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Interactive​ ​Cultural​ ​Ecology​ ​On​ ​Line
(ICOL)
1​ ​ ​ICOL
2​ ​Dig​ ​That​ ​Pic
3​ ​ ​A​ ​Wonderment​ ​Curriculum
4​ ​ ​Wonderlust
5​ ​ ​Visual​ ​literacy
6​ ​Introducing​ ​the​ ​WOW​ ​factor​ ​into​ ​education
The​ ​pictures​ ​are​ ​part​ ​of​ ​a​ ​sequence​ ​taken​ ​on​ ​holiday​ ​in​ ​Costa​ ​Rica.
This​ ​blog​ ​is​ ​a​ ​development​ ​of​ ​http://blog.culturalecology.info/2017/09/
1​ ​ ​ICOL
ICOL​ ​is​ ​an​ ​informal​ ​ ​not-for-profit​ ​UK​ ​organisation​ ​that​ ​networks​ ​schools,​ ​communities​ ​and
individuals​ ​with​ ​digital​ ​learning​ ​resources​ ​for​ ​curriculum​ ​development​ ​and​ ​lifelong-learning.

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Its​ ​purpose​ ​is​ ​to​ ​help​ ​turn​ ​the​ ​United​ ​Nation's​ ​2030​ ​Agenda​,​ ​aimed​ ​at​ ​living​ ​sustainably,​ ​into
local​ ​action​ ​plans​ ​for​ ​the​ ​benefit​ ​of​ ​future​ ​generations.
ICOL's​ ​aim​ ​is​ ​to​ ​introduce​ ​the​ ​2030​ ​Agenda​ ​into​ ​learning​ ​environments​ ​with​ ​a​ ​portfolio​ ​of
free,​ ​customisable​ ​digital​ ​resources​ ​that​ ​can​ ​be​ ​added​ ​to​ ​and​ ​networked​ ​by​ ​organisations
and​ ​individuals.​ ​ ​ICOL​ ​has​ ​adopted​ ​the​ ​project​ ​'​Rescue​ ​Missio​n'​ ​as​ ​the​ ​model​ ​for
international​ ​networking​ ​on​ ​line.​ ​ ​ ​Rescue​ ​Mission​ ​was​ ​a​ ​response​ ​of​ ​young​ ​people​ ​after​ ​the
Rio​ ​1992​ ​ ​Environment​ ​Summit​ ​to​ ​establish​ ​a​ ​global​ ​democracy​ ​of​ ​youth​ ​ ​to​ ​meet​ ​the​ ​UN's
targets.
ICOL’s​ ​digital​ ​resources​ ​use​ ​cultural​ ​ecology​ ​as​ ​a​ ​cross-subject​ ​knowledge​ ​framework
promoted​ ​with​ ​3​ ​hosted​ ​domains,​ ​19​ ​Wikis,​ ​and​ ​20​ ​Google​ ​Sites​ ​produced​ ​by​ ​teachers,
integrated​ ​through​ ​a​ ​blog​ ​(between​ ​10​ ​and​ ​30​ ​registrations​ ​per​ ​day)​ ​and​ ​social​ ​networking
using​ ​Twitter,​ ​YouTube,​ ​Instagram,​ ​Tumblr​ ​and​ ​Pinterest.​ ​Site​ ​analytics​ ​for​ ​the​ ​Wikis​ ​and
two​ ​of​ ​the​ ​hosted​ ​domains​ ​record​ ​a​ ​steady​ ​flow​ ​of​ ​between​ ​300,000-400,000​ ​unique
international​ ​visitors​ ​year​ ​on​ ​year.​ ​ ​A​ ​Google​ ​search​ ​for​ ​‘cultural​ ​ecology’​ ​reveals​ ​over​ ​a
million​ ​websites.​ ​ ​ ​The​ ​Wikipedia​ ​entry,​ ​produced​ ​by​ ​ICOL,​ ​is​ ​top​ ​of​ ​this​ ​list​ ​followed​ ​by​ ​two
entries​ ​for​ ​ICOL’s​ ​home​ ​website,​ ​culturalecology.info​,​ ​at​ ​positions​ ​5​ ​and​ ​6.
Since​ ​the​ ​early​ ​1990s​ ​the​ ​cost​ ​of​ ​developing​ ​and​ ​maintaining​ ​ICOL​ ​has​ ​been​ ​met​ ​with​ ​grants
from​ ​the​ ​European​ ​Community,​ ​UK​ ​Government​ ​Agencies​ ​and​ ​Commercial​ ​Organisations.
2​ ​Dig​ ​That​ ​Pic
One​ ​of​ ​ICOL’s​ ​wikis​ ​(http://digthatpic.wikispaces.com/)​ ​is​ ​an​ ​experiment-in-progress
involving​ ​researching​ ​and​ ​evaluating​ ​web​ ​based​ ​multimedia​ ​place-based
picture-education​ ​in​ ​relation​ ​to​ ​the​ ​formation​ ​of​ ​visual​ ​sub-cultures.​ ​In​ ​particular​ ​it
explores​ ​the​ ​connections​ ​between​ ​art,​ ​culture​ ​and​ ​ecology.

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Today​ ​we​ ​are​ ​very​ ​much​ ​alive​ ​to​ ​a​ ​global​ ​culture​ ​with​ ​all​ ​its​ ​diversity​ ​being​ ​presented​ ​24
hours​ ​a​ ​day​ ​through​ ​pictorial​ ​media.​ ​'Dig(g)​ ​That​ ​Pic'​ ​is​ ​an​ ​educational​ ​experiment​ ​in
which​ ​discrete​ ​information​ ​packages​ ​are​ ​presented​ ​as​ ​groups​ ​or​ ​sequences​ ​of​ ​pictures.
Each​ ​picture-package​ ​is​ ​created​ ​as​ ​a​ ​slideshow/gallery/video​ ​narrative​ ​designed​ ​with
words/music​ ​making​ ​a​ ​self​ ​contained​ ​educational​ ​art​ ​work​ ​It​ ​is​ ​an​ ​exploration​ ​of​ ​the
concept​ ​of​ ​meta​ ​art​ ​as​ ​an​ ​art​ ​work​ ​composed​ ​of​ ​art​ ​works​ ​aimed​ ​to​ ​elicit​ ​social​ ​action.
Some​ ​useful​ ​definitions​ ​are:
Dig​ ​or​ ​digg
1​ ​To​ ​learn​ ​or​ ​discover​ ​by​ ​careful​ ​research​ ​or​ ​investigation:​ ​dug​ ​up​ ​the​ ​evidence;​ ​dug​ ​out​ ​the
real​ ​facts.
2​ ​Slang
a.​ ​To​ ​understand​ ​fully:​ ​Do​ ​you​ ​dig​ ​what​ ​I​ ​mean?
b.​ ​To​ ​like,​ ​enjoy,​ ​or​ ​appreciate:​ ​"They​ ​really​ ​dig​ ​our​ ​music​ ​and,​ ​daddy,​ ​I​ ​dig​ ​swinging​ ​for
them"​ ​(Louis​ ​Armstrong).
c.​ ​To​ ​take​ ​notice​ ​of:​ ​Dig​ ​that​ ​wild​ ​outfit.
Pic;​ ​ ​informal​ ​for​ ​a​ ​photograph,​ ​picture​ ​or​ ​illustration​ ​“Would​ ​you​ ​like​ ​to​ ​see​ ​my​ ​holiday​ ​pics?”
PIC;​ ​acronym;​ ​platform​ ​for​ ​Internet​ ​content
3​ ​ ​A​ ​Wonderment​ ​Curriculum
​ ​A​ ​wonderment​ ​curriculum​ ​is​ ​led​ ​by​ ​the​ ​belief​ ​that​ ​values​ ​other​ ​than​ ​market​ ​values​ ​must​ ​be
recognized​ ​and​ ​given​ ​importance​ ​and​ ​that​ ​the​ ​state​ ​of​ ​Nature​ ​provides​ ​the​ ​ultimate​ ​measure

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by​ ​which​ ​to​ ​judge​ ​human​ ​endeavours.​ ​ ​A​ ​parent​ ​blogger​ ​put​ ​the​ ​need​ ​for​ ​a​ ​wonderment
curriculum​ ​this​ ​way:
Children​ ​see​ ​the​ ​world​ ​through​ ​a​ ​fresh​ ​lens.​ ​It’s​ ​almost​ ​as​ ​if​ ​they​ ​have​ ​a​ ​better​ ​understanding​ ​of
creation​ ​than​ ​we​ ​adults​ ​who​ ​are​ ​racing​ ​and​ ​organizing​ ​and​ ​pushing.​ ​They​ ​have​ ​the​ ​time​ ​to​ ​see​ ​the
vibrant​ ​colours​ ​of​ ​a​ ​butterfly,​ ​the​ ​fluffiness​ ​of​ ​a​ ​cloud,​ ​the​ ​funny​ ​gait​ ​of​ ​a​ ​caterpillar.​ ​ ​They​ ​wonder​ ​at
the​ ​world​ ​around​ ​them​ ​almost​ ​as​ ​naturally​ ​as​ ​they​ ​breathe.​ ​ ​We​ ​need​ ​to​ ​harness​ ​this​ ​wonderment.
We​ ​need​ ​to​ ​take​ ​the​ ​natural​ ​curiosity​ ​and​ ​joy​ ​of​ ​learning​ ​and​ ​develop​ ​a​ ​curriculum​ ​based​ ​on​ ​WOW!
Factors​ ​and​ ​ways​ ​of​ ​infusing​ ​information​ ​that​ ​correspond​ ​with​ ​this​.
Unexpected​ ​encounters​ ​with​ ​creatures​ ​like​ ​the​ ​caterpillar​ ​offer​ ​us​ ​that​ ​“wow”​ ​factor​ ​and​ ​a
sense​ ​of​ ​awe,​ ​that​ ​reminds​ ​us​ ​all​ ​just​ ​how​ ​amazing​ ​and​ ​diverse​ ​nature​ ​is,​ ​and​ ​draws​ ​us​ ​in​ ​to
learn​ ​more.​ ​But​ ​even​ ​the​ ​most​ ​humble​ ​and​ ​commonplace​ ​organisms​ ​are​ ​doing​ ​amazing
things​ ​in​ ​service​ ​to​ ​life.​ ​One​ ​of​ ​the​ ​most​ ​important​ ​roles​ ​for​ ​educators​ ​is​ ​to​ ​share​ ​those
insights;​ ​to​ ​cultivate​ ​the​ ​“wow,”​ ​which​ ​ultimately​ ​opens​ ​the​ ​door​ ​to​ ​learning​ ​from​ ​nature,​ ​not
just​ ​about​ ​nature.
​ ​Laurens​ ​van​ ​der​ ​Post,​ ​author,​ ​traveller​ ​and​ ​mystic,​ ​spent​ ​his​ ​life​ ​drawing​ ​our​ ​attention​ ​to​ ​the
mismatch​ ​between​ ​humankind’s​ ​wants​ ​and​ ​needs.​ ​ ​Since​ ​his​ ​death​ ​it​ ​is​ ​now​ ​commonplace
to​ ​see​ ​that​ ​ ​in​ ​the​ ​long​ ​run​ ​we​ ​have​ ​no​ ​choice​ ​but​ ​move​ ​towards​ ​a​ ​global​ ​society​ ​in​ ​which
there​ ​cannot​ ​be​ ​any​ ​economic​ ​growth,​ ​market​ ​forces​ ​cannot​ ​be​ ​allowed​ ​to​ ​determine​ ​our
fate,​ ​there​ ​must​ ​be​ ​mostly​ ​small​ ​and​ ​highly​ ​self-sufficient​ ​and​ ​self-governing​ ​settlements,
mostly​ ​local​ ​economies,​ ​very​ ​little​ ​international​ ​trade,​ ​highly​ ​participatory​ ​political​ ​systems,
and​ ​above​ ​all​ ​a​ ​willing​ ​acceptance​ ​of​ ​frugal​ ​lifestyles​ ​and​ ​non-material​ ​sources​ ​for​ ​life
satisfaction.​ ​ ​In​ ​the​ ​meantime,​ ​the​ ​best​ ​that​ ​education​ ​for​ ​sustainability​ ​can​ ​achieve​ ​within
present​ ​socioeconomics​ ​is​ ​to​ ​inculcate​ ​a​ ​sense​ ​of​ ​wonderment​ ​in​ ​the​ ​natural​ ​world​ ​and
teach​ ​the​ ​skills​ ​necessary​ ​to​ ​provide​ ​technical​ ​fixes​ ​to​ ​overcome​ ​inevitable​ ​future
catastrophes.
Regarding​ ​educating​ ​for​ ​a​ ​sense​ ​of​ ​wonderment.​ ​Albert​ ​Einstein​ ​set​ ​out​ ​the​ ​thinking
framework​ ​as​ ​follows:
“I​ ​have​ ​no​ ​doubt​ ​that​ ​our​ ​thinking​ ​goes​ ​on​ ​for​ ​the​ ​most​ ​part​ ​without​ ​use​ ​of​ ​signs​ ​(words)​ ​and
beyond​ ​that​ ​to​ ​a​ ​considerable​ ​degree​ ​unconsciously.​ ​For​ ​how,​ ​otherwise,​ ​should​ ​it​ ​happen
that​ ​we​ ​sometimes​ ​“wonder”​ ​quite​ ​spontaneously​ ​about​ ​some​ ​experience?​ ​This​ ​“wondering”
appears​ ​to​ ​occur​ ​when​ ​an​ ​experience​ ​comes​ ​into​ ​conflict​ ​with​ ​a​ ​world​ ​of​ ​concepts​ ​already
sufficiently​ ​fixed​ ​within​ ​us.​ ​Whenever​ ​such​ ​a​ ​conflict​ ​is​ ​experienced​ ​sharply​ ​and​ ​intensely​ ​it
reacts​ ​back​ ​upon​ ​our​ ​world​ ​of​ ​thought​ ​in​ ​a​ ​decisive​ ​way.​ ​The​ ​development​ ​of​ ​this​ ​world​ ​of
thought​ ​is​ ​in​ ​a​ ​certain​ ​sense​ ​a​ ​continuous​ ​flight​ ​from​ ​wonder.”
“A​ ​wonder​ ​of​ ​this​ ​kind​ ​I​ ​experienced​ ​as​ ​a​ ​child​ ​of​ ​four​ ​or​ ​five​ ​years​ ​when​ ​my​ ​father​ ​showed
me​ ​a​ ​compass.​ ​That​ ​this​ ​needle​ ​behaved​ ​in​ ​such​ ​a​ ​determined​ ​way​ ​did​ ​not​ ​at​ ​all​ ​fit​ ​in​ ​the
kind​ ​of​ ​occurrences​ ​that​ ​could​ ​find​ ​a​ ​place​ ​in​ ​the​ ​unconscious​ ​world​ ​of​ ​concepts​ ​(efficacy
produced​ ​by​ ​direct​ ​“touch”).​ ​I​ ​can​ ​still​ ​remember​ ​—​ ​or​ ​at​ ​least​ ​believe​ ​I​ ​can​ ​remember​ ​—
that​ ​this​ ​experience​ ​made​ ​a​ ​deep​ ​and​ ​lasting​ ​impression​ ​upon​ ​me.​ ​Something​ ​deeply​ ​hidden
had​ ​to​ ​be​ ​behind​ ​things.”

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Einstein’s​ ​childhood​ ​learning​ ​experience​ ​is​ ​in​ ​line​ ​with​ ​the​ ​research​ ​of​ ​George​ ​Loewenstein
who​ ​wrote​ ​that​ ​curiosity​ ​arises,​ ​“...when​ ​attention​ ​becomes​ ​focused​ ​on​ ​a​ ​gap​ ​in​ ​one’s
knowledge.​ ​Such​ ​information​ ​gaps​ ​produce​ ​the​ ​feeling​ ​of​ ​deprivation​ ​labeled​ ​curiosity.​ ​The
curious​ ​individual​ ​is​ ​motivated​ ​to​ ​obtain​ ​the​ ​missing​ ​information​ ​to​ ​reduce​ ​or​ ​eliminate​ ​the
feeling​ ​of​ ​deprivation.”
Loewenstein’s​ ​theory​ ​helps​ ​explain​ ​why​ ​curiosity​ ​is​ ​such​ ​a​ ​potent​ ​motivator:​ ​it’s​ ​not​ ​only​ ​a
mental​ ​state​ ​but​ ​also​ ​an​ ​emotion,​ ​a​ ​powerful​ ​feeling​ ​that​ ​impels​ ​us​ ​to​ ​search​ ​for​ ​information
that​ ​will​ ​fill​ ​the​ ​gap​ ​in​ ​our​ ​knowledge.
Rachel​ ​Carson​ ​put​ ​it​ ​this​ ​way:
“A​ ​child’s​ ​world​ ​is​ ​fresh​ ​and​ ​new​ ​and​ ​beautiful,​ ​full​ ​of​ ​wonder​ ​and​ ​excitement.​ ​It​ ​is​ ​our
misfortune​ ​that​ ​for​ ​most​ ​of​ ​us​ ​that​ ​clear-eyed​ ​vision,​ ​that​ ​true​ ​instinct​ ​for​ ​what​ ​is​ ​beautiful
and​ ​awe-inspiring,​ ​is​ ​dimmed​ ​and​ ​even​ ​lost​ ​before​ ​we​ ​reach​ ​adulthood.​ ​If​ ​I​ ​had​ ​influence
with​ ​the​ ​good​ ​fairy​ ​who​ ​is​ ​supposed​ ​to​ ​preside​ ​over​ ​the​ ​christening​ ​of​ ​all​ ​children​ ​I​ ​should
ask​ ​that​ ​her​ ​gift​ ​to​ ​each​ ​child​ ​in​ ​the​ ​world​ ​be​ ​a​ ​sense​ ​of​ ​wonder​ ​so​ ​indestructible​ ​that​ ​it
would​ ​last​ ​throughout​ ​life,​ ​as​ ​an​ ​unfailing​ ​antidote​ ​against​ ​the​ ​boredom​ ​and
disenchantments​ ​of​ ​later​ ​years,​ ​the​ ​sterile​ ​preoccupation​ ​with​ ​things​ ​artificial,​ ​the​ ​alienation
from​ ​the​ ​sources​ ​of​ ​our​ ​strength”.
The​ ​conventional​ ​educational​ ​belief​ ​is​ ​that​ ​by​ ​exposing​ ​people​ ​to​ ​the​ ​outdoors​ ​and
immersing​ ​them​ ​in​ ​the​ ​workings​ ​of​ ​nature​ ​will​ ​elicit​ ​a​ ​deep​ ​sense​ ​of​ ​appreciation​ ​and
wonderment.​ ​Van​ ​der​ ​Post’s​ ​standpoint​ ​is​ ​that​ ​only​ ​by​ ​finding​ ​our​ ​place​ ​in​ ​nature,​ ​and
nature’s​ ​place​ ​within​ ​us,​ ​can​ ​we​ ​can​ ​truly​ ​address​ ​the​ ​environmental​ ​challenges​ ​we​ ​face
today.​ ​ ​His​ ​educational​ ​mission​ ​was​ ​to​ ​reconnect​ ​us​ ​to​ ​the​ ​natural​ ​world​ ​and​ ​to​ ​bring​ ​to​ ​our
attention​ ​its​ ​role​ ​in​ ​sustaining​ ​human​ ​life​ ​on​ ​this​ ​planet.​ ​ ​He​ ​sees​ ​us​ ​all​ ​as​ ​walking​ ​artists,
hunter/​ ​gatherers​ ​of​ ​stories​ ​about,​ ​place,​ ​memories​ ​and​ ​objects.​ ​His​ ​writings​ ​are​ ​a
wake-up-call​ ​to​ ​the​ ​ecologist​ ​within​ ​us​ ​all.​ ​ ​The​ ​educational​ ​home​ ​for​ ​this​ ​awakening​ ​is​ ​deep
ecology,​ ​the​ ​environmental​ ​movement​ ​and​ ​philosophy​ ​which​ ​regards​ ​human​ ​life​ ​as​ ​just​ ​one
of​ ​many​ ​equal​ ​components​ ​of​ ​a​ ​global​ ​ecosystem.
Taking​ ​this​ ​into​ ​account,​ ​the​ ​following​ ​core​ ​beliefs​ ​of​ ​a​ ​wonderment​ ​curriculum​ ​operate
within​ ​the​ ​positive​ ​cycle​ ​of​ ​learning​ ​fuelled​ ​by​ ​curiosity​ ​and​ ​wonderment.
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From​ ​birth,​ ​our​ ​innate​ ​curiosity​ ​drives​ ​us​ ​to​ ​wonder,​ ​explore,​ ​dream​ ​and​ ​discover.
Curiosity drives passion. “I have no special talent. I am only passionately curious”. Albert
Einstein
Promoting belonging and inclusion for all children to ignite and follow their passionate
curiosity.
Education and learning should be a vehicle that ignites a child’s natural wonderment and
curiosity​ ​encouraging​ ​them​ ​to​ ​ask​ ​why​ ​and​ ​why​ ​not.
Laurens​ ​van​ ​der​ ​Post​ ​followed​ ​this​ ​prescription​ ​in​ ​words,​ ​developing​ ​his​ ​ideas​ ​in​ ​the​ ​form​ ​of
an​ ​ongoing​ ​philosophical​ ​travelogue.​ ​ ​In​ ​summary​ ​his​ ​message​ ​was​ ​“There​ ​is​ ​a​ ​way​ ​in​ ​which

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the​ ​collective​ ​knowledge​ ​of​ ​mankind​ ​expresses​ ​itself,​ ​for​ ​the​ ​finite​ ​individual,​ ​through​ ​mere
daily​ ​living…​ ​a​ ​way​ ​in​ ​which​ ​life​ ​itself​ ​is​ ​sheer​ ​knowing”.
Wonderment​ ​ ​triggers​ ​poetry​ ​As​ ​well​ ​as​ ​pictures.​ ​ ​John​ ​Keating​ ​in​ ​‘Dead​ ​Poets​ ​Society’
encapsulated​ ​the​ ​social​ ​value​ ​of​ ​poetry​ ​as​ ​a​ ​vehicle​ ​to​ ​express​ ​wonderment..
’​ ​‘We​ ​don’t​ ​read​ ​and​ ​write​ ​poetry​ ​because​ ​it’s​ ​cute.​ ​We​ ​read​ ​and​ ​write​ ​poetry​ ​because​ ​we
are​ ​members​ ​of​ ​the​ ​human​ ​race.​ ​ ​And​ ​the​ ​human​ ​race​ ​is​ ​filled​ ​with​ ​passion.​ ​ ​And​ ​medicine,
law,​ ​business,​ ​engineering,​ ​these​ ​are​ ​noble​ ​pursuits​ ​and​ ​necessary​ ​to​ ​sustain​ ​life.​ ​But
poetry,​ ​beauty,​ ​romance,​ ​love,​ ​these​ ​are​ ​what​ ​we​ ​stay​ ​alive​ ​for”.
4​ ​ ​Wonderlust
The​ ​aim​ ​of​ ​education​ ​for​ ​living​ ​sustainably​ ​is​ ​to​ ​prepare​ ​students​ ​for​ ​a​ ​world​ ​that​ ​will​ ​require
them​ ​to​ ​learn​ ​continuously,​ ​to​ ​find​ ​and​ ​solve​ ​problems​ ​globally,​ ​to​ ​act​ ​with​ ​empathy​ ​so​ ​as​ ​to
bring​ ​hope​ ​and​ ​equity​ ​to​ ​many​ ​and​ ​strive​ ​to​ ​live​ ​a​ ​life​ ​full​ ​of​ ​a​ ​passionate​ ​pursuit​ ​of​ ​beauty
and​ ​wonderment.​ ​ ​A​ ​wonderment​ ​curriculum​ ​is​ ​led​ ​by​ ​the​ ​belief​ ​that​ ​values​ ​other​ ​than
market​ ​values​ ​must​ ​be​ ​recognized​ ​and​ ​given​ ​importance,​ ​and​ ​that​ ​Nature​ ​provides​ ​the
ultimate​ ​measure​ ​by​ ​which​ ​to​ ​judge​ ​human​ ​endeavours.
A​ ​practical​ ​prescription​ ​is​ ​to​ ​live​ ​and​ ​learn​ ​pictorially​ ​in​ ​a​ ​state​ ​of​ ​profound​ ​wanderlust​ ​and
wonder​ ​as​ ​da​ ​Vinci​ ​might​ ​have​ ​done.​ ​ ​Leonardo​ ​da​ ​Vinci​ ​was​ ​a​ ​brilliant​ ​artist,​ ​scientist,
engineer,​ ​mathematician,​ ​architect,​ ​inventor,​ ​writer,​ ​and​ ​even​ ​musician-the​ ​archetypal
Renaissance​ ​man,​ ​but​ ​Fritjof​ ​Capra​ ​argues,​ ​he​ ​was​ ​also​ ​a​ ​profoundly​ ​modern.​ ​ ​Not​ ​only​ ​did
Leonardo​ ​invent​ ​the​ ​empirical​ ​scientific​ ​method​ ​over​ ​a​ ​century​ ​before​ ​Galileo​ ​and​ ​Francis
Bacon,​ ​but​ ​Capra’s​ ​decade-long​ ​study​ ​of​ ​Leonardo’s​ ​fabled​ ​notebooks​ ​reveal​ ​him​ ​as​ ​a
picture​ ​thinker​ ​centuries​ ​before​ ​the​ ​term​ ​systems​ ​thinking​ ​was​ ​coined.​ ​He​ ​believed​ ​the​ ​key
to​ ​truly​ ​understanding​ ​the​ ​world​ ​was​ ​in​ ​perceiving​ ​the​ ​connections​ ​between​ ​phenomena
pictorially​ ​to​ ​reveal​ ​the​ ​larger​ ​patterns​ ​formed​ ​by​ ​those​ ​pictorial​ ​wow-factor​ ​relationships.

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5​ ​ ​Visual​ ​literacy
If​ ​we​ ​think​ ​of​ ​literacy​ ​as​ ​reading​ ​and​ ​writing​ ​words,​ ​visual​ ​literacy​ ​can​ ​be​ ​described​ ​as​ ​the
ability​ ​to​ ​both​ ​interpret​ ​and​ ​create​ ​meaningful​ ​visuals.​ ​With​ ​the​ ​constant,​ ​overwhelming​ ​flow
of​ ​information​ ​and​ ​rapid​ ​communication​ ​today,​ ​both​ ​parts​ ​of​ ​this​ ​modern​ ​literacy​ ​equation
are​ ​non-negotiable​ ​ ​ ​Our​ ​brains​ ​are​ ​wired​ ​to​ ​rapidly​ ​make​ ​sense​ ​of​ ​and​ ​remember​ ​visual
input.​ ​Visualizations​ ​in​ ​the​ ​form​ ​of​ ​diagrams,​ ​charts,​ ​drawings,​ ​pictures,​ ​and​ ​a​ ​variety​ ​of
other​ ​imagery​ ​can​ ​help​ ​students​ ​understand​ ​complex​ ​information.​ ​A​ ​well-designed​ ​visual
image​ ​can​ ​yield​ ​a​ ​much​ ​more​ ​powerful​ ​and​ ​memorable​ ​learning​ ​experience​ ​than​ ​a​ ​mere
verbal​ ​or​ ​textual​ ​description.​ ​ ​ ​Movies​ ​and​ ​still​ ​images​ ​have​ ​been​ ​included​ ​in​ ​learning
materials​ ​for​ ​decades,​ ​but​ ​only​ ​now​ ​has​ ​faster​ ​broadband,​ ​cellular​ ​networks,​ ​and
high-resolution​ ​screens​ ​made​ ​it​ ​possible​ ​for​ ​high-quality​ ​images​ ​to​ ​be​ ​a​ ​part​ ​of​ ​eLearning.
Graphic​ ​interfaces​ ​made​ ​up​ ​of​ ​photos,​ ​illustrations,​ ​charts,​ ​maps,​ ​diagrams,​ ​and​ ​videos​ ​are
gradually​ ​replacing​ ​text-based​ ​courses​ ​instead​ ​of​ ​augmenting​ ​them.​ ​ ​We​ ​are​ ​now​ ​in​ ​the​ ​age
of​ ​visual​ ​information​ ​where​ ​visual​ ​content​ ​plays​ ​a​ ​role​ ​in​ ​every​ ​part​ ​of​ ​life.
According​ ​to​ ​ ​Lynell​ ​Burmark,​ ​an​ ​education​ ​consultant​ ​who​ ​writes​ ​and​ ​speaks​ ​about​ ​visual
literacy:
“…unless​ ​our​ ​words,​ ​concepts,​ ​ideas​ ​are​ ​hooked​ ​onto​ ​an​ ​image,​ ​they​ ​will​ ​go​ ​in​ ​one​ ​ear,​ ​sail
through​ ​the​ ​brain,​ ​and​ ​go​ ​out​ ​the​ ​other​ ​ear.​ ​Words​ ​are​ ​processed​ ​by​ ​our​ ​short-term​ ​memory
where​ ​we​ ​can​ ​only​ ​retain​ ​about​ ​seven​ ​bits​ ​of​ ​information​ ​(plus​ ​or​ ​minus​ ​2)​ ​[…].​ ​Images,​ ​on
the​ ​other​ ​hand,​ ​go​ ​directly​ ​into​ ​long-term​ ​memory​ ​where​ ​they​ ​are​ ​indelibly​ ​etched.”
Because​ ​of​ ​television,​ ​advertising,​ ​and​ ​the​ ​Internet,​ ​representing​ ​social​ ​facts​ ​pictorially​ ​as
resources​ ​for​ ​learning​ ​through​ ​visuals​ ​is​ ​now​ ​the​ ​primary​ ​literacy​ ​of​ ​the​ ​21st​ ​century.​ ​ ​It’s​ ​no
longer​ ​enough​ ​to​ ​read​ ​and​ ​write​ ​text.​ ​Students​ ​must​ ​learn​ ​to​ ​process​ ​both​ ​words​ ​and

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pictures.​ ​They​ ​must​ ​be​ ​able​ ​to​ ​move​ ​gracefully​ ​and​ ​fluently​ ​between​ ​text​ ​and​ ​images,
between​ ​literal​ ​and​ ​figurative​ ​worlds.
Today,​ ​anyone​ ​with​ ​a​ ​digital​ ​camera​ ​and​ ​a​ ​personal​ ​computer​ ​can​ ​produce​ ​and​ ​manipulate
an​ ​image.​ ​ ​As​ ​a​ ​result,​ ​the​ ​power​ ​of​ ​the​ ​image​ ​has​ ​been​ ​diluted​ ​by​ ​the​ ​ubiquity​ ​of​ ​images
and​ ​the​ ​many​ ​populist​ ​technologies​ ​(like​ ​inexpensive​ ​cameras​ ​and​ ​picture-editing​ ​software)
that​ ​give​ ​almost​ ​everyone​ ​the​ ​power​ ​to​ ​create,​ ​distort,​ ​and​ ​transmit​ ​images.​ ​But​ ​it​ ​has​ ​been
strengthened​ ​by​ ​the​ ​gradual​ ​capitulation​ ​of​ ​the​ ​printed​ ​word​ ​to​ ​pictures,​ ​particularly​ ​moving
pictures​ ​.​ ​The​ ​ceding​ ​of​ ​text​ ​to​ ​image​ ​has​ ​been​ ​been​ ​likened​ ​ ​to​ ​an​ ​articulate​ ​person​ ​being
rendered​ ​mute,​ ​forced​ ​to​ ​communicate​ ​via​ ​gesture​ ​and​ ​expression​ ​rather​ ​than​ ​speech.​ ​ ​ ​It
was​ ​as​ ​a​ ​storyteller​ ​that​ ​Laurens​ ​van​ ​der​ ​Post​ ​communicated​ ​to​ ​people​ ​in​ ​their​ ​millions.​ ​ ​Our
brains​ ​are​ ​far​ ​more​ ​engaged​ ​by​ ​storytelling​ ​than​ ​a​ ​list​ ​of​ ​facts–it’s​ ​easier​ ​for​ ​us​ ​to​ ​remember
stories​ ​because​ ​our​ ​brains​ ​make​ ​little​ ​distinction​ ​between​ ​an​ ​experience​ ​we​ ​are​ ​reading
about​ ​and​ ​one​ ​that​ ​is​ ​actually​ ​happening.​ ​ ​But​ ​a​ ​point​ ​can​ ​be​ ​driven​ ​home​ ​even​ ​more
effectively​ ​by​ ​images..​ ​That’s​ ​because​ ​visuals​ ​add​ ​a​ ​component​ ​to​ ​storytelling​ ​that​ ​text
cannot:​ ​speed.​ ​ ​Research​ ​shows​ ​that,​ ​visuals​ ​are​ ​processed​ ​60,000​ ​times​ ​faster​ ​than​ ​text,
which​ ​means​ ​you​ ​can​ ​paint​ ​a​ ​picture​ ​for​ ​your​ ​audience​ ​much​ ​faster​ ​with​ ​an​ ​actual​ ​picture.
It’s​ ​no​ ​surprise​ ​then​ ​that​ ​tweets​ ​with​ ​images​ ​are​ ​94%​ ​more​ ​likely​ ​to​ ​be​ ​retweeted​ ​than​ ​tweets
without.​ ​ ​This​ ​also​ ​points​ ​the​ ​way​ ​to​ ​the​ ​use​ ​of​ ​Internet​ ​media​ ​such​ ​as​ ​Pinterest​ ​(picture
pinboards),​ ​Tumblr​ ​(picture​ ​blogs)​ ​Instagram​ ​(social​ ​networking​ ​of​ ​pictures)​ ​and​ ​Mindomo
(mind​ ​mapping​ ​pictures)​ ​for​ ​mass​ ​education.
6​ ​Introducing​ ​the​ ​WOW​ ​factor​ ​into​ ​education

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Picture​ ​education​ ​is​ ​about​ ​exposing​ ​students​ ​to​ ​the​ ​wow-factor.​ ​ ​This​ ​focuses​ ​learning​ ​on
the​ ​ ​theory​ ​of​ ​multiple​ ​intelligences​ ​and​ ​particularly​ ​on​ ​spatial​ ​intelligence.​ ​ ​There​ ​is​ ​a
number​ ​of​ ​distinct​ ​forms​ ​of​ ​intelligence​ ​that​ ​each​ ​individual​ ​possesses​ ​in​ ​varying​ ​degrees.
Gardner​ ​proposes​ ​eight​ ​primary​ ​forms:​ ​naturalistic,​ ​linguistic,​ ​musical,​ ​logical-mathematical,
spatial,​ ​body-kinesthetic,​ ​intrapersonal​ ​and​ ​interpersonal.​ ​A​ ​number​ ​of​ ​others​ ​also​ ​suggest
an​ ​additional​ ​one:​ ​technological.
One​ ​implication​ ​of​ ​Gardner’s​ ​theory​ ​is​ ​that​ ​learning/teaching​ ​should​ ​incorporate​ ​the
intelligences​ ​of​ ​each​ ​person.​ ​For​ ​example,​ ​if​ ​an​ ​individual​ ​has​ ​strong​ ​spatial​ ​intelligence,
then​ ​spatial​ ​activities​ ​and​ ​learning​ ​opportunities​ ​should​ ​be​ ​used.​ ​ ​A​ ​wonderment​ ​curriculum
has​ ​to​ ​concentrate​ ​on​ ​the​ ​principles​ ​of​ ​picture​ ​production.​ ​ ​It​ ​is​ ​probably​ ​true​ ​to​ ​say​ ​that​ ​all
people​ ​to​ ​a​ ​greater​ ​or​ ​lesser​ ​extent​ ​possess​ ​spatial​ ​intelligence.​ ​ ​It​ ​has​ ​been​ ​estimated​ ​that
visual​ ​learners​ ​comprise​ ​65​ ​percent​ ​of​ ​the​ ​population,​ ​so​ ​crafted​ ​images​ ​are​ ​clearly​ ​key​ ​to
engaging​ ​people​ ​in​ ​eLearning​ ​courses​ ​and​ ​making​ ​picture​ ​education​ ​accessible​ ​to​ ​most
learners.
People​ ​with​ ​spatial​ ​intelligence​ ​(“picture​ ​smart”​ ​or​ ​visual​ ​smart)​ ​have​ ​the​ ​ability,​ ​or
preference,​ ​to​ ​think​ ​in​ ​pictures.​ ​ ​ ​Spatial​ ​intelligent​ ​people​ ​create​ ​and​ ​use​ ​mental​ ​images;
enjoy​ ​art,​ ​such​ ​as​ ​drawings,​ ​and​ ​sculpture,​ ​use​ ​maps,​ ​charts,​ ​and​ ​diagrams;​ ​and​ ​often
remember​ ​with​ ​pictures​ ​through​ ​the​ ​process​ ​of​ ​mind​ ​mapping.
The​ ​other​ ​thing​ ​that​ ​picture​ ​education​ ​is​ ​about​ ​is​ ​the​ ​feeding​ ​of​ ​wanderlust.​ ​ ​Wanderlust​ ​is
defined​ ​as​ ​the​ ​desire​ ​to​ ​gather​ ​knowledge​ ​by​ ​seeing​ ​new​ ​things​ ​and​ ​is​ ​usually​ ​applied​ ​in​ ​the
context​ ​of​ ​the​ ​urge​ ​to​ ​travel.​ ​ ​According​ ​to​ ​Miriam​ ​Websters​ ​Dictionary,​ ​the​ ​definition​ ​of
Wanderlust​ ​is​ ​simply​ ​“a​ ​strong​ ​desire​ ​to​ ​travel”.​ ​It​ ​comes​ ​from​ ​the​ ​German​ ​language​ ​and​ ​is
spelled​ ​Wanderlust.​ ​It​ ​is​ ​a​ ​relatively​ ​new​ ​word,​ ​dating​ ​back​ ​to​ ​the​ ​beginning​ ​of​ ​this
millennium.​ ​These​ ​days​ ​the​ ​world​ ​is​ ​explored​ ​and​ ​presented​ ​through​ ​wanderlust​ ​images,
when​ ​the​ ​traveller​ ​goes​ ​forth​ ​for​ ​pleasure​ ​or​ ​for​ ​political,​ ​aesthetic​ ​and​ ​social​ ​meaning.
Andrew​ ​Delaney,​ ​Director​ ​of​ ​Creative​ ​Content​ ​at​ ​Getty​ ​Images​ ​explains​ ​Wonderlust​ ​(sic.)
Imagery​ ​as:​ ​“Images​ ​that​ ​inspires​ ​a​ ​sense​ ​of​ ​awe.​ ​They​ ​are​ ​images​ ​that​ ​are​ ​ ​connecting​ ​us
with​ ​our​ ​surroundings​ ​and​ ​elicit​ ​a​ ​reaction​ ​of​ ​wonder​ ​when​ ​you​ ​see​ ​them.”
Here​ ​are​ ​some​ ​of​ ​Delaney’s​ ​key​ ​points​ ​for​ ​teachers​ ​wishing​ ​to​ ​produce​ ​their​ ​own​ ​Wanderlust
Imagery:
● Work​ ​with​ ​depth.
● Play​ ​with​ ​colour​ ​and​ ​texture.
● Give​ ​a​ ​sense​ ​of​ ​the​ ​unknown.
● Don’t​ ​worry​ ​about​ ​showing​ ​“bad​ ​weather”.
● Mother​ ​Nature​ ​is​ ​often​ ​the​ ​“hero”​ ​in​ ​the​ ​image.
● Be​ ​very​ ​aware​ ​of​ ​scale​ ​and​ ​effective​ ​composition.
● Catch​ ​the​ ​particles​ ​in​ ​the​ ​air​ ​to​ ​diffuse​ ​the​ ​light​ ​e.​ ​g.​ ​smoke​ ​or​ ​dust.
● Experiment​ ​with​ ​a​ ​wider​ ​crop.​ ​Embrace​ ​the​ ​16:9​ ​format​ ​to​ ​illustrate​ ​the​ ​scale​ ​of
nature.
● Dare​ ​doing​ ​a​ ​non-extreme​ ​sports​ ​shoot.​ ​A​ ​contemplating​ ​feel​ ​is​ ​often​ ​more
welcomed.

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●
●
●
Make​ ​pictures​ ​that​ ​are​ ​inclusive,​ ​that​ ​makes​ ​you​ ​wish​ ​you​ ​were​ ​there.​ ​Sometimes
cliché​ ​works.
You​ ​don’t​ ​always​ ​have​ ​to​ ​show​ ​the​ ​entire​ ​object​ ​to​ ​get​ ​other​ ​to​ ​understand​ ​what​ ​you
are​ ​saying.​ ​Don’t​ ​be​ ​afraid​ ​of​ ​cropping.
Use​ ​a​ ​subtle​ ​approach​ ​to​ ​colour​ ​rendering.​ ​Colour​ ​pallets​ ​are​ ​becoming​ ​more​ ​subtle.
Man​ ​and​ ​nature​ ​are​ ​becoming​ ​more​ ​blended.
Delaney​ ​makes​ ​some​ ​interesting​ ​points​ ​when​ ​talking​ ​about​ ​authenticity​ ​of​ ​the​ ​image.​ ​ ​The
concept​ ​of​ ​Point​ ​of​ ​View​ ​(POV)​ ​photography​ ​can​ ​sometimes​ ​be​ ​very​ ​effective​ ​when​ ​trying​ ​to
evoke​ ​a​ ​feeling​ ​with​ ​the​ ​viewer,​ ​because​ ​it​ ​is​ ​about​ ​enjoying​ ​what​ ​that​ ​person​ ​behind​ ​the
camera​ ​is​ ​enjoying.​ ​ ​ ​He​ ​says:​ ​“Be​ ​prepared​ ​to​ ​either​ ​discover​ ​it,​ ​or​ ​create​ ​a​ ​set​ ​of
circumstances​ ​where​ ​the​ ​moment​ ​happens​ ​and​ ​you​ ​are​ ​there​ ​to​ ​photograph​ ​it.”​ ​ ​Another​ ​of
his​ ​tips​ ​is​ ​to​ ​try​ ​to​ ​be​ ​present​ ​and​ ​do​ ​your​ ​best​ ​to​ ​catch​ ​the​ ​decisive​ ​moment.​ ​It​ ​is​ ​not​ ​about
controlling​ ​a​ ​shoot,​ ​but​ ​creating​ ​a​ ​shooting​ ​window,​ ​where​ ​as​ ​a​ ​period​ ​of​ ​actions​ ​happens
and​ ​you​ ​step​ ​out​ ​of​ ​it​ ​to​ ​record​ ​what​ ​happens,
“When​ ​the​ ​editors​ ​at​ ​Getty​ ​first​ ​look​ ​at​ ​a​ ​picture,​ ​they​ ​see​ ​if​ ​it​ ​works​ ​emotionally.​ ​Technical
qualities​ ​are​ ​secondary​ ​but​ ​can​ ​sometimes​ ​add​ ​authenticity.​ ​Flare,​ ​backlight,​ ​a​ ​crooked
horizon,​ ​blown​ ​highlights,​ ​or​ ​excessive​ ​grain/noise​ ​can​ ​all​ ​evoke​ ​emotions​ ​and​ ​helps​ ​with
nostalgia.​ ​This​ ​must​ ​however​ ​be​ ​done​ ​delicately.”
“​All​ ​pictures​ ​today​ ​live​ ​or​ ​die​ ​on​ ​the​ ​basis​ ​of​ ​how​ ​they​ ​look​ ​as​ ​a​ ​thumbnail​ ​–​ ​which​ ​means
you​ ​absolutely​ ​got​ ​to​ ​get​ ​your​ ​composition​ ​right”.​ ​If​ ​your​ ​picture​ ​doesn’t​ ​read​ ​as​ ​a​ ​thumbnail,
it’s​ ​going​ ​to​ ​die.​ ​It​ ​is​ ​not​ ​going​ ​to​ ​get​ ​clicked​ ​on.​ ​The​ ​client​ ​of​ ​ours​ ​is​ ​not​ ​going​ ​to​ ​go​ ​to​ ​the
next​ ​step​ ​of​ ​investigating​ ​an​ ​image​ ​if​ ​it​ ​fails​ ​the​ ​test​ ​of​ ​what​ ​it​ ​looks​ ​like​ ​as​ ​a​ ​thumbnail.​ ​It’s
got​ ​to​ ​look​ ​good​”.
The​ ​concept​ ​of​ ​accessing​ ​a​ ​photographic​ ​point​ ​of​ ​view​ ​is​ ​central​ ​to​ ​generate​ ​the​ ​motivation
to​ ​travel​ ​in​ ​order​ ​to​ ​experience​ ​the​ ​point​ ​of​ ​view​ ​first​ ​hand.​ ​ ​Travel​ ​needs​ ​and​ ​motives​ ​reveal
educational​ ​needs​ ​because​ ​they​ ​stem​ ​from​ ​an​ ​inner​ ​feeling​ ​of​ ​wanting​ ​to​ ​learn​ ​about​ ​new
places​ ​and​ ​things,​ ​further​ ​fuelled​ ​by​ ​external​ ​pull​ ​factors​ ​that​ ​promise​ ​just​ ​that.​ ​This
contemporary​ ​type​ ​of​ ​explorer​ ​has​ ​a​ ​fairly​ ​clear​ ​idea​ ​where​ ​she​ ​wants​ ​to​ ​go​ ​and​ ​she​ ​is​ ​not
travelling​ ​away​ ​from​ ​her​ ​home​ ​(such​ ​as​ ​it​ ​is​ ​the​ ​case​ ​with​ ​escape),​ ​she​ ​is​ ​travelling​ ​toward​ ​a
fixed​ ​destination.​ ​Her​ ​basic​ ​need​ ​springs​ ​from​ ​the​ ​feeling​ ​of​ ​a​ ​deficiency​ ​that​ ​she​ ​has
encountered​ ​in​ ​her​ ​home​ ​environment.​ ​This​ ​deficiency​ ​(contrary​ ​to​ ​a​ ​lack)​ ​is​ ​subjective​ ​and
a​ ​social​ ​construct.​ ​If​ ​the​ ​traveller’​ ​nowadays​ ​described​ ​as​ ​a​ ​tourist,​ ​ ​is​ ​not​ ​capable​ ​of
satisfying​ ​this​ ​deficiency​ ​(with​ ​its​ ​corresponding​ ​need),​ ​she​ ​has​ ​to​ ​look​ ​for​ ​other​ ​ways​ ​to
continue.
The​ ​first​ ​aim​ ​of​ ​an​ ​escape​ ​is​ ​to​ ​gain​ ​distance​ ​from​ ​one’s​ ​home​ ​environment.​ ​It​ ​is​ ​like​ ​living​ ​in
between​ ​two​ ​realities:​ ​the​ ​home​ ​environment​ ​that​ ​has​ ​been​ ​left​ ​behind,​ ​and​ ​the​ ​destination
where​ ​one​ ​is​ ​physically​ ​present​ ​but​ ​not​ ​as​ ​a​ ​part​ ​of​ ​it;​ ​this​ ​is​ ​a​ ​betwixt​ ​and​ ​between​ ​situation
that​ ​is​ ​also​ ​referred​ ​to​ ​as​ ​liminality.​ ​The​ ​alienation​ ​of​ ​the​ ​home​ ​environment​ ​during​ ​the
period​ ​of​ ​being​ ​a​ ​traveller​ ​refers​ ​to​ ​a​ ​space-related​ ​liminality,​ ​wherein​ ​places​ ​that​ ​themselves
are​ ​liminal,​ ​such​ ​as​ ​beaches​ ​(between​ ​land​ ​and​ ​sea),​ ​are​ ​usually​ ​preferred.​ ​ ​ ​Profound
changes​ ​in​ ​the​ ​way​ ​that​ ​place​ ​and​ ​time​ ​are​ ​experienced​ ​as​ ​a​ ​result​ ​of​ ​accelerated

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globalization​ ​have​ ​led​ ​to​ ​a​ ​new​ ​questioning​ ​of​ ​identity,​ ​the​ ​self​ ​and​ ​the​ ​place​ ​people​ ​take​ ​in
this​ ​world.​ ​Not​ ​only​ ​are​ ​ways​ ​of​ ​living​ ​leading​ ​to​ ​a​ ​sense​ ​of​ ​loss​ ​of​ ​identity,​ ​for​ ​many
individuals​ ​computerized​ ​work​ ​conditions​ ​and​ ​everyday​ ​roles​ ​impose​ ​constraining​ ​and
monotonous​ ​routines​ ​in​ ​which​ ​individuals​ ​find​ ​it​ ​difficult​ ​to​ ​pursue​ ​their​ ​self-realization.​ ​ ​Many
theories​ ​on​ ​motivation​ ​and​ ​needs​ ​to​ ​be​ ​satisfied​ ​have​ ​used​ ​this​ ​model​ ​as​ ​a​ ​basic
educational​ ​outline.​ ​Pearce​ ​applied​ ​it​ ​to​ ​the​ ​case​ ​of​ ​tourism​ ​and​ ​combined​ ​it​ ​with​ ​the​ ​tourist’s
experience.​ ​He​ ​proposed​ ​five​ ​layers​ ​of​ ​holiday​ ​motivations:
●
●
●
●
●
relaxation​ ​(rest​ ​​ ​active)
stimulation​ ​(stronger​ ​emotions)
social​ ​needs​ ​(family,​ ​friends)
self​ ​esteem​ ​(self​ ​development​ ​through​ ​cultural,​ ​nature​ ​or​ ​other​ ​activities)
self-realization​ ​(search​ ​for​ ​happiness)
Travel​ ​needs​ ​and​ ​motives​ ​follow​ ​these​ ​different​ ​levels,​ ​the​ ​first​ ​two​ ​being​ ​the​ ​most​ ​common.
It​ ​should​ ​be​ ​noted​ ​that​ ​this​ ​model​ ​is​ ​based​ ​on​ ​the​ ​Western​ ​world​ ​and​ ​in​ ​those​ ​parts​ ​where
community​ ​life​ ​is​ ​especially​ ​valued,​ ​the​ ​ultimate​ ​goal​ ​is​ ​often​ ​not​ ​self​ ​realization​ ​but​ ​being
able​ ​to​ ​serve​ ​the​ ​group,​ ​for​ ​example.
Through​ ​the​ ​works​ ​of​ ​ ​Laurens​ ​van​ ​der​ ​Post​ ​there​ ​runs​ ​a​ ​thread​ ​demonstrating​ ​intrapersonal
and​ ​interpersonal​ ​intelligence.​ ​Overall​ ​his​ ​writings​ ​are​ ​a​ ​philosophical​ ​travelogue,
communicated​ ​in​ ​words.​ ​ ​They​ ​ ​illuminate​ ​the​ ​capacity​ ​of​ ​humanity’s​ ​inner​ ​life​ ​to​ ​distinguish
the​ ​evils​ ​of​ ​modern​ ​civilisation,​ ​the​ ​life-enhancing​ ​wonders​ ​of​ ​primitive​ ​(especially​ ​Bushman)
culture,​ ​and​ ​for​ ​communicating​ ​ecstatically​ ​detailed​ ​sunsets,​ ​sunrises,​ ​lions,​ ​elephants,
bees,​ ​and​ ​extraordinary​ ​facts​ ​about​ ​the​ ​wilderness​ ​of​ ​(it​ ​seems)​ ​South-West​ ​Africa.​ ​ ​His
writings​ ​are​ ​short​ ​on​ ​pictures.​ ​ ​This​ ​is​ ​a​ ​feature​ ​of​ ​the​ ​times​ ​when​ ​they​ ​were​ ​written.​ ​ ​A​ ​large
body​ ​of​ ​research​ ​indicates​ ​that​ ​visual​ ​cues​ ​help​ ​us​ ​to​ ​better​ ​retrieve​ ​and​ ​remember
information.​ ​The​ ​research​ ​outcomes​ ​on​ ​visual​ ​learning​ ​make​ ​complete​ ​sense​ ​when​ ​you
consider​ ​that​ ​the​ ​human​ ​brain​ ​is​ ​mainly​ ​an​ ​image​ ​processor​ ​(much​ ​of​ ​our​ ​sensory​ ​cortex​ ​is
devoted​ ​to​ ​vision),​ ​not​ ​a​ ​word​ ​processor.​ ​In​ ​fact,​ ​the​ ​part​ ​of​ ​the​ ​brain​ ​used​ ​to​ ​process​ ​words
is​ ​quite​ ​small​ ​in​ ​comparison​ ​to​ ​the​ ​part​ ​that​ ​processes​ ​visual​ ​images.
Mystery,​ ​enchantment,​ ​and​ ​wonder​ ​figure​ ​in​ ​our​ ​psychological​ ​ ​and​ ​emotional​ ​well-being.
WOW!​ ​and​ ​It’s​ ​Awesome!​ ​are​ ​exclamations​ ​that​ ​communicate​ ​an​ ​experience​ ​that​ ​has​ ​had​ ​a
powerful​ ​effect​ ​on​ ​our​ ​body​ ​and​ ​mind..
​ ​They​ ​express​ ​two​ ​core​ ​qualities:
1. Perceived​ ​vastness​ ​—​ ​something​ ​we​ ​think​ ​to​ ​be​ ​greater​ ​than​ ​ourselves​ ​in​ ​number,
scope,​ ​or​ ​complexity,
2. A​ ​challenge​ ​or​ ​experience​ ​that​ ​alters​ ​our​ ​understanding​ ​of​ ​the​ ​world.
Both​ ​exclamations​ ​are​ ​the​ ​outcome​ ​of​ ​an​ ​instant​ ​when​ ​you​ ​can’t​ ​quite​ ​grasp​ ​something.​ ​It
feels​ ​like​ ​magic,​ ​amazement,​ ​mystery,​ ​reverence.​ ​It’s​ ​the​ ​moment​ ​when​ ​we​ ​realize​ ​it’s​ ​a​ ​gift
and​ ​privilege​ ​to​ ​be​ ​alive.​ ​ ​WOW​ ​and​ ​AWE​ ​can​ ​be​ ​triggered​ ​by​ ​different​ ​things​ ​for​ ​different
people.​ ​It​ ​can​ ​result​ ​from​ ​profound​ ​beauty;​ ​spending​ ​time​ ​in​ ​nature;​ ​feeling​ ​connected​ ​to

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others;​ ​remarkable​ ​human​ ​accomplishments;​ ​scientific​ ​discoveries;​ ​or​ ​great​ ​works​ ​of
architecture,​ ​art,​ ​and​ ​music.
It​ ​doesn’t​ ​matter​ ​what​ ​pathway​ ​it​ ​takes,​ ​or​ ​what​ ​your​ ​belief​ ​system​ ​is,​ ​or​ ​what​ ​the​ ​story​ ​is.
We​ ​just​ ​want​ ​to​ ​feel​ ​it.​ ​What​ ​is​ ​important​ ​is…to​ ​be​ ​moved.”​ ​ ​Curiiosity​ ​is​ ​vital​ ​to​ ​human
survival​ ​and​ ​social​ ​function.​ ​ ​Thus​ ​the​ ​fostering,​ ​development​ ​and​ ​preservation​ ​of​ ​curiosity
stimulate​ ​the​ ​imagination.​ ​ ​For​ ​that​ ​reason,​ ​doing​ ​those​ ​things​ ​which​ ​develop,​ ​nurture​ ​and
foster​ ​curiosity​ ​and​ ​imagination​ ​takes​ ​on​ ​moral​ ​force​ ​and​ ​doing​ ​those​ ​things​ ​which​ ​tend​ ​to
stifle​ ​these​ ​capacities​ ​is​ ​morally​ ​problematic.
https://www.scientificamerican.com/article/curiosity-prepares-the-brain-for-better-learning/
http://ideas.time.com/2013/04/15/how-to-stimulate-curiosity/
http://www.culturalecology.info/imagination/

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Appendix​ ​1​ ​Format​ ​for​ ​a​ ​Pinterest​ ​Prize​ ​Draw
WOW!!!​ ​It’s​ ​AWESOME
Pic​ ​It!
Open​ ​your​ ​eyes​ ​to​ ​the​ ​wonders​ ​linking​ ​nature​ ​with​ ​people
Express​ ​them​ ​with​ ​Photographs​ ​and​ ​Creative​ ​Writing
Dig​ ​deeper​ ​to​ ​satisfy​ ​your​ ​curiosity
Communicate​ ​your​ ​wonderment​ ​via​ ​social​ ​media
And​ ​spread​ ​messages​ ​about​ ​living​ ​sustainably
You​ ​enter​ ​the​ ​prize​ ​draw​ ​by​ ​submitting​ ​a​ ​Pinterest​ ​pinboard​ ​you​ ​have​ ​produced​ ​with​ ​pins
(pictures)​ ​taken​ ​at​ ​one​ ​or​ ​more​ ​of​ ​the​ ​nature​ ​reserves​ ​managed​ ​by​ ​the​ ​South​ ​and​ ​West
Wales​ ​Wildlife​ ​Trust.
Each​ ​picture​ ​should​ ​have​ ​text​ ​telling​ ​why​ ​you​ ​think​ ​each​ ​picture​ ​has​ ​ ​a​ ​WOW​ ​factor​ ​and​ ​the
covering​ ​text​ ​should​ ​tell​ ​a​ ​story​ ​of​ ​what​ ​moved​ ​you​ ​to​ ​take​ ​the​ ​pictures​ ​and​ ​assemble​ ​the
pins.
The​ ​educational​ ​context​ ​may​ ​be​ ​seen​ ​at:
www.digthatpic.wikispaces.com

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These​ ​are​ ​the​ ​rules​ ​which​ ​apply​ ​to​ ​your​ ​participation​ ​in​ ​ICOL’s​ ​Pinterest​ ​Prize​ ​Draw.​ ​By
submitting​ ​your​ ​entry​ ​you​ ​agree​ ​to​ ​these​ ​rules.​ ​If​ ​you​ ​do​ ​not​ ​agree,​ ​please​ ​do​ ​not​ ​submit
your​ ​entry.
1.​ ​The​ ​promoter​ ​of​ ​the​ ​prize​ ​draw​ ​is​ ​the​ ​not​ ​for​ ​profit​ ​organisation,​ ​‘Interactive​ ​Cultural
Ecology​ ​On​ ​Line’​ ​(​ICOL​).​ ​The​ ​promotion​ ​is​ ​in​ ​no​ ​way​ ​sponsored,​ ​endorsed​ ​or​ ​administered
by,​ ​or​ ​associated​ ​with,​ ​Pinterest.
2.​ ​The​ ​prize​ ​draw​ ​is​ ​open​ ​to​ ​pupils​ ​of​ ​Pembrokeshire​ ​schools,​ ​excluding​ ​anyone​ ​associated
with​ ​ICOL​,​ ​their​ ​immediate​ ​family,​ ​or​ ​any​ ​person​ ​or​ ​company​ ​associated​ ​with​ ​the​ ​draw.
3.​ ​The​ ​prize​ ​is​ ​for​ ​one​ ​winner​ ​only,​ ​judged​ ​by​ ​ICOL​ ​in​ ​the​ ​first​ ​week​ ​of​ ​the​ ​calendar​ ​month
following​ ​on​ ​from​ ​the​ ​closing​ ​date​ ​for​ ​entries.​ ​ ​.The​ ​result​ ​is​ ​final​ ​and​ ​no​ ​discussion​ ​will​ ​be
entered​ ​into​ ​concerning​ ​the​ ​outcome.
4.​ ​The​ ​prize​ ​is​ ​…....
5.​ ​The​ ​winner​ ​will​ ​be​ ​notified​ ​through​ ​ICOL’s​ ​messaging​ ​system.
6.​ ​Any​ ​personal​ ​information​ ​and​ ​contact​ ​details​ ​you​ ​supply​ ​will​ ​be​ ​used​ ​only​ ​for​ ​the​ ​purposes
of​ ​administering​ ​the​ ​competition.
7.​ ​ICOL​ ​ ​reserves​ ​the​ ​right​ ​to​ ​amend​ ​these​ ​terms​ ​and​ ​conditions​ ​or​ ​to​ ​cancel,​ ​alter​ ​or​ ​amend
the​ ​draw​ ​or​ ​the​ ​prize​ ​due​ ​to​ ​any​ ​circumstances​ ​that​ ​arise​ ​beyond​ ​our​ ​control.
13.​ ​The​ ​prize​ ​draw​ ​is​ ​subject​ ​to​ ​the​ ​laws​ ​of​ ​England​ ​and​ ​Wales.

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https://www.renderforest.com/gallery/1826
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