peoples boring and drab lives, and it will make my life feel a lot more fulfilling.” Vincent 18 years old“Museums and Education – purpose, pedagogy, performance” E. Hooper-Greenhill

37. “Museums and Education – purpose, pedagogy, performance” E. Hooper-GreenhillGuy Claxton (Bristol University) suggests that people use a personal toolkit when they learn. Immersion in experience – exploration, investigation, experimentation, use of space and resources.Imagination – fantasy, visualisation, storytelling, to create and explore hypothetical worlds.Intellectual skills – language, reasoning, analyses, communication.Intuition – creativity, germination of ideas.

39. Restoration?

41. “Learning from Museums: Visitor Experiences and the Making of Meaning ” J,Falk and L.Dierink (2000)Emotion is the coreforeffective non-formallearning..

42. “Learning from Museums: Visitor Experiences and the Making of Meaning ” J,Falk and L.Dierink (2000)Evolutionaryseen, one of the oldest parts of our brains is the so-calledlimbic system.

43. “Learning from Museums: Visitor Experiences and the Making of Meaning ” J,Falk and L.Dierink (2000) The limbic system filters at lightning speed all sensory information (safe smells). Amongst other things it regulates our emotional and geographical memory.

44. “Learning from Museums: Visitor Experiences and the Making of Meaning ” J,Falk and L.Dierink (2000) The limbic system is also central to our capacity to remember vital information. ‘Memory’Daniel Chester French (1917-19)

45. “Learning from Museums: Visitor Experiences and the Making of Meaning ” J,Falk and L.Dierink (2000) Essentially, all new impressions are being filtered and emotionally tagged through the limbic system. Launch Pad, Science Museum, Londen

46. “Learning from Museums: Visitor Experiences and the Making of Meaning ” J,Falk and L.Dierink (2000) So memorable experiences are emotionally ‘ear-marked’. Höller – Slides in Tate Modern, London

48. Guy Claxton, ‘Thinking at the edge: developing soft creativity’’, Cambridge Journal of Education(September 2006) p. 351-362

49. Claxton hereoffers the concept of intuitivelyknowing. The corehere is ‘focusing’. Youaskyourself a general question; now focus on yourthroat, torso andstomach. Trytobecomeaware of the slightestsensationsthatyou feel. Suchemotional ‘knowing’ canbesimilartothatuneasysensationyou feel whenthingsbetweenyouand a verydearfriend are temporarily out of tune.

50. Focus on thisintuitive feeling. On this‘feltanswer’ youcanask the question ‘Is this correct’? Again focus and sense yourfeelings. (Trytopostponeany direct rationalistation)New neuro-physiological studies refertowhatnowoften is calledEmbodiedCognition. Recognizingthat mind and body are actuallyonecognitive system.

51. Does yourheart misses a beat whenyouseeyourbelovedone?Are your hands sweatywhenyou are over-anxious?Does fearfor failure lead to nausea? Anddon’tyou feel your hair raise, whenyourfrightened?

52. Claxton discerns four types of Embodied Cognition:Gene-scape– this is a genetically locked knowledge-based residue. How high can you jump? Which sounds can you differentiate? And why are we frightened by the sight of snakes and not of bananas…