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<DIV dir=ltr align=left><FONT face=Arial color=#0000ff size=2><SPAN
class=500282215-16102005>In inventing an idea of how we function,
scientists insist on being totally 'objective,' i.e. they
consider only the interaction of our physical parts since that is the only
part that can be treated experimentally. In effect our felt emotional
half is dismissed as illusory - of significance only as 'ornamental'
or 'decorative,' or at most the fuel that runs the engine of
cognition/behaviour. </SPAN></FONT></DIV>
<DIV dir=ltr align=left><FONT face=Arial color=#0000ff size=2><SPAN
class=500282215-16102005></SPAN></FONT> </DIV>
<DIV dir=ltr align=left><FONT face=Arial color=#0000ff size=2><SPAN
class=500282215-16102005>Being a lover of both science and arts, I created a
model for our 'operating system' that gives equal time to both subjective
and objective elements of our psyche. To do this, I had to draw on the
thoughts of as many artists as scientists. But at
least this model can spontaneously generate the full dimensions of
language. </SPAN></FONT></DIV>
<DIV dir=ltr align=left><FONT face=Arial color=#0000ff size=2><SPAN
class=500282215-16102005></SPAN></FONT> </DIV>
<DIV dir=ltr align=left><FONT face=Arial color=#0000ff size=2><SPAN
class=500282215-16102005>The most controversial part of this four-part
'operating system' is the first part - sensation. How do we communicate
emotion through sensation? Do we just 'read' somebody's body language
through perception as most psychologists claim, or do we directly feel the
emotion that the other is expressing as artists claim? More and more
research in human physiology is revealing the fact that all sense organs have
lines of transmission to both cognitive and limbic/emotional centers. In
effect, all sensation has a simultaneous direct effect - both
on what we perceive and on what we feel. The sensory system
splits sensation into a dual stream, whereas the motor system re-combines them
into how we express ourselves in words and actions.
</SPAN></FONT><FONT face=Arial color=#0000ff size=2><SPAN
class=500282215-16102005>These two parts are the first and fourth part of the
cycle. </SPAN></FONT></DIV>
<DIV dir=ltr align=left><FONT face=Arial color=#0000ff size=2><SPAN
class=500282215-16102005></SPAN></FONT><FONT face=Arial color=#0000ff
size=2><SPAN class=500282215-16102005></SPAN></FONT> </DIV>
<DIV dir=ltr align=left><FONT face=Arial color=#0000ff size=2><SPAN
class=500282215-16102005>Gerald van Koeverden</SPAN></FONT></DIV><FONT
face=Arial color=#0000ff size=2></FONT><BR>
<DIV class=OutlookMessageHeader lang=en-us dir=ltr align=left>
<HR tabIndex=-1>
<FONT face=Tahoma size=2><B>From:</B> owner-edling@ccat.sas.upenn.edu
[mailto:owner-edling@ccat.sas.upenn.edu] <B>On Behalf Of
</B>lbenderphd@comcast.net<BR></FONT></DIV>
<DIV></DIV>
<DIV>Thank you for the reply. As a classroom ESL teacher, I have been looking
for a theory that integrates these four aspects of language learning. Most
teachers/administrators/parents believe children will "just learn English"
naturally. And with the No Child Left Behind Act, teachers are forced to teach
only to the test, not to the child. </DIV>
<DIV> </DIV>
<BLOCKQUOTE
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">
<DIV><SPAN class=687582617-13102005><FONT face=Arial color=#0000ff
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=687582617-13102005><FONT face=Arial color=#0000ff size=2>Just
to give you a general idea, below I have copied a few paragraphs out of the
introduction to "The Child's Secret of Learning." (published August,
2005)</FONT></SPAN></DIV>
<DIV><SPAN class=687582617-13102005><FONT face=Arial color=#0000ff
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=687582617-13102005><FONT face=Arial color=#0000ff
size=2>Gerald van Koeverden</FONT></SPAN></DIV>
<DIV><SPAN class=687582617-13102005><FONT face=Arial color=#0000ff
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=687582617-13102005><FONT face=Arial color=#0000ff size=2>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-INDENT: 0.5in"><SPAN
style="FONT-SIZE: 12pt; COLOR: black"><FONT face="Times New Roman"><SPAN
class=687582617-13102005><FONT face=Arial color=#0000ff
size=2> " </FONT></SPAN>What is the child’s secret? The majority of
linguists are so dumbstruck by the enormity of the task of learning one’s
first language they have virtually washed their hands of the question and
passed it on to the biologists! They assert that it must be innate. Already,
geneticists are working on the idea that language originates in the genes, as
though humans are programmed with the right genetic “software” at conception
and just need time to mature and ripen with age.<o:p></o:p></FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-INDENT: 0.5in"><SPAN
style="FONT-SIZE: 12pt"><FONT color=#000000><FONT face="Times New Roman">Is
learning then only the gradual actualization of this software? What about all
our other skills like driving a car, writing poetry, or using a computer? How
did we learn them? Since the linguists have failed to discover the origin of
language in consciousness, it is up to the philosopher to at least ask the
right questions before abandoning the idea altogether. Through exploring the
basic structure and dynamics of language, can we rediscover it as the
resolution of a creative synthesis? Can it be shown that learning our first
language, like any other skill, is a personal work of art emerging from the
interaction of <SPAN class=687582617-13102005><FONT face=Arial
color=#0000ff size=2> brain</FONT></SPAN> and body as one integrating
unit, in making one “common sense” of the world?</FONT></FONT><FONT
color=#0000ff><FONT face=Arial><FONT size=2><SPAN
class=687582617-13102005> <FONT face="Times New Roman" color=#000000
size=3>"</FONT></SPAN></FONT></FONT></FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-INDENT: 0.5in"><SPAN
style="FONT-SIZE: 12pt"><FONT color=#0000ff><FONT face=Arial><FONT
size=2><SPAN
class=687582617-13102005></SPAN></FONT></FONT></FONT></SPAN> </P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-INDENT: 0.5in"><SPAN
style="FONT-SIZE: 12pt"><FONT color=#0000ff><FONT face=Arial><FONT
size=2><SPAN
class=687582617-13102005> </SPAN><o:p></o:p></FONT></FONT></FONT></SPAN></P></FONT></SPAN></DIV>
<DIV><SPAN class=687582617-13102005>
<DIV dir=ltr align=left>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-INDENT: 0.5in"><SPAN
style="FONT-SIZE: 12pt; COLOR: black"><SPAN class=687582617-13102005><FONT
face=Arial color=#0000ff size=2> " </FONT></SPAN>In <B
style="mso-bidi-font-weight: normal">Part A</B>, we begin by exploring our
personal experience of everyday skills like driving a car, singing a song, and
doing arithmetic, before going on to the dynamics of insight in playing bingo
and the art of racing dune buggies. Then we can incorporate both emotions and
physics into our understanding of learning to type. This leads naturally into
the first chapter of <B style="mso-bidi-font-weight: normal">Part B</B> on
some reflections about the nature of language as garnered through learning a
second one, and then two chapters on how a child even develops his or her
first language.<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-INDENT: 0.5in"><SPAN
style="FONT-SIZE: 12pt; COLOR: black">With these basic images down, the reader
can move into <B style="mso-bidi-font-weight: normal">Part C</B>—the
theoretical part describing the functioning of our “operating system.” I have
rooted this quarrelsome quartet squarely in both the emotional and thinking
centers of the brain to catch all the inputs from the sensory organs as well
as enable it to motor into action. The artist is the “antenna” of the system,
reveling in the whole kaleidoscope of perceived and felt sensation. The
theorist processes the artist’s raw perceptions originating ideas, which in
turn allows the empiricist to be able to conceive the world and all the things
in it. Finally, it is up to the idealist—the “transmitter”—to choose the right
purpose to bring them all together and do something.<SPAN
style="mso-spacerun: yes"> </SPAN>Instead of there being only one type
of creativity, we have “four-into-one.”<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-INDENT: 0.5in"><SPAN
style="FONT-SIZE: 12pt">But having dissected the person into four parts of a
cycle, it is then difficult to see how all four can be active in one person at
once. That is why I developed a metaphor earlier in <B
style="mso-bidi-font-weight: normal">Part B</B> on language. The basic
sentence provides us with an ideal framework. The artist’s spontaneous emotion
fits the felt energy of the “verb.” The theorist—our deep thinker—perceives
the ideas for the “subject” in which the empiricist can dwell to conceive and
study her “objects.” To complete it, the idealist provides the right
intentions for the “subject” as the agent of the action to motivate her to
fulfillment in the right aspirations for her “objective.” (For the sake of
literary convenience, I have made the artist and theorist male, and the
empiricist and idealist female throughout the book.) This basic structure and
dynamics of the sentence is very flexible. As young children, we invented it
through struggling to make one common sense out of the quartet of our
operating system. As adults, we use it as a template to accommodate all four
characters separately, in various combinations, or all four at once!<SPAN
class=687582617-13102005><FONT face=Arial><FONT color=#0000ff><FONT
size=2> " <SPAN
class=500282215-16102005> </SPAN></FONT></FONT></FONT></SPAN></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-INDENT: 0.5in"><SPAN
style="FONT-SIZE: 12pt"><SPAN class=687582617-13102005><FONT face=Arial><FONT
color=#0000ff><FONT size=2><SPAN
class=500282215-16102005></SPAN></FONT></FONT></FONT></SPAN></SPAN> </P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-INDENT: 0.5in"><SPAN
style="FONT-SIZE: 12pt"><SPAN class=687582617-13102005><FONT face=Arial><FONT
color=#0000ff><FONT size=2><SPAN class=500282215-16102005><FONT size=3><FONT
color=#000000><FONT face="Times New Roman">-------------- Original message
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<DIV>Sorry I missed the beginning of this conversation. Where can I get more
information about Gerald's theory?</DIV>
<DIV>Linda Bender<SPAN class=687582617-13102005><FONT face=Arial color=#0000ff
size=2> </FONT></SPAN></DIV>
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