By James H. Bunn
This e-book examines the assumption of ‘good schooling’ that's concept to incorporate a systematic and technical part, a mathematical part, a writing part, and a moral and aesthetic part. Bunn proposes a brand new three-way intersection in those teachings: the fundamental sciences and mechanics of levering on a seesaw, the fundamental formulations of patterning an algebraic equation, and the fundamental principles for writing a sentence in English. In all 3 different types of inquiry, stability is the mainstay wherein difficulties in US center institution schooling are introduced jointly and analyzed.
Read or Download Balancing the Common Core Curriculum in Middle School Education: Composing Archimedes' Lever, the Equation, and the Sentence as an Interdisciplinary Unity PDF
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Extra info for Balancing the Common Core Curriculum in Middle School Education: Composing Archimedes' Lever, the Equation, and the Sentence as an Interdisciplinary Unity
For a full discussion, see Lawrence Wechsler, “Vanishing Point: David Hockney’s Long and Winding Road” Harper’s Magazine (June, 2005): 47–55. For some recent scientific work summarizing the bodily movements of children, see Mark Johnson, one of the main proponents of embodied knowledge, The Meaning of the Body: Aesthetics of Human Understanding (Chicago: The University of Chicago Press, 2007), Chapter 2 “Big Babies. 4. See Michael Polanyi and Harry Prosch, Meaning (Chicago: The University of Chicago Press, 1975), 33.
Like a seesaw, they pivot on a fulcrum. As we shall see in Chap. 3, two-dimensional (2-D) signs, like the equation with its equals sign, exist mainly as picture or graphic patterns on a flat plane. And in Chap. 4, we study one-dimensional (1-D) signs like the sentence that exist primarily as strings in a sequence. Tools like the fulcrum and its lever give us a lift in the real space of three dimensions. Toys like Erector Sets, Legos, and Tinker Toys let children combine and assemble things playfully.
In addition, in Chap. 5, we shall also note how the feeling of a pendulum’s swing is central to artistic rhythms. 8 Here the ancients used real weights to add up and to “take away” or subtract. The ancients used standard weights for their balancing acts, but each culture had its own standards or codes of weights. 1). Because the vertical axis can be seen to divide the horizon into equal parts, it can also be seen as an important first slice of symmetry. The vertical line divides the design into a structure with bilateral symmetry and two 90-degree angles that are equal to each other.