9. THE CONE OF EXPERIENCE
A visual model, a pictorial device that presents
bands of experience arranged according to the
degree of abstraction and not of difficulty.
The farther you go to the bottom of the cone, the
more abstract the experience.
10.
11. HOW ARE THE EXPERIENCES
OF REALITY ARRANGED IN
THE CONE OF EXPERIENCE?
12. -The individual bands of the Cone of Experience
stand for experiences that are fluid, extensive
and continually interact.
14. Pinaccle – farthest from the real world
Base – closest to the real world
15. Is the basis of the arrangement of
experiences difficulty of experience or
degree of abstraction? (amount of
immediate sensory participation
involved?)
17. Do the bands of experience
follow a rigid, inflexible
pattern? Or is it more
correct to think that the
bands of experience in the
Cone overlap and blend
into one another?
18. - Should not be taken literally
- Flexible arrangement
- Sometimes overlap and blend into one another
20. “No. We continually shuttle back and forth
among the various kinds of experiences”
- Experience that is most appropriate to the
needs and abilities of learner
21. Is one kind of
sensory experience
more useful
educationally than
another?
22. One kind of sensory experience is not
necessarily more educationally useful than
another.
Mixed and interrelated
24. Too much reliance on one experience may
obstruct the process of meaningful
generalization.
Striking balance between concrete and
abstract
Direct participation + symbolic expression
28. THE CONE OF EXPERIENCE
The Cone of Experience is presented
in its inverted form such that the base
is broader than its apex. It is made up
of eleven bands which are arranged in
an increasing degree of abstractions
as one move from the base to the apex
as follows.
29.
30.
31.
32.
33. based on the relationships of various
educational experiences to reality (real life), and
the bottom level of the cone, "direct purposeful
experiences," represents reality or the closest
things to real, everyday life.
The opportunity for a learner to use a variety or
several senses (sight, smell, hearing, touching,
movement) is considered in the cone.
Principles on the cone of Experience:
34. Direct experience allows us to use all senses.
Verbal symbols involve only hearing.
The more sensory channels possible in
interacting with a resource, the better the
chance that many students can learn from it.
35. Each level of the cone above its base moves a
learner a step further away from real- life
experiences, so experiences focusing only on
the use of verbal symbols are the
furthest removed from real life.
36. Motion pictures (also television)
is where it is on the cone because
it is an observational experience
with little or no opportunity to
participate or use senses other
than seeing and hearing.
37. Contrived experiences are ones that are highly
participatory and simulate real life situations or
activities.
Dramatized experiences are defined as
experiences in which the learner acts out a
role or activity.
38.
39. VERBAL SYMBOLS
principal medium of communication
bear no physical resemblance to the objects or
ideas for which they stand
may be a word for concretion, idea, scientific
principle, formula or philosophic aphorism
Written words
Word, idea, formula
Disadvantage: highly abstract
40. VISUAL SYMBOLS
chalkboard/whiteboard, flat maps, diagrams,
charts
fits the tempo of presentation of idea, topic or
situation
very easy to procure and prepare
Limitations: lack of ability to use the
media size of visuals
simplification of visual
materials leads to
misconceptions
41. RECORDINGS, RADIO, STILL PICTURES
Visual and auditory
attention – getting, particularly projected views
concretized verbal abstraction
Limitations:
size of pictures or
illustrations
expensiveness of
projected
materials and equipment
timing difficulties between
radio shows and
classroom lessons
42. TELEVISION AND MOTION PICTURES
a solution to time and space constraints
provides “windows to the world”
effective for presenting movement, continuity of ideas or
events
substitute for dangerous direct learning experiences
Limitations:
Expensive
viewing problems
timing with classroom lessons
misconceptions about time,
size, and ideas
43. EXHIBITS
present objects or processes otherwise impossible
inside the classroom
exposure to new ideas, discoveries, inventions
Reconstruct the past
problems that may be
encountered:
too little space
time – consuming
maintenance
44. STUDY TRIPS
undertaken primarily for the purpose of experiencing
something that cannot be encountered within the
classroom
a rich experience in learning about objects, systems, and
situations
Disadvantages:
time-consuming
expensive
exposure to danger
/accidents inadequacy of the
community’s resources
45. DEMONSTRATIONS
visualized explanation of an important fact or idea or
process
may require nothing more than observation or
students may be asked to do what has just been
shown how to do
Disadvantages:
ideas or processes
might not be
interpreted or
conceived very well
visibility to all
46. DEMONSTRATION
visualized explanation of an important fact,
idea or process by the use of photographs,
drawings, films, displays or guided motions
Showing how things are done
47. DRAMATIZED EXPERIENCES
help get closer to certain realities that are no
longer available at first hand
stirring and attention getting
participant learns to understand intimately the
character he portrays
teaches cooperative work
49. CONTRIVED EXPERIENCES
an “editing” of reality
substitutes for confusing or unmanageable
first – hand experiences
easier to handle, manipulate or operate
Disadvantages:
simplification leads to misconceptions,
distorted views, and incomplete pictures of reality no
freedom to handle expensive or fragile models,
mock – ups, specimens, etc.
50. DIRECT, PURPOSEFUL EXPERIENCES
unabridged version of life itself
direct participation with responsibility for the outcome
the basis for the most effective and lasting learning
Learning by doing
not all things can be
learned through
direct, first hand
experiencing
53. Tv
Motion pictures
Visual and auditory devices
Maps
diagrams
54. 3-TIERED MODEL OF LEARNING
Jerome S. Bruner
Every area of knowledge can be presented and
learned in three distinct steps
55. THIRD THROUGH A SERIES OF
SYMBOLS SYMBOLIC
SECOND THROUGH A SERIES OF
ILLUSTRATIONS ICONIC
FIRST THROUGH A SEQUENCE OF ACTIONS
ENACTIVE
BRUNER’S THREE- FOLD ANALYSIS
OF EXPERIENCE
57. •The BRUNER’S THREE-FOLD
ANALYSIS suggests
-that learning is more impressive if
one proceeds from the concrete to
abstract, or from specific to general
because more senses are involved
and the relationships are built in a
more pronounced manner.
58. THREE –FOLD ANALYSIS OF EXPERIENCE
BY JEROME BRUNER
ENACTIVE- refers to the direct or
actual experiences or encounter
with what is. This is a life on the
raw, rich and unedited. They form
the bases for all other learning
experiences.
59. ICONIC- Refers to the more
abstract experiences which
could be in the form of
picture
60. SYMBOLIC- refers to the
use of the words or printed
materials which no longer
resemble the subject
under study.
62. SUM UP
-Edgar Dale’s Cone of Expression
-Pitfalls that we of should avoid:
1. using one medium in isolation
2. moving to the abstract without an adequate
foundation of concrete experience
3. getting stuck in the concrete without moving
to the abstract h
