risk taking – Karine Ling's Inquiry

LR 9: Edgework

Lyng, S. (1990). Edgework: A Social Psychological Analysis of Voluntary Risk Taking. American Journal of Sociology, 95(4), 851-886. Retrieved December 7, 2015, from JSTOR.

Keywords:

edgework, risk taking, voluntary, play, control, Marx, Mead, anarchy

Abstract:

In this article Lyng introduces the concept of Edgework, which is a form of voluntary risk taking. The explanation for this is that in an increasingly institutional, systematic and controlled society, some people seek a form of experiential anarchy by participating in forms of play that involve both risk and skill. The concept is built on Marxian and Meadian psychological frameworks on risk-taking behaviour. Lyng differentiates this theory of participation in high risk behaviour in terms of general social psychological variables apart from idiosyncratic motives or personality characteristics.

Relevance:

Explanation on the need for identity search and exploration.

Quotes:

“In abstract terms, edgework is best understood as an approach to the boundary between order and disorder, form and formlessness. ” (858)

“Another category consists of testing the limits of […] mind, as illustrated by […] artists endeavoring to realize their creative potential through intense work schedules.” (858)

“…many participants regard this special “survival capacity” as an innate ability.” (859)

“participants in virtually all types of edgework claim that the experience produces a sense of “self-realization,” “self-actualization,” or “self-determination.” (860)

“Edgeworkers are not typically interested in thrill seeking or gambling because they dislike placing themselves in threatening situations involving circumstances they cannot control” (862)

“… some recognize their “real” selves only in acts of volition, behavior that conforms to high social standards, or the pursuit of institutional goals. In contrast, others see their real selves revealed only in moments of uninhibited behavior, emotional outbursts, or spontaneous expression.” (864)

“Hence, the total self is constituted by both a spontaneous and constrained self, with the character of each dimension reflecting the type of life activity that produces it.” (866)

“…the consumption imperative of the capitalist economy … encourages the development of a consumer-oriented narcissism that rules the lives of many who have the material means to purchase identity-relevant goods.” (870)

“Hence, planning is one of the components of a skillful approach to dangerous situations but is also a prerequisite for getting edgeworkers past more mundane challenges to where the edgework sensations are most intense–where one’s actions are automatic and unplanned.” (875)

Problems:

Mostly about sky divers; not much about artists.

LR 5: Developing criteria rubrics in the art classroom

McCollister, S. (2002). Developing Criteria Rubrics in the Art Classroom. Art Education, 55(4), 46-52. Retrieved December 9, 2015, from Pro Quest.

Keywords:

Criteria, rubrics, risk taking, assessment

Abstract:

This article explains how rubrics work and are structured, and how these affect the learning process. Students can see their expectations and ask for help where they see they cannot meet a higher standard. This process leads to greater work habits and classroom management. If teachers don’t have the time to develop rubrics with students, there are many other ways teachers can informally draw ideas from the class on what they think is expected on the criteria. The differential approach can also be a way to document growth on the rubric. The limitations of a rubric might be too much guidance, hence lower creativity and risk taking. McCollister warns that rubrics should not be the only assessment method for this reason. All in all, developing rubrics can be rewarding for both teachers and students, but it is essentially one of many assessment strategies for improvement on both the teacher and student’s part.

Relevance:

How to develop a rubric

Importance of other methods

Quotes:

“The rubric can be elastic and responsive and can be created with students and edited collaboratively with students, or it can be developed by the teacher individually.”

“Formative and summative assessments are also present within dialogues, self-evaluation, display, and the group critique.”(47)

“A student with proceduralized knowledge recognizes the possibilities and limitations of the transference of that knowledge and makes appropriate generalizations. Finally students develop metacognition: they think about heir thinking.” (48)

“Other techniques for gathering descriptions of criteria include individual response sheets, written self- and group-generated criteria, student notes from self-evaluation check sheets, or your comments compiled from notes you have written about qualities of finished work at the time of grading.”

“Scoring means marking, assigning the grade, either number or letter, as well as giving descriptive praise and constructive criticism.”

“Extensive use of criteria rubrics can hamper personal responsibility, creativity, and independence. Art teachers and students benefit from the use of varied assessment strategies.” (51)

Resources:

Scoring Rubrics in the Classroom (2001) by McTighe

Proceduralized knowledge:

Implications of Cognitive Psychology for Educational Measurement (1989) by Snow & Lohman