4 Matching Annotations
  1. Oct 2015
    1. Rather many elements of the exhibition’s design can be seen as confronting longstanding disembodied and immaterial views of mathematics (see Section 2.4).

      The exhibit gives context to math in the space of the body.

    2. At times, the visitor’s physical action on and in the environment moves beyond the hands alone as she races, hops, or saunters along Partner Motion’s tracks, clambers atop the largest chair at Comparing Forms, or arches her spine back trying to see the towering shadow cast by her own body at the immersive exhibit Half Whole Double. Meanwhile the exhibition’s technologies seem largely novel, unfamiliar, or, in the words of North Lake 5th-grader, Michael, “oddball.”

      Learning becomes a whole body experience. The students are seeing everyday things (shadows, chairs) in a new light..."oddball." They are rewriting schema and changing their relationships to these objects. They are learning through their body's relationship to these technologies.

    3. As the students move, so too does the classroom’sarchitecture, minutely. With each nudge of a chair or curve-huggingtransit around a desk, the room’s furniture seemsless a place to do mathematics and more an impediment to it(Figure6.3).

      As the students move they edit the space to accomodate the activity. This reminds me of Ma & Hunter, setting and activity interacting with each other and new learning emerges.

    4. The students are editting their space to accomodate the activity. This is similar to Ma and Hunter, setting and activity inform each other and new learning emerges.