Lesson V

                                                  CONE OF EXPERIENCE

Objectives:

      To define cone of experience

      To enumerate the sensory aids in the cone of experience

      To identify the implication to teaching

     The cone of experience is a visual model, a pictorial device that presents bands  of experience arranged according to degree of abstraction  and not degree of difficulty. The further you go  from the bottom of the cone, the more abstract the experience becomes.

     Dale (1969) asserts that:
                                           

     The pattern of arrangement of the bands of experience is not difficult but degree of abstraction – the amount of immediate sensory  participation that is involved. A still photograph of a  is not more difficult to understand than a dramatization of Hamlet. It is simply in itself a less concrete teaching  material than the dramatization (Dale, 1969)

     Dale further explains that “the individual bands of the cone of  experience stand for experiences that are fluid, extensive, and continually interact” (Dale, 1969). It should not be taken literally in its simplified form. The different kinds of sensory aid often overlap and sometimes blend into one another. Motion pictures can be silent or they can combine sight and sound. Students may merely view a demonstration  or  they may view  it then participate in it.

     Does the cone of experience mean that all the teaching and learning must  move systematically  from base to pinnacle, from different purposeful experiences to  verbal symbols? Dale (1969) categorically says:

     …No. we continually shuttle back and forth among various kinds of experiences. Every day each of us acquires new concrete experiences – through walking on the street, gardening, dramatics and endless other means. Such learning by doing, such pleasurable return to the concrete is natural throughout our lives – and at every age level. On the other hand, both the older child and the young pupil make abstractions every day and may need help in doing this well.

     In our teaching then, we do not always begin with direct experience at the base of the cone. Rather, we begin with the kind of experience that is most appropriate to the needs and abilities of particular learning situation. Then, of course we vary this experience with many other types of learning activities. (Dale, 1969).

     One kind of sensory experience is not necessarily more educationally useful than another. Sensory experienced are mixed and interrelated. When students listen to you as you give your lecturette, they do not just have an auditory experience. They also have visual experience in the sense that they are “reading” your facial expressions and bodily gestures.

     We face some risk when we overemphasize the amount of direct experience to learn a concept. Too much reliance on concrete experience may actually obstruct the process of meaningful generalization. The best will be striking a balance  between concrete and abstract, direct participation and symbolic expression for the learning that will continue throughout life.

     It is true that the older the person is, the more abstract his concepts are likely to be. This can be attributed to physical  maturation, more vivid experiences and sometimes greater motivation for learning.  But an older student does not live purely in his world of abstract ideas  just  as a child does  not  only in the world of sensory experience . both old and young shuttle in a world of the concrete and he abstract.

     What are these bands of experience  in Dale’s Cone of experience? It is best to look back  at the cone itself. But let us expound  on each of them starting with the most direct.

     Direct purposeful experiences – these are first hand experiences which serves as the foundation of our learning.  We build up our  reservoir of meaningful information and ideas through seeing, hearing, touching, tasting and smelling. In the context  of teaching – learning process, it is learning by doing. If I want my student to learn how to focus on a compound light microscope, I will let him focus one, of course, after I showed him how.

     Contrived experience – in here, we make use of  a representative models or mock – ups of reality for practical reasons and so that we can make the real -life  accessible to the students’ perceptions and understanding. For instance a mock – up of Apollo,  the capsule for the exploration of the moon, enabled the North American Aviation Co. to study the problem of lunar flight.

     Remember how you will taught to tell time? Your teacher may have use a mock – up, a clock whose hands you could  turn to set the time you were instructed to set. Simulations such as playing, “sari – sari” to teach  subtracting centavos from pesos is another  example of contrived experiences.  Conducting election of class and school officers by  simulating  how local and national elections are conducted is one more example of contrived experiences.

     Dramatized experiences – by dramatization,  we can participate in a reconstructed experience, even though the original  the original event is far removed from us in time. We relieve the outbreak of the Philippine revolution by acting out the role of characters in the drama.

     Demonstrations – it is a visualized explanation of an important fact, idea or process by the use  of photographs, drawings, films, displays or guided motions. It is showing how things are done. A teacher  in Physical Education shows the class how to dance tango.

     Study trips –these are excursions, educational trips, and visits conducted to observe an event that is unavailable within the classroom.

     Exhibits – these are displays to be seen by spectators.  They may consists of working models arranged meaningfully or photographs with modes,  charts, posters. Sometimes exhibits are “ for your eyes only” . there are  some exhibits however, that include sensory  experiences where spectators are allowed to touch or manipulate models displayed.

     Televisions and motion pictures – televisions and motions pictures can reconstruct the reality of the past so effectively that we are made to feel we are there.  The unique value of the messages communicated by fil and television lies in their feeling of realism, their emphasis on persons and personality, their organized presentation, and their ability to select, dramatized, highlight, and clarify.

     Still pictures, recordings, radio  - these are visual and auditory devices which may be used by an individual or a group. Still pictures lack the sound and motion of a sound film. The radio broadcast of an actual event may often be Liked to a televise broadcast minus its visual dimension.

     Visual symbols – these are no longer realistic reproduction of physical things for these are highly abstract representations. Examples are charts, graphs, maps, and diagrams.

     Verbal symbols – they are not  like the objects or ideas for which they stand. They usually do not contain visual clues to their meaning.  Written words fall under this category.  It may be a word for a concrete object (book), an idea (freedom of speech), a scientific principle ( the principle of balance), a formula (e=mc2)

     What are the implications of the Cone of Experience in the teaching  - learning process?

1. We do not use only one medium of communication in isolation.  Rather we use many instructional materials to help the learner conceptualize his/her experience.

2. We avoid teaching directly at the symbolic level of thought without adequate foundation of the concrete. Learners concept will lack deep roots in direct experience.  Dale cautions us when he said: “ these rootless experiences will not have the generative power to produce  additional concepts and will not enable the learner to deal with the new situations that he faces” (Dale, 1969).

3. When teaching, we don’t get stuck in the concrete. Let us strive to bring our students to the symbolic or abstract level to develop their higher order thinking skills.