The Greatest Works of John Dewey. Джон Дьюи
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to get out of its isolation and secure the organic connection with social life of which we have been speaking. It is not our architect's plan for the school building that we hope to have; but it is a diagrammatic representation of the idea which we want embodied in the school building. On the lower side you see the dining-room and the kitchen, at the top the wood and metal shops, and the textile room for sewing and weaving. The center represents the manner in which all come together in the library; that is to say, in a collection of the intellectual resources of all kinds that throw light upon the practical work, that give it meaning and liberal value. If the four corners represent practice, the interior represents the theory of the practical activities. In other words, the object of these forms of practice in the school is not found chiefly in themselves, or in the technical skill of cooks, seamstresses, carpenters and masons, but in their connection, on the social side, with the life without; while on the individual side they respond to the child's need of action, of expression, of desire to do something, to be constructive and creative, instead of simply passive and conforming. Their great significance is that they keep the balance between the social and individual sides -- the chart symbolizing particularly the connection with the social. Here on one side is the home. How naturally the lines of connection play back and forth between the home and the kitchen and the textile room of the school! The child can carry over what he learns in the home and utilize it in the school; and the things learned in the school he applies at home. These are the two great things in breaking down isolation, in getting connection -- to have the child come to school with all the experience he has got outside the school, and to leave it with something to be immediately used in his everyday life. The child comes to the traditional school with a healthy body and a more or less unwilling mind, though, in fact, he does not bring both his body and mind with him; he has to leave his mind behind, because there is no way to use it in the school. If he had a purely abstract mind, he could bring it to school with him, but his is a concrete one, interested in concrete things, and unless these things get over into school life, he cannot take his mind with him. What we want is to have the child come to school with a whole mind and a whole body, and leave school with a fuller mind and an even healthier body. And speaking of the body suggests that, while there is no gymnasium in these diagrams, the active life carried on in its four corners brings with it constant physical exercise, while our gymnasium proper will deal with the particular weaknesses of children and their correction, and will attempt more consciously to build up the thoroughly sound body as the abode of the sound mind.
That the dining-room and kitchen connect with the country and its processes and products it is hardly necessary to say. Cooking may be so taught that it has no connection with country life, and with the sciences that find their unity in geography. Perhaps it generally has been taught without these connections being really made. But all the materials that come into the kitchen have their origin in the country; they come from the soil, are nurtured through the influences of light and water, and represent a great variety of local environments. Through this connection, extending from the garden into the larger world, the child has his most natural introduction to the study of the sciences. Where did these things grow? What was necessary to their growth? What their relation to the soil? What the effect of different climatic conditions? and so on. We all know what the old-fashioned botany was: partly collecting flowers that were pretty, pressing and mounting them; partly pulling these flowers to pieces and giving technical names to the different parts, finding all the different leaves, naming all their different shapes and forms. It was a study of plants without any reference to the soil, to the country, or to growth. In contrast, a real study of plants takes them in their natural environment and in their uses as well, not simply as food, but in all their adaptations to the social life of man. Cooking becomes as well a most natural introduction to the study of chemistry, giving the child here also something which he can at once bring to bear upon his daily experience. I once heard a very intelligent woman say that she could not understand how science could be taught to little children, because she did not see how they could understand atoms and molecules. In other words, since she did not see how highly abstract facts could be presented to the child independently of daily experience, she could not understand how science could be taught at all. Before we smile at this remark, we need to ask ourselves if she is alone in her assumption, or whether it simply formulates almost all of our school practice.
The same relations with the outside world are found in the carpentry and the textile shops. They connect with the country, as the source of their materials, with physics, as the science of applying energy, with commerce and distribution, with art in the development of architecture and decoration. They have also an intimate connection with the university on the side of its technological and engineering schools; with the laboratory, and its scientific methods and results.
To go back to the square which is marked the library (Chart III, A): if you imagine rooms half in the four corners and half in the library, you will get the idea of the recitation room. That is the place where the children bring the experiences, the problems, the questions, the particular facts which they have found, and discuss them so that new light may be thrown upon them, particularly new light from the experience of others, the accumulated wisdom of the- world -- symbolized in the library. Here is the organic relation of theory and practice; the child not simply doing things, but getting also the idea of what he does; getting from the start some intellectual conception that enters into his practice and enriches it; while every idea finds, directly or indirectly, some application in experience, and has some effect upon life. This, I need hardly say, fixes the position of the "book" or reading in education. Harmful as a substitute for experience, it is all-important in interpreting and expanding experience.
The other chart (IV) illustrates precisely the same idea. It gives the symbolic upper story of this ideal school. In the upper corners are the laboratories; in the lower corners are the studios for art work, both the graphic and auditory arts. The questions, the chemical and physical problems, arising in the kitchen and shop, are taken to the laboratories to be worked out. For instance, this past week one of the older groups of children doing practical work in weaving which involved the use of the spinning wheel, worked out the diagrams of the direction of forces concerned in treadle and wheel, and the ratio of velocities between wheel and spindle. In the same manner, the plants with which the child has to do in cooking, afford the basis for a concrete interest in botany, and may be taken and studied by themselves. In a certain school in Boston science work for months was centered in the growth of the cotton plant, and yet something new was brought in every day. We hope to do similar work with all the types of plants that furnish materials for sewing and weaving. These examples will suggest, I hope, the relation which the laboratories bear to the rest of the school.
The drawing and music, or the graphic and auditory arts, represent the culmination, the idealization, the highest point of refinement of all the work carried on. I think everybody who has not a purely literary view of the subject recognizes that genuine art grows out of the work of the artisan. The art of the Renaissance was great, because it grew out of the manual arts of life. It did not spring up in a separate atmosphere, however ideal, but carried on to their spiritual meaning processes found in homely and everyday forms of life. The school should observe this relationship. The merely artisan side is narrow; but the mere art, taken by itself, and grafted on: from without, tends to become forced, empty, sentimental. I do not mean, of course, that all art work must be correlated in detail to the other work of the school, but simply that a spirit of union gives vitality to the art, and depth and richness to the other work. All art involves physical organs, the eye and hand, the ear and voice; and yet it is something more than the mere technical skill required by the organs of expression. It involves an idea, a thought, a spiritual rendering of things; and yet it is other than any number of ideas by themselves. It is a living union of thought and the instrument of expression. This union is symbolized by saying that in the ideal school the art work might be considered to be that of the shops, passed through the alembic of library and museum into action again.
Take the textile room as an illustration of such a synthesis. I am talking about a future school, the one we hope, some time, to have. The basal fact in that room is that it is a workshop, doing actual things in sewing, spinning, and weaving.