Personal Blogs

Fig.1 12 Key Learning Theories

Based on three/four books on learning theory:
Double click on the above should take you to a shared Dropbox or Picasa Web Album of the original 'Simple Mind' mindmap.

Authors such as Knud Illiris, Grainne Conole, Yrjo Engestrom and Helen Beetham identify three to five key groupings of 'Learning Theories'. Etienne Wenger offered five theories excluding his own 'Communities of Practice' while David Leonard covers 150 or so in his 'A to Z of Learning Theories'.

For now I rest with the following, though there is of course overlap. We would struggle surely to exclude any in describing how it is that from as soon as the brain forms during foetal development we are learning - and continue to do so until the body that serves the brain ceases to function.

1) Organisational Learning
2) Neurophysiological Learning
3) Whole person - body and mind - physiological and neurobiological
4) Behaviourist Learning
5) Cognitive Learning
6) Resistance to - or defence against learning (i.e. to not learn or to block learning is to learn?)
7) Activity Theory
8) Communities of Practice
9) Accommodative Learning
10) Social Learning
11) Transformative Learning
13) Constructivist Learning

REFERENCES
I'll add these in due course - see below.

The EMA is due on Monday.

Instead of writing the penultimate draft from the notes, earlier drafts, diagrams and pics I have assembled I am spinning through people's blogs. On the MAODE modules this served a purpose because there are always a handful of people who get into the blog thing on H800, H808, H807 and H809. However I have only ever come across TWO people doing any MBA module here and never anyone who is doing or has done B822 'Creativity, Innovation & Change'. All I need, or benefit from is the knowledge that I am in the same place they are or were ... or are reaching, to help clear the fog so that I can give the thing some certain shape. One trick, I've done this, is to write my TMA into this blog space ... never publish, but somehow I feel, momentarily, I have grabbed my space on the Church Hall platform and I have no choice but to talk through what I've got.

What have I got?

• Five parts with a very clear sense of how many words per part are permitted and will work for what I think I know.
• A couple of drafts which very unusually for me gives a total some 1000 words under rather than 10000 words over the required total.
• A neat collection of course work references, quotes and diagrams.
• Evidence in the form of photos, more diagrams, and comments on the topic from discussions that I seeded 'businessy' groups in Linkedin.
• This stuff printed out and in digital form.
• Two hours before I need to get off to the swimming club where I swim an early morning Masters session then teach for a few hours.

SO

• Focus on pulling stuff together for two hours.
• Do the swim.
• Then look at it afresh this afternoon.
• This is a REPORT, so keep each part objective, and contained by the word count.
• Stop fretting! A pass will do, but if I submit nothing a fail is inevitable
• It MUST go on Sunday as I'm in London all day Monday.

(P.S. At some stage I'll be wandering around the Hockney at the RA if anyone wants to meet up)

The War of Art: Winning the Inner Creative Battle

by Steven Pressfield

The key word through-out ‘The War of Art’ is ‘Resistance’ – i.e. that which prevents us from doing.

Steven Pressfield’s advice is to sit down and do it like a pro.

That’s the book in two lines.

Professionals and amateurs

‘The word amateur from the Latin root meaning 'to love'.

The conventional interpretation is that the amateur pursues his calling out of love, while the pro does if for money.

Not the way I see it. In my view, the amateur does not love the game enough. If he did, he would pursue it as a sideline, distinct from his real vocation. The professional loves it so much he dedicates his life to it. He commits full-time’. Pressfield (2002)

This is familiar territory.

I heard it first from Richard Nelson E Bolles in ‘What Color’s Your Parachute?’ (New editions most years 1970-2011)

His advice is:

‘You become a professional by behaving like one.’ Bolles (1970)

Pressfield is derogatory about amateurs who toy with their art and blame the way they toy around for their failure.

‘We're all Pros already’ he encourages us to believe.

‘Resistance knows that the amateur composer will never write his symphony because he is overly invested in its success and over terrified of its failure. The amateur takes it so seriously it paralyses him’. Pressfield (2002)

A Professional is patient

Resistance outwits the amateur with the oldest trick in the book: It uses his own enthusiasm against him. Resistance gets us to plunge into a project with an over ambitious and unrealistic timetable for its completion. It knows we can't sustain that level of intensity.

We will hit the wall. We will crash.

‘A professional accepts no excuses’ Pressfield (2002)

He knows if he caves in today, no matter how plausible the pretext, he'll be twice as likely to cave in tomorrow.

‘A professional does not take failure (or success) personally’ Pressfield (2002)

Resistance uses fear of rejection to paralyse us and prevent us, if not from doing our work, then from exposing it to public evaluation.

‘Starting is not my problem.' Pressfield (2002)

Starting something else is my problem. Being distracted is my problem.

I need to be behave like a professional BECAUSE I am not paid ... and then I will be.

REFERENCE

Pressfield, S (2002) The War of Art.