[xmca] Re: Reading Mike's cultural psychology

[mike cole <lchcmike@gmail.com>]

Sound like excellent questions. Wonder what the answers are!?
mike

On Fri, Apr 6, 2012 at 8:23 PM, Huw Lloyd <huw.softdesigns@gmail.com> wrote:

> I've been reading through Mike's cultural psychology book.
>
> There's plenty of good material arranged in a way a found helpful.
>
> Three points I'd be interested in hearing elaboration and, or,
> confirmation on are:
>
> 1.  The logical typing of the implicit unit of analysis employed (on p.
> 233 Vai literacy types and filter method as practice types) for the
> cross-cultural research where by:
>
> a) The 'unit instance' (data) is not logically comparable to any other
> data other than data from the same context.
>
> b) A filter method of approximate testing that the context has not
> changed, or that the context is being approximated to the fidelity aimed
> for.
>
> c) This filter as a recursive means of qualification around the integrity
> of the data.
>
>
> 2.  The idea of Lurias method for discovering hidden processes applied to
> a very rich activity, with the smoothness of the (implicit, perhaps unknown
> to the subjects) base process.
>
> a)  Finding a suitable base process becomes the initial search which
> mediates the hidden processes sought.
>
> b) Demonstrating an effective base process would seem to come after trying
> out various base processes (i.e. revealing symptoms in useful ways).
>
>
> 3. The use of fictional characters in the 5th dimension.
>
> a) The pretense of communicating with and heeding a fiction/fantasy seems,
> to me, to be, potentially, a longer term impediment (both to scaling the
> activity to different kinds of knowledge and the longitudinal involvement
> of maturing children).  To what degree is the wizard necessary?  Why
> wouldn't an equally playful/friendly environment be set up around say a
> historically real figurehead?
>
> b) To what degree are the fictions of the wizard a political statement to
> the adults/parents of fitting their own fantasies of idyllic fairy
> childhoods or is the means of signposting the activities as not needing
> adult interference, "this is our world thank you, don't interfere"?
>
> c) As I understand it, urban contemporary children want to get involved in
> the world of adults, which they're often denied access to.  Setting up
> environments that are child friendly, accessible and pliable for the
> children is part of this, though I wonder if sugaring up the central theme
> as a fantasy figure goes against this.
>
>
>
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