Notas: Propuestas educativas del Proyecto Nexos - CIPPEC

“Se ha puesto de moda entre los expertos decir: ‘No tenemos recetas, sólo tenemos preguntas’. No tener recetas
y sólo tener preguntas no es algo que se pueda celebrar en demasía. Quien no tiene recetas, a mi modo de
entender nuestro oficio, no puede enseñar. Quien sólo tiene preguntas no puede solucionar problemas"
(Antelo, 1999: 13)

Extractos interesantes del documento "Políticas pedagógicas y curriculares. Opciones y debates para los gobiernos provinciales."
De la serie “Proyecto Nexos: Conectando saberes y prácticas para el diseño de la política educativa provincial” de Batiuk, Verona. Documento Nro. 4, CIPPEC, Buenos Aires, 2008.

Debate sobre el concepto de la "autonomía escolar"
- o por qué no está buena la idea de cada maestrito con su librito -

• Tipos y niveles de autonomía escolar
Las concepciones y posiciones en materia de autonomía escolar son muy variadas y distan de presentar un panorama
de consensos. Parece existir un doble origen paradójico en materia de autonomía escolar. Por un lado, un origen
pedagógico de tradición histórica prolongada y diversa, identificado con fomentar la creatividad y reflexión de
los docentes y escuelas. En esta línea se incluyen desde los modelos más libertarios de educación no ligada al Estado,
pasando por la tradición de la pedagogía nueva, que se basan en la idea de que la autonomía es un prerrequisito
para transformar las condiciones institucionales de enseñanza y aprendizaje. La autogestión se concibe como una
pedagogía, como una forma de transmisión más que un cambio de modelo institucional o administrativo.
Por otro lado, el planteo “economicista” de la autonomía escolar se basa en la teoría económica aplicada a la
educación de forma explícita o con matices. La hipótesis de fondo aquí es que las escuelas y los docentes deben
responsabilizarse por los resultados educativos del nivel institucional y que el control local es la mejor forma
para lograr que esto se concrete (Espínola, 2000). La autonomía institucional se basa en una mayor autoridad
directiva, capaz de controlar a los docentes y de establecer esquemas de premios y castigos y, además, en la participación
de los padres como actores racionales que presionan por una mejor educación para sus hijos.
Una diferencia importante entre uno y otro planteo es el rol que se le asigna al Estado. Mientras que en el primer
caso la autonomía se construye desde abajo; en el segundo caso, la autonomía se propicia desde el Estado
a través de diversas políticas (principalmente de elección y demanda).
En el contexto latinoamericano durante los años 90 las políticas ligadas a la promoción de la autonomía escolar
fueron de la mano de distintas propuestas de descentralización o de desconcetración. Los debates en torno
a la dirección real de la autonomía escolar expresan diversas posiciones en las que ésta puede asumir: a) una
forma de responsabilización por los resultados, b) un abandono del Estado en términos de regulación pero
también en materia de financiamiento o c) una integración con la comunidad en pos de la innovación y de la
reivindicación de la reforma centrada en la escuela, el papel profesional del profesor y el carácter procesual del
currículum (Feldman y Palamidessi, 2002).
En definitiva, muchas cuestiones se han planteado en torno al debate mundial sobre la autonomía escolar. Se
espera que las escuelas contextualicen y adapten el currículo oficial, que tomen mayor cantidad de decisiones,
que asuman mayores niveles de responsabilidad por los aprendizajes de los estudiantes. En el discurso de
muchas reformas e incluso en el de muchos formadores de opinión, la delegación creciente del gobierno de los
procesos educativos hacia las escuelas pareciera ser el aspecto central del mejoramiento de la enseñanza. Frente
a estos planteos hay quienes sostienen que no hay soluciones únicas y que toda respuesta debe construirse en
función de un determinado contexto social, de las capacidades institucionales existentes y de las tradiciones
políticas y culturales de cada país.

• Norma curricular: libertad vs prescripción (la alternativa modesta frente a la ambiciosa)
La discusión acerca de los modos en que la norma curricular aspira a influir sobre las prácticas de enseñanza
no se ubica en un plano exclusivamente técnico sino también político. Elmore y Sykes (1992) señalan que la
política debe hacer un equilibrio entre lo público y lo profesional y las formas de resolver esta tensión desde el
punto de vista del diseño curricular son diversas. Sin embargo, procurando simplificar este punto, los autores
describen dos alternativas básicas.
La alternativa política modesta pretende influir sólo sobre el contenido del curriculum, sobre lo que los estudiantes
aprenden en la escuela. El requisito es que ciertos temas se incluyan en el curriculum escolar y, en consecuencia, se
suelen establecer ciertos estándares de enseñanza para esos temas. De este modo, la política puede tener poderosos
efectos sobre el aprendizaje. En este enfoque, la enseñanza es considerada como el terreno profesional del
docente, el corazón de autonomía dentro de las constricciones impuestas por la política y la administración.
La alternativa ambiciosa, en cambio, incluye la pedagogía dentro del curriculum y pretende ejercer influencia no sólo
sobre el contenido sino también y de manera conjunta sobre las formas de enseñanza escolar (Col et al, 2002).

En el terreno local, algunas posturas abogan por una alta autonomía institucional en las definiciones curriculares
en oposición a las fuertes regulaciones institucionales sobre el currículo que caracterizaron el tradicional
funcionamiento del sistema educativo, sobre todo hasta la década del 70 (que además estuvieron dirigidas
desde el nivel central) (Feldman y Palamidessi, 1994). En esta línea se alentó la elaboración de normas laxas,
con escasas prescripciones que dejan altos márgenes de definición a las instituciones escolares, otorgándoles mayores
responsabilidades en la definición de contenidos y métodos.
Por el contrario, hay quienes sostienen la necesidad de establecer orientaciones más explícitas sobre la enseñanza
para orientar el trabajo de los docentes, siempre considerando el contexto social e institucional existente. En
esta línea, se plantea que el texto curricular, por su carácter normativo, debe restringir los márgenes de interpretación
para evitar una limitación de su capacidad regulativa. Así, se propone que “limitar la polisemia en el
texto curricular no implica que éste cierre el campo al desarrollo o se constituya como un paquete cerrado ‘a
prueba de profesores’. Simplemente señala la exigencia de un lenguaje curricular claro, que permita su desarrollo
en la práctica y facilite una acción deliberativa sobre la base de significados compartidos” (Feldman y
Palamidessi, 1994: 70).

Propuestas interesantes  para mejorar  las propuestas curriculares y didácticas


Propuesta N° 18: Implementar proyectos pedagógicos acordes con las necesidades educativas de población escolar diversa.
Para la gestión curricular y/o la promoción de propuestas didácticas es importante un recorte a escala, más adecuado
para dar respuestas pedagógicas a las necesidades de distintas comunidades (rural, con sobreedad, aborigen,
con necesidades educativas especiales, jóvenes que trabajan, etc.). La consideración del contexto de los alumnos
y sus pautas culturales en las propuestas de enseñanza significa que estén al servicio de la expansión de su experiencia
educativa, no de una regionalización que limite el acceso al conocimiento y la inserción a otros contextos.


Propuesta N°19. Implementar una política de circulación de experiencias, prácticas y conocimientos de docentes
Así como se reconocen serios problemas en el funcionamiento de los sistemas educativos del país, también existen
numerosas experiencias con un alto valor formativo para los alumnos que dan cuenta del trabajo profesional y comprometido
de docentes y directivos. Partiendo de la convicción de que es necesario valorizar dicho trabajo pedagógico
y reconocer la experiencia y los saberes de los docentes, se recomienda la implementación de iniciativas cuyo
propósito sea su sistematización, documentación y divulgación.
19.1. Instaurar un Congreso de Políticas de Enseñanza provincial anual o bianual42
Los Congresos son espacios de intercambio regulares entre académicos y profesionales y constituyen una oportunidad
para divulgar sus trabajos de investigación y discutir resultados, perspectivas teóricas y definiciones
metodológicas. Estas instancias se han extendido también al campo de la política a través de la divulgación y
evaluación de políticas públicas. Pero son escasas las instancias de intercambio y divulgación de experiencias
educativas escolares organizadas de manera sistemática por las gestiones provinciales.
19.2. Documentar y difundir proyectos pedagógicos y modelos de clase en un fichero y/o web43
Las provincias podrían instaurar la práctica de documentación de experiencias o modelos de enseñanza en las
escuelas a través de una o dos jornadas anuales, con el propósito de garantizar instancias de escritura y sistematización
del saber pedagógico de los docentes44. A su vez, las escuelas podrían seleccionar una terna de experiencias
y elevarlas al Ministerio provincial para su posterior evaluación.
De manera complementaria, el Ministerio instauraría una o dos instancias de evaluación anuales de las experiencias
con el propósito de publicarlas en un Fichero provincial de propuestas de enseñanza. La evaluación podría
42. Basado en la experiencia de La Pampa que se desarrolla desde 1993.
43. Un proyecto actual que puede consultarse en esta línea es “Banco de experiencias pedagógicas” de la Ciudad Autónoma de Buenos Aires
http://www.buenosaires.gov.ar/areas/educacion/niveles/primaria/programas/bep/index.php
44. Existen diversos antecedentes en materia de documentación pedagógica cuya metodología e implementación pueden consultarse para el desarrollo
de esta alternativa. Uno de ellos es Proyecto de Documentación Narrativa de Experiencias Pedagógicas desarrollado en el Proyecto Centros de
Actualización e Innovación Educativa (CAIEs) dependiente del Instituto Nacional de Formación Docente del Ministerio de Educación Nacional.

estar a cargo de miembros de los equipos técnicos del Ministerio provincial, supervisores y especialistas, quienes
analizarían las propuestas para definir su incorporación a una y otra instancia de documentación pública.
El Fichero sería publicado, distribuido y actualizado por el Ministerio provincial una vez al año. A su vez, el
Ministerio estaría a cargo del diseño y actualización de una Página Web donde se subiría y actualizaría periódicamente
el Fichero.
19.3. Crear Redes de experiencias pedagógicas
Las redes tienen como propósito el intercambio de experiencias y reflexiones de personas e instituciones que
comparten un interés especial en torno a determinada temática. Estas redes son muy variadas y se ocupan de
una infinidad de temas (educación, salud, medioambiente, etc.). Sus miembros mantienen contacto regular de
manera presencial y/o virtual.
Sobre la base de estos principios organizativos, los Ministerios provinciales pueden crear u ofrecer apoyo a personas
e instituciones para la creación de Redes sobre diversos temas tales como: alfabetización inicial, educación
popular, radio escolar, emprendimientos productivos en las escuelas, nuevas alfabetizaciones, culturas
juveniles, etc. Sus propósitos serían: a) facilitar el acceso y el intercambio de informaciones y experiencias educativas,
b) Estimular el desarrollo de iniciativas grupales, institucionales y regionales en relación a una determinada
temática y c) favorecer el desarrollo de vínculos con otras instituciones que compartan trabajos similares.
Los miembros de las Redes podrían ser no sólo docentes del sistema educativo o escuelas sino también estudiantes
de profesorado, de Institutos de Formación Docente, miembros de ONGs, docentes de educación no
formal, profesionales de diversos ámbitos, etc.
Como complemento, algunas de las medidas que los Ministerios podrían implementar son: 1) establecer una
serie de temáticas importantes para la gestión educativa en la provincia, 2) relevar y difundir experiencias, instituciones
y especialistas de cada una de ellas, 3) convocar a los docentes, instituciones y especialistas a conformar
la red a través de una campaña, 4) organizar y financiar instancias de intercambio tales como encuentros,
seminarios, visitas, observaciones de clases, diseño de una página Web, entre otras.
19.4. Publicar una revista pedagógica provincial
El Ministerio de Educación de la Nación retomó en los años noventa una tradicional herramienta educativa, creando:
la revista Zona Educativa, que con el cambio de gestión del año 2000 se relanzó bajo el nombre de El Monitor
de la Educación. Esta publicación oficial se concibe como un canal de comunicación con los docentes y entre los
docentes de todo el país. Siguiendo estos antecedentes, los gobiernos provinciales podrían publicar una revista educativa
propia que incluya temas de interés educativo provincial así como orientaciones para la enseñanza en las
escuelas de acuerdo a la situación educativa de la jurisdicción y a sus metas de política educativa.
Viabilidad: Puede que un condicionante de este tipo de alternativas sea la falta de tradición y regularidad en la
difusión, circulación y documentación de prácticas y experiencias de enseñanza por parte de docentes y directivos.
Pero su principal ventaja reside en que puede implementarse casi sin condiciones previas y que sus costos
son muy bajos o nulos, según el caso.

TED - Educación

Oigo los coches

En la mañana oigo los coches que no pueden arrancar.
A lo mejor, entre los árboles, hay pájaros así,
que tardan en lanzarse al diario vuelo,
y algunos nunca lo consiguen.
Me alegro cuando un auto,
enfriado por la noche,
recuerda al fin la combustión
y prende sus circuitos.
Qué hermoso es el ruido del motor,
la realidad vuelta a su cauce.
¿Cómo le harán los pájaros
para saber en qué momento,
si se echan a volar,
no corren ya peligro?
¿Qué nervio de su vuelo les avisa
que son de nuevo libres
entre las frondas de los árboles?

Oigo los coches,

Fabio Morábito (México,1985)

ICT and Literary Characterisation

Bertha Mason, Jane Eyre, Mrs. Fairfax and Adéle

Mall World is a game on Facebook which I love, I could spend a looot of time in front of the computer changing my dolls' outfits and make up and I wish I had had this game when I was a child! (It's way better than playing with Barbies!) Anyway, one day I came up with an idea, I thought "Wouldn't it be fun to do character description in Literature using another approach?" When we read, we shape characters in our minds according to the information the author provides, being able to put such ideas into image is truly pleasant. Applications such as Mall World are wonderful tools to do this, and a lot can be learnt in the process. Adding a justification of why we characterised characters in this or that way may also be a great exercise.

Ken Robinson: "Changing Paradigms"

Reflections on ELT and the Crisis in Education

http://www.deltapublishing.co.uk/development/elt-and-the-crisis-in-education

What do you think of education today?

I've found two very interesting points the author and the survey make, the first one:

"ELTeachers are very often not viewed as ‘proper teachers’ within the education establishment. I often feel this is very unfair particularly as English language teaching has in so many ways long been ahead of many other teaching disciplines, both in terms of its awareness of learner centred pedagogical approaches and its, at times, obsessive need to continuously reflect and reevaluate and invent itself."
I think this is completely true and applies for Argentina as well, Ts of English are regarded as belonging to a "different kind" or sth while in terms of methodology English is the discipline that is always a step beyond in Education.
And then, I think I might have found the answer to why education is in crisis (:P) the question "Can every person in a society have a job that is creative and fulfilling?" received only 35 per cent of positive answers and 65 per cent of negative answers. Personally, I believe that if we consider that not every job in society is creative and fulfilling we'll go on teaching the "creative-to-be" elite only; and asking Ss to be creative in the classroom will go on being an exception rather than a rule. Aprir has recently published a link in which Ken Robinson talks about the need for a change in education paradigms, well, I think this is what he was talking about, the fact that it's most necessary that we ask Ss to be creative in as many instances as possible.

comment on http://www.facebook.com/#!/pages/APrIR/127774673899632

Ken Robinson: "Bring on the Learning Revolution"

"I was here four years ago, and I remember, at the time, that the talks weren't put online; I think they were given to TEDsters in a box, a box set of DVDs, which they put on their shelves, where they are now.
(Laughter)
And actually Chris called me a week after I'd given my talk and he said, "We're going to start putting them online. Can we put yours online?" And I said, "Sure."
And four years later, as I said, it's been seen by four ... Well, it's been downloaded four million times. So I suppose you could multiply that by 20 or something to get the number of people who've seen it. And as Chris says, there is a hunger for videos of me.
(Laughter)
(Applause)
... don't you feel?
(Laughter)
So, this whole event has been an elaborate build-up to me doing another one for you, so here it is.
(Laughter)
Al Gore spoke at the TED Conference I spoke at four years ago and talked about the climate crisis. And I referenced that at the end of my last talk. So I want to pick up from there because I only had 18 minutes, frankly. So, as I was saying...
(Laughter)
You see, he's right. I mean, there is a major climate crisis, obviously. And I think if people don't believe it, they should get out more. (Laughter) But I believe there's a second climate crisis, which is as severe, which has the same origins, and that we have to deal with with the same urgency. And I mean by this -- and you may say, by the way, "Look, I'm good. I have one climate crisis; I don't really need the second one." But this is a crisis of, not natural resources, though I believe that's true, but a crisis of human resources.

I believe, fundamentally, as many speakers have said during the past few days, that we make very poor use of our talents. Very many people go through their whole lives having no real sense of what their talents may be, or if they have any to speak of. I meet all kinds of people who don't think they're really good at anything.

Actually, I kind of divide the world into two groups now. Jeremy Bentham, the great utilitarian philosopher, once spiked this argument. He said, "There are two types of people in this world, those who divide the world into two types and those who do not." (Laughter) Well, I do. (Laughter)

I meet all kinds of people who don't enjoy what they do. They simply go through their lives getting on with it. They get no great pleasure from what they do. They endure it, rather than enjoy it, and wait for the weekend. But I also meet people who love what they do and couldn't imagine doing anything else. If you said to them, "Don't do this anymore," they'd wonder what you were talking about. Because it isn't what they do, it's who they are. They say, "But this is me, you know. It would be foolish for me to abandon this, because it speaks to my most authentic self." And it's not true of enough people. In fact, on the contrary, I think it's certainly a minority of people. And I think there are many

possible explanations for it. And high among them is education, because education, in a way, dislocates very many people from their natural talents. And human resources are like natural resources; they're often buried deep. You have to go looking for them. They're not just lying around on the surface. You have to create the circumstances where they show themselves. And you might imagine education would be the way that happens. But too often, it's not. Every education system in the world is being reformed at the moment. And it's not enough. Reform is no use anymore, because that's simply improving a broken model. What we need -- and the word's been used many times during the course of the past few days -- is not evolution, but a revolution in education. This has to be transformed into something else.

(Applause)

One of the real challenges is to innovate fundamentally in education. Innovation is hard because it means doing something that people don't find very easy for the most part. It means challenging what we take for granted, things that we think are obvious. The great problem for reform or transformation is the tyranny of common sense -- things that people think, "Well, it can't be done any other way because that's the way it's done."

I came across a great quote recently from Abraham Lincoln, who I thought you'd be pleased to have quoted at this point. (Laughter) He said this in December 1862 to the second annual meeting of Congress. I ought to explain that I have no idea what was happening at the time. We don't teach American history in Britain. (Laughter) We suppress it. You know, this is our policy. (Laughter) So, no doubt, something fascinating was happening in December 1862, which the Americans among us will be aware of.

But he said this: "The dogmas of the quiet past are inadequate to the stormy present. The occasion is piled high with difficulty, and we must rise with the occasion." I love that. Not rise to it, rise with it. "As our case is new, so we must think anew and act anew We must disenthrall ourselves and then we shall save our country."

I love that word, "disenthrall." You know what it means? That there are ideas that all of us are enthralled to, which we simply take for granted as the natural order of things, the way things are. And many of our ideas have been formed, not to meet the circumstances of this century, but to cope with the circumstances of previous centuries. But our minds are still hypnotized by them. And we have to disenthrall ourselves of some of them. Now, doing this is easier said than done. It's very hard to know, by the way, what it is you take for granted. And the reason is that you take it for granted.

So let me ask you something that you may take for granted. How many of you here are over the age of 25? That's not what I think you take for granted. I'm sure you're familiar with that already. Are there any people here under the age of 25? Great. Now, those over 25, could you put your hands up if you're wearing a wristwatch? Now that's a great deal of us, isn't it? Ask a room full of teenagers the same thing. Teenagers do not wear wristwatches. I don't mean they can't or they're not allowed to, they just often choose not to. And the reason is, you see, that we were brought up in a pre-digital culture, those of us over 25. And so for us, if you want to know the time, you have to wear something to tell it. Kids now live in a world which is digitized, and the time, for them, is everywhere. They see no reason to do this. And, by the way, you don't need to do it either; it's just that you've always done it, and you carry on doing it. My daughter never wears a watch, my daughter Kate, who's 20. She doesn't see the point. As she says, "It's a single function device." (Laughter) "Like, how lame is that?" And I say, "No, no, it tells the date as well." (Laughter) "It has multiple functions."

But you see, there are things we're enthralled to in education. Let me give you a couple of examples. One of them is the idea of linearity, that it starts here, and you go through a track, and if you do everything right, you will end up set for the rest of your life. Everybody who's spoken at TED has told us implicitly, or sometimes explicitly, a different story, that life is not linear, it's organic. We create our lives symbiotically as we explore our talents in relation to the circumstances they help to create for us. But you know, we have become obsessed with this linear narrative. And probably the pinnacle for education is getting into college. I think we are obsessed with getting people to college, certain sorts of college. I don't mean you shouldn't go to college, but not everybody needs to go, and not everybody needs to go now. Maybe they go later, not right away.

And I was up in San Francisco a while ago doing a book signing. There was this guy buying a book, he was in his 30s. And I said, "What do you do?" And he said, "I'm a fireman." And I said, "How long have you been a fireman?" He said, "Always, I've always been a fireman." And I said, "Well, when did you decide?" He said, "As a kid." He said, "Actually, it was a problem for me at school, because at school, everybody wanted to be a fireman." He said, "But I wanted to be a fireman." And he said, "When I got to the senior year of school, my teachers didn't take it seriously. This one teacher didn't take it seriously. He said I was throwing my life away if that's all I chose to do with it, that I should go to college, I should become a professional person, that I had great potential, and I was wasting my talent to do that." And he said, "It was humiliating because he said it in front of the whole class, and I really felt dreadful. But it's what I wanted, and as soon as I left school, I applied to the fire service and I was accepted." And he said, "You know, I was thinking about that guy recently, just a few minutes ago when you were speaking, about this teacher," he said, "because six months ago, I saved his life." (Laughter) He said, "He was in a car wreck, and I pulled him out, gave him CPR, and I saved his wife's life as well." He said, "I think he thinks better of me now."

(Laughter)

(Applause)

You know, to me, human communities depend upon a diversity of talent, not a singular conception of ability. And at the heart of our challenges -- (Applause) At the heart of the challenge is to reconstitute our sense of ability and of intelligence. This linearity thing is a problem.

When I arrived in L.A. about nine years ago, I came across a policy statement, very well-intentioned, which said, "College begins in kindergarten." No, it doesn't. (Laughter) It doesn't. If we had time, I could go into this, but we don't. (Laughter) Kindergarten begins in kindergarten. (Laughter) A friend of mine once said, "You know, a three year-old is not half a six year-old." (Laughter) (Applause) They're three.

But as we just heard in this last session, there's such competition now to get to kindergarten, to get to the right kindergarten, that people are being interviewed for it at three. Kids sitting in front of unimpressed panels, you know, with their resumes, (Laughter) flipping through and saying, "Well, this is it?" (Laughter) (Applause) "You've been around for 36 months, and this is it?" (Laughter) "You've achieved nothing, commit. Spent the first six months breastfeeding, the way I can see it." (Laughter) See, it's outrageous as a conception, but it attracts people.

The other big issue is conformity. We have built our education systems on the model of fast food. This is something Jamie Oliver talked about the other day. You know there are two models of quality assurance in catering. One is fast food, where everything is standardized. The other are things like Zagat and Michelin restaurants, where everything is not standardized, they're customized to local circumstances. And we have sold ourselves into a fast food model of education. And it's impoverishing our spirit and our energies as much as fast food is depleting our physical bodies.

(Applause)

I think we have to recognize a couple of things here. One is that human talent is tremendously diverse. People have very different aptitudes. I worked out recently that I was given a guitar as a kid at about the same time Eric Clapton got his first guitar. You know, it worked out for Eric, that's all I'm saying. (Laughter) In a way, it did not for me. I could not get this thing to work no matter how often or how hard I blew into it. It just wouldn't work.

But it's not only about that. It's about passion. Often, people are good at things they don't really care for. It's about passion, and what excites our spirit and our energy. And if you're doing the thing that you love to do, that you're good at, time takes a different course entirely. My wife's just finished writing a novel, and I think it's a great book, but she disappears for hours on end. You know this, if you're doing something you love, an hour feels like five minutes. If you're doing something that doesn't resonate with your spirit, five minutes feels like an hour. And the reason so many people are opting out of education is because it doesn't feed their spirit, it doesn't feed their energy or their passion.

So I think we have to change metaphors. We have to go from what is essentially an industrial model of education, a manufacturing model, which is based on linearity and conformity and batching people. We have to move to a model that is based more on principles of agriculture. We have to recognize that human flourishing is not a mechanical process, it's an organic process. And you cannot predict the outcome of human development; all you can do, like a farmer, is create the conditions under which they will begin to flourish.

So when we look at reforming education and transforming it, it isn't like cloning a system. There are great ones like KIPPs, it's a great system. There are many great models. It's about customizing to your circumstances, and personalizing education to the people you're actually teaching. And doing that, I think is the answer to the future because it's not about scaling a new solution; it's about creating a movement in education in which people develop their own solutions, but with external support based on a personalized curriculum.

Now, in this room, there are people who represent extraordinary resources in business, in multimedia, in the internet. These technologies, combined with the extraordinary talents of teachers, provide an opportunity to revolutionize education. And I urge you to get involved in it because it's vital, not just to ourselves, but to the future of our children. but we have to change from the industrial model to an agricultural model, where each school can be flourishing tomorrow. That's where children experience life. Or at home, if that's where they choose to be educated with their families or their friends.

There's been a lot of talk about dreams over the course of this few days. And I wanted to just very quickly -- I was very struck by Natalie Merchant's songs last night, recovering old poems. I wanted to read you a quick, very short poem from W.B. Yeats, who's someone you may know. He wrote this to his love, Maud Gonne, and he was bewailing the fact that he couldn't really give her what he thought she wanted from him. And he says, "I've got something else, but it may not be for you."

He says this: "Had I the heavens embroidered cloths, Enwrought with gold and silver light, The blue and the dim and the dark cloths of night and light and the half-light, I would spread the cloths under your feet; But I, being poor, have only my dreams; I have spread my dreams under your feet; Tread softly because you tread on my dreams." And every day, everywhere, our children spread their dreams beneath our feet. And we should tread softly.

Thank you.

(Applause)

Thank you very much."

Ken Robinson: "Do Schools Kill Creativity?"

"Good morning. How are you? It's been great, hasn't it? I've been blown away by the whole thing. In fact, I'm leaving. (Laughter) There have been three themes, haven't there, running through the conference, which are relevant to what I want to talk about. One is the extraordinary evidence of human creativity in all of the presentations that we've had and in all of the people here. Just the variety of it and the range of it. The second is that it's put us in a place where we have no idea what's going to happen, in terms of the future. No idea how this may play out.

I have an interest in education -- actually, what I find is everybody has an interest in education. Don't you? I find this very interesting. If you're at a dinner party, and you say you work in education -- actually, you're not often at dinner parties, frankly, if you work in education. (Laughter) You're not asked. And you're never asked back, curiously. That's strange to me. But if you are, and you say to somebody, you know, they say, "What do you do?" and you say you work in education, you can see the blood run from their face. They're like, "Oh my God," you know, "Why me? My one night out all week." (Laughter) But if you ask about their education, they pin you to the wall. Because it's one of those things that goes deep with people, am I right? Like religion, and money and other things. I have a big interest in education, and I think we all do. We have a huge vested interest in it, partly because it's education that's meant to take us into this future that we can't grasp. If you think of it, children starting school this year will be retiring in 2065. Nobody has a clue -- despite all the expertise that's been on parade for the past four days -- what the world will look like in five years' time. And yet we're meant to be educating them for it. So the unpredictability, I think, is extraordinary.

And the third part of this is that we've all agreed, nonetheless, on the really extraordinary capacities that children have -- their capacities for innovation. I mean, Sirena last night was a marvel, wasn't she? Just seeing what she could do. And she's exceptional, but I think she's not, so to speak, exceptional in the whole of childhood. What you have there is a person of extraordinary dedication who found a talent. And my contention is, all kids have tremendous talents. And we squander them, pretty ruthlessly. So I want to talk about education and I want to talk about creativity. My contention is that creativity now is as important in education as literacy, and we should treat it with the same status. (Applause) Thank you. That was it, by the way. Thank you very much. (Laughter) So, 15 minutes left. Well, I was born ... no. (Laughter)

I heard a great story recently -- I love telling it -- of a little girl who was in a drawing lesson. She was six and she was at the back, drawing, and the teacher said this little girl hardly ever paid attention, and in this drawing lesson she did. The teacher was fascinated and she went over to her and she said, "What are you drawing?" And the girl said, "I'm drawing a picture of God." And the teacher said, "But nobody knows what God looks like." And the girl said, "They will in a minute." (Laughter)

When my son was four in England -- actually he was four everywhere, to be honest. (Laughter) If we're being strict about it, wherever he went, he was four that year. He was in the Nativity play. Do you remember the story? No, it was big. It was a big story. Mel Gibson did the sequel. You may have seen it: "Nativity II." But James got the part of Joseph, which we were thrilled about. We considered this to be one of the lead parts. We had the place crammed full of agents in T-shirts: "James Robinson IS Joseph!" (Laughter) He didn't have to speak, but you know the bit where the three kings come in. They come in bearing gifts, and they bring gold, frankincense and myrhh. This really happened. We were sitting there and I think they just went out of sequence, because we talked to the little boy afterward and we said, "You OK with that?" And he said, "Yeah, why? Was that wrong?" They just switched, that was it. Anyway, the three boys came in -- four-year-olds with tea towels on their heads -- and they put these boxes down, and the first boy said, "I bring you gold." And the second boy said, "I bring you myrhh." And the third boy said, "Frank sent this." (Laughter)

What these things have in common is that kids will take a chance. If they don't know, they'll have a go. Am I right? They're not frightened of being wrong. Now, I don't mean to say that being wrong is the same thing as being creative. What we do know is, if you're not prepared to be wrong, you'll never come up with anything original. If you're not prepared to be wrong. And by the time they get to be adults, most kids have lost that capacity. They have become frightened of being wrong. And we run our companies like this, by the way. We stigmatize mistakes. And we're now running national education systems where mistakes are the worst thing you can make. And the result is that we are educating people out of their creative capacities. Picasso once said this. He said that all children are born artists. The problem is to remain an artist as we grow up. I believe this passionately, that we don't grow into creativity, we grow out of it. Or rather, we get educated out if it. So why is this?

I lived in Stratford-on-Avon until about five years ago. In fact, we moved from Stratford to Los Angeles. So you can imagine what a seamless transition that was. (Laughter) Actually, we lived in a place called Snitterfield, just outside Stratford, which is where Shakespeare's father was born. Are you struck by a new thought? I was. You don't think of Shakespeare having a father, do you? Do you? Because you don't think of Shakespeare being a child, do you? Shakespeare being seven? I never thought of it. I mean, he was seven at some point. He was in somebody's English class, wasn't he? How annoying would that be? (Laughter) "Must try harder." Being sent to bed by his dad, you know, to Shakespeare, "Go to bed, now," to William Shakespeare, "and put the pencil down. And stop speaking like that. It's confusing everybody." (Laughter)

Anyway, we moved from Stratford to Los Angeles, and I just want to say a word about the transition, actually. My son didn't want to come. I've got two kids. He's 21 now; my daughter's 16. He didn't want to come to Los Angeles. He loved it, but he had a girlfriend in England. This was the love of his life, Sarah. He'd known her for a month. Mind you, they'd had their fourth anniversary, because it's a long time when you're 16. Anyway, he was really upset on the plane, and he said, "I'll never find another girl like Sarah." And we were rather pleased about that, frankly, because she was the main reason we were leaving the country. (Laughter)

But something strikes you when you move to America and when you travel around the world: Every education system on earth has the same hierarchy of subjects. Every one. Doesn't matter where you go. You'd think it would be otherwise, but it isn't. At the top are mathematics and languages, then the humanities, and the bottom are the arts. Everywhere on Earth. And in pretty much every system too, there's a hierarchy within the arts. Art and music are normally given a higher status in schools than drama and dance. There isn't an education system on the planet that teaches dance every day to children the way we teach them mathematics. Why? Why not? I think this is rather important. I think math is very important, but so is dance. Children dance all the time if they're allowed to, we all do. We all have bodies, don't we? Did I miss a meeting? (Laughter) Truthfully, what happens is, as children grow up, we start to educate them progressively from the waist up. And then we focus on their heads. And slightly to one side.

If you were to visit education, as an alien, and say "What's it for, public education?" I think you'd have to conclude -- if you look at the output, who really succeeds by this, who does everything that they should, who gets all the brownie points, who are the winners -- I think you'd have to conclude the whole purpose of public education throughout the world is to produce university professors. Isn't it? They're the people who come out the top. And I used to be one, so there. (Laughter) And I like university professors, but you know, we shouldn't hold them up as the high-water mark of all human achievement. They're just a form of life, another form of life. But they're rather curious, and I say this out of affection for them. There's something curious about professors in my experience -- not all of them, but typically -- they live in their heads. They live up there, and slightly to one side. They're disembodied, you know, in a kind of literal way. They look upon their body as a form of transport for their heads, don't they? (Laughter) It's a way of getting their head to meetings. If you want real evidence of out-of-body experiences, by the way, get yourself along to a residential conference of senior academics, and pop into the discotheque on the final night. (Laughter) And there you will see it -- grown men and women writhing uncontrollably, off the beat, waiting until it ends so they can go home and write a paper about it.

Now our education system is predicated on the idea of academic ability. And there's a reason. The whole system was invented -- around the world, there were no public systems of education, really, before the 19th century. They all came into being to meet the needs of industrialism. So the hierarchy is rooted on two ideas. Number one, that the most useful subjects for work are at the top. So you were probably steered benignly away from things at school when you were a kid, things you liked, on the grounds that you would never get a job doing that. Is that right? Don't do music, you're not going to be a musician; don't do art, you won't be an artist. Benign advice -- now, profoundly mistaken. The whole world is engulfed in a revolution. And the second is academic ability, which has really come to dominate our view of intelligence, because the universities designed the system in their image. If you think of it, the whole system of public education around the world is a protracted process of university entrance. And the consequence is that many highly talented, brilliant, creative people think they're not, because the thing they were good at at school wasn't valued, or was actually stigmatized. And I think we can't afford to go on that way.

In the next 30 years, according to UNESCO, more people worldwide will be graduating through education than since the beginning of history. More people, and it's the combination of all the things we've talked about -- technology and its transformation effect on work, and demography and the huge explosion in population. Suddenly, degrees aren't worth anything. Isn't that true? When I was a student, if you had a degree, you had a job. If you didn't have a job it's because you didn't want one. And I didn't want one, frankly. (Laughter) But now kids with degrees are often heading home to carry on playing video games, because you need an MA where the previous job required a BA, and now you need a PhD for the other. It's a process of academic inflation. And it indicates the whole structure of education is shifting beneath our feet. We need to radically rethink our view of intelligence.

We know three things about intelligence. One, it's diverse. We think about the world in all the ways that we experience it. We think visually, we think in sound, we think kinesthetically. We think in abstract terms, we think in movement. Secondly, intelligence is dynamic. If you look at the interactions of a human brain, as we heard yesterday from a number of presentations, intelligence is wonderfully interactive. The brain isn't divided into compartments. In fact, creativity -- which I define as the process of having original ideas that have value -- more often than not comes about through the interaction of different disciplinary ways of seeing things.

The brain is intentionally -- by the way, there's a shaft of nerves that joins the two halves of the brain called the corpus callosum. It's thicker in women. Following off from Helen yesterday, I think this is probably why women are better at multi-tasking. Because you are, aren't you? There's a raft of research, but I know it from my personal life. If my wife is cooking a meal at home -- which is not often, thankfully. (Laughter) But you know, she's doing -- no, she's good at some things -- but if she's cooking, you know, she's dealing with people on the phone, she's talking to the kids, she's painting the ceiling, she's doing open-heart surgery over here. If I'm cooking, the door is shut, the kids are out, the phone's on the hook, if she comes in I get annoyed. I say, "Terry, please, I'm trying to fry an egg in here. Give me a break." (Laughter) Actually, you know that old philosophical thing, if a tree falls in the forest and nobody hears it, did it happen? Remember that old chestnut? I saw a great t-shirt really recently which said, "If a man speaks his mind in a forest, and no woman hears him, is he still wrong?" (Laughter)

And the third thing about intelligence is, it's distinct. I'm doing a new book at the moment called "Epiphany," which is based on a series of interviews with people about how they discovered their talent. I'm fascinated by how people got to be there. It's really prompted by a conversation I had with a wonderful woman who maybe most people have never heard of, she's called Gillian Lynne, have you heard of her? Some have. She's a choreographer and everybody knows her work. She did "Cats," and "Phantom of the Opera." She's wonderful. I used to be on the board of the Royal Ballet, in England, as you can see. Anyway, Gillian and I had lunch one day and I said, "Gillian, how'd you get to be a dancer?" And she said it was interesting, when she was at school, she was really hopeless. And the school, in the '30s, wrote to her parents and said, "We think Gillian has a learning disorder." She couldn't concentrate, she was fidgeting. I think now they'd say she had ADHD. Wouldn't you? But this was the 1930s, and ADHD hadn't been invented at this point. It wasn't an available condition. (Laughter) People weren't aware they could have that.

Anyway, she went to see this specialist. So, this oak-paneled room, and she was there with her mother, and she was led and sat on a chair at the end, and she sat on her hands for 20 minutes while this man talked to her mother about all the problems Gillian was having at school. And at the end of it -- because she was disturbing people, her homework was always late, and so on, little kid of eight -- in the end, the doctor went and sat next to Gillian and said, "Gillian, I've listened to all these things that your mother's told me, and I need to speak to her privately." He said, "Wait here, we'll be back, we won't be very long." and they went and left her. But as they went out the room, he turned on the radio that was sitting on his desk. And when they got out the room, he said to her mother, "Just stand and watch her." And the minute they left the room, she said, she was on her feet, moving to the music. And they watched for a few minutes and he turned to her mother and said, "Mrs. Lynne, Gillian isn't sick, she's a dancer. Take her to a dance school."

I said, "What happened?" She said, "She did. I can't tell you how wonderful it was. We walked in this room and it was full of people like me. People who couldn't sit still. People who had to move to think." Who had to move to think. They did ballet, they did tap, they did jazz, they did modern, they did contemporary. She was eventually auditioned for the Royal Ballet School, she became a soloist, she had a wonderful career at the Royal Ballet. She eventually graduated from the Royal Ballet School and founded her own company -- the Gillian Lynne Dance Company -- met Andrew Lloyd Weber. She's been responsible for some of the most successful musical theater productions in history, she's given pleasure to millions, and she's a multi-millionaire. Somebody else might have put her on medication and told her to calm down.

Now, I think ... (Applause) What I think it comes to is this: Al Gore spoke the other night about ecology, and the revolution that was triggered by Rachel Carson. I believe our only hope for the future is to adopt a new conception of human ecology, one in which we start to reconstitute our conception of the richness of human capacity. Our education system has mined our minds in the way that we strip-mine the earth: for a particular commodity. And for the future, it won't serve us. We have to rethink the fundamental principles on which we're educating our children. There was a wonderful quote by Jonas Salk, who said, "If all the insects were to disappear from the earth, within 50 years all life on Earth would end. If all human beings disappeared from the earth, within 50 years all forms of life would flourish." And he's right.

What TED celebrates is the gift of the human imagination. We have to be careful now that we use this gift wisely, and that we avert some of the scenarios scenarios that we've talked about. And the only way we'll do it is by seeing our creative capacities for the richness they are, and seeing our children for the hope that they are. And our task is to educate their whole being, so they can face this future. By the way -- we may not see this future, but they will. And our job is to help them make something of it. Thank you very much."

Literary Analysis - About Feminist Criticism

Jane Eyre, Eva Luna, Pride and Prejudice and Fairy-tales:
Way more than stories allowing for identification.

Just like Jane Eyre, Eva Luna travels from town to town meeting new characters and their lifestyles. After each journey, a new stage in Jane and Eva's lives begins and their personalities evolve.

Along their lives they create life, their lives, and they create the world, guided by their inner force, that force which G. B. Shaw talked about. But they create two worlds which are miles apart, one of them is in the north hemisphere and the other one in the south. However, these characters grow up in a similar way, experiencing similar feelings and learning to fight and defend themselves from those who are prejudiced against them.

When talking about prejudice, we cannot help to allude to Elizabeth's clashes with Lady Catherine or Mr. Darcy and so we can infer that prejudice against women must be something taking place around the globe.

Although Isabel Allende must have read Charlotte Brontë and Jane Austen's novels, I don't really think she was inspired in such stories when she wrote Eva Luna at all. Yet, the similarities among all the women in these works are there, quite explicitly displayed. This might indicate that women's experiences are basically quite the same regardless their age, nationality or ethnicity. We can even compare these characters to those from fairy tales and other short stories; all of them suffer from prejudice: the princess who loves whistling, Cinderella for being poor and an orphan, the little mermaid for being a day dreamer who will not settle for life under the sea, Desiree for being thought not to be purely white, the Wife of Bath for being considered a prostitute, etc. Now, talking about fairy tales and short stories, the difference between them is, basically, that one is aimed to allow for identification, and the other one is not.

But can we help feeling identified with these princesses at any extent? We might feel tempted to sort of force the similarities between our lives and these heroines' but somehow, those similarities are there and can be seen, identification inevitably takes place.

Reading all these works helped me appreciate this brunch of literary criticism which I was so prejudiced against: feminist criticism, and it now seems to me a most fascinating world, apart from a wonderful way of reading allowing for identification to take place.

Lang III - Letter to the Editor II

Dear Editor,
I'm writing to share my feelings towards the place I live in.
I live in Rosario City, downtown, only a few blocks away from hectic Cordoba Street, but my block is actually pretty quiet. There are schools, cyber-cafés and enough shops to buy anything you need, but the great thing about them is that they all shut down early in the afternoon, helping the atmosphere to achieve a nice, pleasant siesta mood.
My street is full of tall tress and that's why it is specially cool in summer afternoons. It's quite a picturesque place, crowded with nice colonial houses inhabited by very sweet and kind people. Very "fairy-tale-like", in fact.
However, at night, it's a different story. Insecurity has affected the whole of the city and my beloved place in the world has been no exception. If when the day is bright and shiny you would expect bumping into Little Red Riding Hood, when the sun goes dow, you're most likely to meet the wolf. This is because the street lightening does not work well; and no one seems willing to fix it! This is terrible because it helps criminals rob and go without much trouble. In the last five years, my neighbours have been victims of all types of crimes: pick-pocketing, burglaries, car theft, etc.,etc.
I can't say I don't like my neighbourhood - apart from insecurity there's not much else I can complain about - but I kinda want to live a peaceful life, you know, free of worries and fears. This is mainly why in the future, I would like to leave the neighbourhood, even the city perhaps. These decisions are difficult to make, but I must admit that I wouldn't go on living here, not for the world. I would move far, far away to a quieter and safer place.
Unfortunately, I have the feeling I'm not the only one who feels this way, perhaps other will share my views.
I hope that I can read about my peers' experience in this subject too.
Yours faithfully,
...

Lang III - Letter to the Editor I

TASK: YOU HAVE READ AN ARTICLE IN A GENERAL INTEREST MAGAZINE. THE TITLE OF THE ARTICLE, WHICH GIVES ITS GIST IS: “Chilean miracle: a story of greed, a story of human greatness.”

WRITE A LETTER TO THE EDITOR RESPONDING TO THE POINTS RAISED IN THE ARTICLE AND EXPRESSING YOUR VIEWS.

Dear Sir,

I wish to congratulate you on your article “Chilean miracle: a story of greed, a story of human greatness” which was published last Sunday.

First of all, I would like to say that your analysis on the mine business in Chile was most thought-provoking. I speak as one of those millions of people watched the rescue of the 33 miners without realising that far from a miracle, what happened at Copiapó was not but the result of human greed. I was shocked to become aware of the wild precarious conditions under which miners have to work; and even more upset I became to find out that such conditions are not improved in order for companies to be able to tighten their belts and obtain higher profits than the ones they would receive if they sticked to mine safety and health conventions.

Nonetheless, it was a breath of fresh air to read about the huge efforts that the Chilean people and the international community have made in order to rescue the 33 lives on a completely disinterested and cooperative basis.

Before congratulating you once again, I only want to say that I hope that this letter will, provided they still haven’t done so, induce other readers to read your work and become aware, as well as I did last Sunday, of the whole story behind the Chilean miracle.

Yours faithfully,

Mariana Zárate

Lang III - Essay II

TASK: YOU HAVE BEEN DISCUSSING AUDIOVISUAL AIDS WITH YOUR PEDAGOGY LECTURER, SHE HAS ASSIGNED AN ESSAY ON THE BENEFITS OF MUSIC ON LANGUAGE 2 LEARNING. WRITE YOUR ESSAY.

Nowadays, the use of audiovisual aids in the English classroom has become naturalized. But although even the older generations of teachers have adapted their lesson plans to include this kind of didactic materials, there are still many educators who refuse to make use of some audiovisual aids in their lessons; especially music. However, the benefits of using this sort of input in lessons of English cannot be overlooked.

Recent resarch has shown that music patterns – and chanting in particular – resemble the underlying structures in our brains, thus making music naturally appealing to all human beings. Apart from this, it has been acknowledged that music helps people to calm down.

Furthermore, we should bear in mind that playing music at lessons of Englishc can be profitable in a number of ways. Firstly, musical support is a most valuable resource through which culture can beshared: playing typical American or British songs is a wonderful way to create positive feelings towards the target language. Secondly, using music to introduce an exercise, for example, is a good way to activate prior knowledge, since it helps students to make associations. Last but not least, including songs in the English classroom results in the creation of contexts for our teaching, which prove meaningful for students of all ages.

However, there is a common assumption among some people - older and more traditional teachers in general - that since auditory aids were not used in the past and students learnt all the same, music is a source of input that can be dispensed with.

There might be some truth in this argument, but it cannot be denied that working with music in the English classroom is a fruitful and motivating way of teaching, apart from a meaningful and enjoyable way of learning.

EDI TPP - Programa de Extensión Horaria; Art Exhibition