Another way to think about the everyday while we're on the topic of ch. 5
is through Scribner's account of Vyg's uses of history. This is my version
of it.
V. starts with "little noticed but everyday cultural forms of (adult)
behavior" -- the 'rudiments' of culture in particular mediated actions (OR
would this more likely be operations mediating some activity of the
individual?)
To understand how such forms of behavior change, he shifts to the deeper
temporal scale of cultural history, where rudimentary forms change over
time to "higher' more complex ones. Its on the historical model of change
that he bases his experimental method of intervening in child development.
What is learned about child development then becomes the lens for
observing children in 'natural' settings.
This shows us 'interiorization' of culture & 'expansion' of individual
but not expansion of cultural activity, for which we need LBE. LBE then
needs situating in eco-social systems theory (IMHO)
I'm curious about how this historical modeling, moving from the immediate
everday to the cultural historical and back, is relevant to what people
outside the change lab do when they adapt AT. Actually, LBE uses the
history of the AS, not of the culture - use an historical cycle of the AS
as an instrument of expansion -- do others using AT do this? (Phillip? --
Bill?)
At 03:21 PM 6/10/01 -0600, you wrote:
>xmca@weber.ucsd.edu writes:
>>Going over the comments so far, I realize that I missed diane's point,
>>that
>>it's all theatre, which I don't disagree with. I just believe strongly in
>>the everyday as a site for intervention.
>
>the everyday IS 'theatre' - right? so is there a difference between
>recognizing theatre in the everyday,
>and positioning the everyday as distinct from theatre/social performance?
>diane
>
>
>> Performance artists 'go there' -
>>but the effects they have are contained within the arts/ a critical
>>community. Outside the brackets devoted to thinking in terms of artifice,
>>we need to do more to intervene in the constructions we live through.
>
>performance is, in the artistic sense, an intervention into the 'everyday'
>of the audience -
>again, how are these distinctions manifesting for you?
>
>diane,
>the lone voice of contradiction in an apparently shared activity?
>ha ha
>
>"If you'll excuse me now, I'd like to be alone with my sandwich."
>Homer
>
>
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