A Discussion on Beauty vs. Artistic Beauty

                                  A Discussion on Beauty versus Artistic Beauty

                                                      Li-chin (Crystal) Huang
 
                                             University of Minnesota-Twin Cities

A Discussion on Beauty versus Artistic Beauty

Table of Contents

Introduction

Research purposes and methods- sencondary data analysis

Literature Reviews

Results

Conclusions

References

                                                             Abstract

           The enterprise of aesthetic judgment is highly complicated. The writer differentiates the major differences between the concept of “beauty” and “artistic beauty” as part of our team debate for a course work.  In this paper, the former refers to a general pleasure response of aesthetic experience.  The latter points to particular artistic endeavors, progressing from retinal toward cerebral aesthetic experience and judgments, and is highly contextualized.

                                          What is beauty vs. artistic beauty? 

          Seeking, presenting, and interpreting what beauty is, permeates most human societies.  For example, there is a saying in Japan that if the length of Cleopatra ’s beautiful nose changed a tiny bit, maybe the human history would be written quite differently. So as in several sagas in Chinese history depicting the most desirable and unfathomable beautiful women (of whom, later some became expresses, royal concubines, or women in power) contributed to the changes of the Chinese history either in better or worse directions.  This is said to be true of the Balinese, who say, “we have no art, but do everything the best way we can,” may be another example that expands the concept of beauty to perceiving and appreciating in all spheres of their activities those aesthetic values we find in artworks alone (Battin, Fisher, Moore, & Silvers, 1989). 

         So, how do Japanese and Chinese define female beauty? Can human appearances or physicality be works of art? Are there different aesthetic criteria in judging female beauty between Chinese and Japanese, and between Westerners and Easterners? What are the differences between the judgments of female or body beauty versus that of judging calligraphy- valued as high art in most Far Eastern cultures?   Why do Balinese regard that nothing is art but do the best they can for what?  In short, what is “beauty” versus “artistic beauty” in human endeavors and all sphere of daily activities as mentioned above?         

          In searching for the possible answers, information pertinent to the topic

was collected from books, journals, and the Internet to form as a secondary data analysis.

                                                        Literature Reviews

        Generally speaking, concerning what is beautiful is part of philosophical inquiry located in the aesthetic domain. Aesthetics is a branch of philosophy, which has occupied thinker from Plato to the present day. To define perfection and to set standards of beauty termed aesthetics or, “the science of the beautiful,” was initiated by German philosopher Alexander Gottlieb Baumgarten in 1753. Baumgarten was considered the first modern philosopher to approach the question of beauty systematically, introducing the term aesthetics and defining the experience of beauty as the “sensory recognition of perfection” (Danto, 1997). His contemporary, Immanuel Kant, expressed a universal, disinterested notion of aesthetics, which is without a specific purpose and judgments or mere personal preference toward a beautiful object (Bernard, 1951).

           Among these two quite opposite points of views, I investigate another eclectic definition of aesthetics from Encarta. It defines aesthetics as: “A branch of philosophy concerned with the essence and perception of beauty and ugliness, dealing with the question of whether such qualities are objectively present in the things they appear to qualify, or whether they exist only in the mind of the individual; hence, whether objects are perceived by a particular mode, the aesthetic mode, or whether instead the objects have, in themselves, special aesthetic qualities.”

            Similar to many philosophical issues, the concept of aesthetics is  inherently

debatable. The above definition is no exception. For example, what and how to “qualify

such qualities”, and what how the “special aesthetic  qualities” are in the definition is still

ambiguous and debatable.  However, it points out  two domains worth of attention: one is

“the qualities are objectively present in the things they appear to qualify”; the other one is

“whether such qualities exist only in the mind of the individual.”  Understanding these

two questions might shed some light on the comprehension of “beauty” versus “artistic

beauty.”

           In order to understand the concept of aesthetics, the following section reviews several perspectives from various rationales of philosophers, aestheticians, and social thinkers dichotomized mainly, into two categories: objective and subjective accounts of beauty.  The former can be seen that the beautiful qualities are objectively presented in the things they appear to the qualifications; and the latter is perceived whether the beautiful qualities exist in the mind of the individual.

The objective account of beauty

        
         In this tradition, I started with Platonic point of view that a relation of resemblance

between the art work and the object it imitates as the key to the mimetic theory. The

formalism can be traced back to Aristotle’s aesthetically good- or, actually beautiful- if it

is ordered, symmetrical, and define, and if it demonstrates each of these virtues to a high

degree.  This analysis we call “formal,” because it focuses on the presence in the object

of certain aesthetic properties, ones that have to do with the form (as distinguished from

the content) of the object. St. Augustine is another formalist. His account of beauty was

an object to be beautiful is for it to exhibit unity, number, equality, proportion and

order, with unity as the most basic notion. St. Thomas Aquinas was also found a formal account of beauty that rests on three conditions: integrity or perfection, due proportion or harmony, and brightness or clarity (as light is a symbol of divine beauty and truth). Shaftesbury believed that so long as one was disinterested in attitude, one’s judgment that an object was beautiful was correct as long as the object exhibits “uniformity” (Battin et al. 1989).  Francis Hutcheson believed that if an object exhibits “uniformity amongst variety,” that object is beautiful.  Joseph Addison believed that an object was worthy of positive aesthetic judgment if it exhibited greatness and uncommonness. Up to the 20th century, Moore recognizes the aesthetics exists in organic unity. Clive Bell refers it as significant form.  Beardsley felt that for an object to be aesthetically good is must be unified and/or intense, and /or complex, and be such that it prompts in attentive perceivers a pleasurable experience characterized by unity, and /or intensity, and /or complexity (Fenner, 2005).

The Subjective account of beauty

             David Hume and Immanuel Kant shed new light on the concept of aesthetics.

Instead of focusing on the aesthetic object, they assumed that the qualities of attender

made him or her a good judge (2005). Within the Kantian framework, if a flower is

aesthetically pleasing, but is ecologically destructive--it could never be ideally beautiful

because ideal beauty for Kant is uniquely a product of moral values. The objective beauty

of flower is never the same as the ideally/subjectively beautiful. 

          In reality, After World  War I and World War II, the impact and the magnitude of

 human disasters provocatively challenged artists to rethink and re-formulate the

conventional ways of perceiving, understanding, and reflecting on  the concepts and

principles of morality, justice, and the meaning of beauty. Following the same vein,

American painter Philip Guston, who, in the Vietnam War period, could find no

justification or moral consistency in painting beautiful.

        

           So as in 1967, in conversation with critic Roger Fry, Marcel Duchamp pointed out that art should do was call up, not a sensual response, but an intellectual one, which can be interpreted as art should not stay retinal, but cerebral. His fountain (urinal piece) challenged our cognition regarding what it means to make art beautiful while the world was undergoing destruction.

          As to the Emotionalism, argues that art is the embodiment in a public, sensuous medium of an emotion or a collection to them. The “aesthetic attitude” theorists point to a certain disinterested quality of mind the artwork invites; and hedonists to objectify pleasure as principles to judge beauty. Finally, Pragmaticism or Functionalism points out that art is to promote the common good and empower the common people as the criteria to judge the beauty of objects (DiBlasio, excerpted from Weitz, Summer 2005).

        
          Art historian Janson points out that art has both ideas and facts. Aesthetics concerns the beautiful. But, not all art is beautiful to our eyes, but may be to the minds. My question is whether the beautiful is imbedded specifically in the ideas or facts, or both?    For Hegel, there are three hierarchically ordered categories of beauty. These include: natural beauty, artistic beauty (behind which lies intentions), and the beauty one finds in decoration and adornment (which is meant to enhance the pleasure). Among the general population when asked what do you like about a picture, the most used term is "pretty" or some variation related to pretty which I refer to Hegel’s first layer of beauty, or Parsons’ non-reflective point of views as well as likening the beauty, realism, and skills. Why do majority of population (as we refer to “untrained’ eyes and minds) prefer beauty defined as realism with intense skills?  A discussion from various perspectives will be continued into the following section.

                                A Discussion on Beauty versus Artistic Beauty

             Santayana in defiance of Kant, says that pleasure is the essence of the percep­tion of beauty, and aesthetic pleasure cannot be divorced from interests. He pointed out that aesthetics, the theory of beauty, in particular for the individual, is concerned with the perception of values that are dependent upon emotional consciousness: appreciations, appetites, and preferences (Fenner, 2003).  So, what are the essences of appreciations, appetites, and preferences?  

         During the last hundred years, aesthetics had been relating to psychology, a field which has come to equally debatable for its own multiple expansion of perspectives.  In the following sections, I tried to borrow some understanding from psychology to examine the sensory beauty and artistic beauty.  From the bio-genetic perspective, all human beings, in general, are born with similar genetic makeup, such as brains and nervous systems to perceive the imageries and events. That could explain why some sensory beauty or pleasurable beauty has commonality. Looking in to the details, we can detect the differences between sensation versus perception.  In psychology, sensation is the process by which our sensory receptors and nervous system receive and represent stimulus energies from our environment. Perception is the process of organizing and

interpreting sensory information, enabling us to recognize meaningful object and events. The terminology refers to information processing: the “bottom-up processing” means that analysis that begins with the sense receptors and works up to the brain’s integration of sensory information. This stage of processing is similar to Parsons’ first and second steps of art understanding. According to Parsons people using ideas associated with an intuitive delight in most painting, as strong attraction to color, and a freewheeling associative response to subject matter (parson, 1987, p.22) Parsons’ (1987) second stage  “it is true that some paintings are representational, but they are not really meaningful.”  The “top-down processing” means information processing guided by higher-level mental process, as when we construct perceptions drawing on our experience and expectations. This processing corresponds to Parsons’ third stage value “ creativity, originality, and depth of feeling (1987, p.23); stage fourth of judgments of people using culturally leaned ideals ( p.143), and the fifth stage of art specialist’s understanding or plural art world viewpoint (Clover and Erickson, 1997, and 1998).

           There is an important concept related to perception that might aid our understanding the experience or judgment of beauty.   Myers (2004)  remarks, “ As everyone knows, to see is to believe. As many people also know, but do not fully appreciate, to believe is to see.”  Our experience, assumptions, and expectations may give us a “perceptual set,”  or mental predisposition; that greatly influences what we perceive.  Parsons (1987), Davis, Gander (2000), and Housen (2000) all point out similar viewpoints that as progressively exposing to various experiences, people develop awareness of the characteristic of their own experience and the others’, a questioning of the influences upon it, and a wondering whether one really sees what one thins one sees. 

              Specifically speaking, it is gene that controls the action of the chemical messengers in the brain that represents the world we involve with.  Some genes, in particular, related to dopamine, the key neurotransimitter in the brains’ “pleasure center” or reward system.  As dopamine passes from one cell to another, it signals a pleasurable sensation.  It is normally triggered by action that supports human beings’ survival, either of the individual or the species in enhancing the physical or mental state.   For example, general public  perceive Elvis Presley as one of the most attractive/handsome and talented male entertainers. For his physical appearance and music trigger the pleasant sensation through the sight and acoustic senses that make an individual feel good.  The golden rule in a rectangle is perceived as the most aesthetically beautiful ratio is another example for a universal beauty account. There can be a “general” experience or judgment on beauty based on bio-genetic and evolutionary similarities among human beings. Thus, if beauty taken to such a broader concept by recognizing any trace of positive aesthetic value as beautiful which is biologically connected, then pleasure can be the key to aesthetic value, in terms of abovementioned “general or universal.”  As John Ruskin put it, “Any material object which can give us pleasure in the contemplation of its outward qualities without any direct and definite exertion of the intellectual, is in some way or in some degree beautiful” (Ruskin, 1906).

           Aesthetics related to psychology can also be traced back to the concept of

“Associations” proclaimed by Archibald Alison (Fenner, 2003). He began to focus on the psy­chology of aesthetic experience instead of the conditions of aesthetic judg­ment. Alison emphasized the importance of imagination in the construction of aes­thetic experience. For Alison, imagination was largely a matter of actively drawing out associations in the viewer, through what he called “attentive contemplation” of the object/event at hand.  Imaginative associations are not matters of intellect; they are matters of psychology.  He said: The mere presentation of beauty was not enough to stimulate the sensory receptors into feeling pleasure over the beauty; the specta­tor becomes a more active participant. He exercises his mind, his imagina­tion, and his attentive contemplation, in order to experience more fully the nature of the object, and in so doing experience the object as fully aestheti­cally as he can. Without this mindful/imaginative activity, the experience is not aesthetic, but one of mere pleasure (Fenner, 2003).

          He argued that aesthetic beauty takes mindful and imaginative mental activities. He distinguished the sensory pleasure (general) from the aesthetic engagement (particular). The similar emphasis on psychological state can be found in Dewey’s concept of aesthetics. He also focused not on conditions of judgment but on exploration of the psychological nature of experiences. Dewey’s (1934) account centers on what he calls “an experience:”  ” An experience is any garden-variety experi­ence that one might have which has the character of being maximally uni­fied and highly meaningful. An experience is a bounded organic whole; when a moment is sufficient to itself, is individualized, this is an experience. In aesthetic experience there is a heightened interest in the factors that con­stitute an experience, in the experience’s “omnipresent form, in its dynamic construction, in its rhythmic variety and unity.”

          Another well known theory touches on aesthetics is Maslow’s hierarchy of need- though it is still debatable regarding this theory.  According to Maslow (1968, 1970), human needs are arranged in a hierarchy, and individuals must satisfy their basic needs first, before they can progress to higher needs.  In the following diagram, higher levels in the pyramid represent progressive less basic needs, people progress upward into hierarchy when lower needs are satisfied.  In the diagram, the aesthetic needs for order and beauty is the second highest in the progressive hierarchy.  Does it mean that the general sensory account of beauty happens in the lower level of needs that according to Maslow, won’t be seen as aesthetic beauty or “an experience” as Dewey called it? Or such a high level of aesthetic needs have the similar statewide progress similar to Parsons’ fourth or fifth stage of artistic understanding?

          Seemingly, Maslow’s aesthetic needs of beauty and order might  not be located in the sensory level of pleasure. It is artistic!

                    Figure 1. Maslow’s hierarchy of needs.

          Dickie (1919) once argued that psychology was not relevant to aesthetics by attacking Bullough’s view by denying that there is any one thing that we can identify as the aesthetic attitude.   Perhaps, he is one among the minority side.  D.H. Feldman (1980) remarks that art appreciation and the production of art are developmental phenomena.  They have in common that they are achieved through sequences of stages or levels, catalyzed by sets of specialized cultural conditions.  DiBasio (1997) points out the consequences of the cognitive revolution provided an advantage of using of symbol system that bears directly on the aesthetic forms of human experience and on the mechanisms of metaphoric expression. Art does harvest from the psychological research, in particular from the cognitive domain!

           In addition to the aforementioned beauty perceived in general term, on the other hand, taste or aesthetic experience and judgment is conditioned mainly by culture, which is less likely to reduce art to any set of judgments. For example, the calligraphy of Si-Zhi Wang of Tang Dynasty is the most aesthetically beautiful works of art in Far Eastern Asia from my socio-cultural perspective. Each calligraphic character might not arouse the sense of artistic beauty from an audience of an alien culture. 

          Battin et al. (1989) points out that a good many theories of art, in fact less concerned ultimately with to definitional than with the contextual. They argue that liking or disliking a thing may be a necessary condition of its being judged to be beautiful, but it is not a sufficient condition. Wittengstein argues that in searching for approval for judgments creates  the questions, such as criteria approved by whom, and who should join the approving group. This is a potential leading to the institutional theories of arts (Barrett, 1966). Kant too, analyzes beauty mainly by characterizing its inward effects rather than its outward causes. He remarks that judgments of beauty is “subjectively” universal. H.W. Janson infers that we cannot escape viewing works of art and judging the beautiful in the context of time and circumstance, whether past or present (1991).

            Danto introduced the term “art world” (1964) as “to see something as art requires …. A knowledge of what other works the given work fits with, a knowledge of what other works makes a giver work possible (Danto, 1997). He also argues that the art world of the twentieth century was epitomized by cognition and by challenge, such as the challenge to the very definition of art: for examples, Dadaism, and Pop Art. Later it expanded into conceptual art, challenged the concepts of values. Mapplethorpe, Rene Serrano, Richard Serra, Damien Hurst, Christopher Ofili, and a host of others have presented works that confront and provoke the viewers. They assail our values and the contexts in which we hold those particular values (Fenner, 2003). These value-challenging aesthetics is undeniable.

          Fenner points to an eighteenth-century movement in aesthetic theory from

formal­ist, objective accounts of beauty to subject-based, experiential accounts of

beauty. He argues that an emphasis away from the production of beauty to what he calls the “artistic” or the “artistically important”  is the main theme of the Modern Art.  And he suggests that the reason for this is the move toward subjectivism in analyses of what counts as beauty (Fenner, 2003).   This is what I believe that the main difference between general concept of beauty and artistic beauty lying in the contextualized understanding.  Fenner also proposes a framework to contextualize the meaning and experience of aesthetics which I reorganized into the following concept map:

          According to his framework, experiencing an aesthetic object, the various contexts provide different dimensional aesthetic experience and judgments. 

                                                           Conclusion
          As we know the enterprise of aesthetic judgment is highly complicated. The writer differentiates the major differences between the concept of beauty and artistic beauty. The former refers to general pleasure response of aesthetic experience.  The latter points to particular artistic endeavors, progressing from retinal toward cerebral aesthetic experience and judgments that is highly contextualized.

                                                                   References

Battin M, Fisher J, Moore. R, and Silvers A. (1989). Puzzles about Art- An Aesthetics
        Case Book. New York: St. Martin’s Press.

Clover, F, and Erickson, M. (1997).  Viewpoints: Exploring how we understand art.
        On ArtEdNet posted by the J. Paul Getty Trust [Available Online]
        http://www.getty.edu/artsednet/resources/Viewpoints/index.htm

Danto. A.C. (1997). After the end of art: Contemporary art and the pale of history.
         Princeton. NJ: Princeton University Press.

Danto. A.C.  (1986). The End of Art in The Philosophical Disenfranchisement of Art.
           New York: Columbia University Press.

Danto, A.C. (1964) the art world. Journal of Philosophy, 62(190, 571.

Davis, J. & Gardner, H. (2000). Symbolic literacies: the Developmental portrait research
         has produced. In R.S. smith (Ed), readings in discipline-based art education: A
         literature of educational reform (pp.257-263). Reston, VA: National Art education
         Association.

Dewey, J. (1934), Art as Experience. New York: Capricorn Books, Putnam’s Sons.

DiBlasio, M. (1997). Essay Review: Harvesting the Cognitive Revolution:
         Reflections on  the Arts, Education, and Aesthetic Knowing. Journal of
         Aesthetic Education. Vol. 31, No1.

 Dickie, G. (1919)  Is Psychology Relevant to Aesthetics? See also E. Bullough’s
          The Relation of Aesthetics to Psychology,  British Journal of Psychology 10
          (1919).

Foster, A, & Blau, J, (1989), Art and Society – Reading in the Sociology of the Arts. New 
          York: State Univeristy of New York Press.

Fenner, D. (2003). Aesthetic Experience and Aesthetic Judgments. Journal of Aesthetic
          Education, Vol. 37, No. 1.

Fenner, D (2005). Why Was There So Much Ugly Art in the Twentieth Century? 
          Journal of Aesthetic Education, Vol. 39, No. 2.

Feldman, D.H. (1980). Beyond universals in cognitive development. Norwood,
           NJ:Albex.

Housen, A. (2000) Museums in an age of pluralism. In R.S. smith (Ed), readings in
          discipline-based art education: A literature of educational reform (pp.281-7).
           Reston, VA: National Art Education  Association.

Francis Hutcheson, F. (1971).  An Inquiry into the Original of Our Ideas of Beauty and
          Virtue. New York: Garland.

Jason, W. H. (1991). History of Art, 4th ed. New York: ARS/SPADEM

Maslow, A. (1968). Toward a psychology of being. New York: Van Nostrand

Maslow, A (1970). Motivation and personality. New York: Harper & Row.

Myers, D. (2004).  Exploring Psychology, New York: Worth Publishers.

Parsons, M.J. (1987). How we understand art: A cognitive account of the development of
          aesthetic understanding. New York: Cambridge University press.

Ruskin, J. (1906). Modern Painters. Vol. 1, 3rd ed. (New York; Thomas Crowell, ) p. 101

Shaftesbury, A. (1964). Characteristics of Men, Manners, Opinions, Times. New York:
           Bobbs-Merrill.

Weiten, W. and  Lloyd, M. (2000). Psychology applied to modern life. CA:  Wadsworth/
          Thomson learning. P.49.

Wittgenstein, L. (1966). Lectures and conversations on Aesthetics, Psychology,
          andreligious Beliefs, ed. C. Barett.  Oxford: Blackwell.

             

Sept 21, 2012 Not a Boot-Camp Monograph

                      http://www.youtube.com/watch?v=jjNgn4r6SOA&feature=related

Sept 21, 2012 Quantum-Life Fractals

                              http://www.youtube.com/watch?v=n8xC-RQ1W3g 

Sept 16, 2012 Super Surrealism

                       
                     http://www.youtube.com/watch?v=kX-NN443ODk&feature=related

Sept 14, 2012 Bewildering Surrender

                       
                               http://www.youtube.com/watch?v=mlzrS3YinMQ

Sept 9, 2012 Sojourner

                      Survivor - http://www.youtube.com/watch?v=QEjgPh4SEmU

Heart of Gold

                                 http://www.youtube.com/watch?v=fGt9rcMJJXI

Denouement

http://www.youtube.com/watch?v=TH_YbBHVF4g&feature=related

MoveOn

http://www.youtube.com/watch?v=m_uWS6K-VF8&feature=related

Reversal

                      http://www.youtube.com/watch?v=Msk_FSVVy-M&feature=related
                      Silver Threads Among the Gold -Fureys

Sept 3, 2012 Chronic Hypnosis

http://www.youtube.com/watch?v=EwcE-b4KufM&feature=related

Phantom Chasing

Sept 1, 2012 Blue Moon Tears

                     http://www.youtube.com/watch?v=wsWny6nOqqE

Sept 1, 2012 Many A Mini Poor Boy

                          http://www.youtube.com/watch?v=ZxYGeTV6fCw
                          Animals, The House of the Rising Sun
                          http://www.youtube.com/watch?v=7OqwKfgLaeA

                          Cat's in the Cradle

An Old Vitae (2009)

Li-chin (Crystal) Huang
Chippewa Valley Technical College
620 W. Clairemont Ave.Eau Claire, WI 54701
Email: Lhuang@cvtc.edu
WebSite: http://ci8395.blogspot.com/

Teaching: Sociology, Psychology, American Government
Contemporary American Society, Social Problems, and
Race, Ethnicity and Diversity studies.

Areas of Interests
Innovation in Online Education Programs
K-16 Online Teacher Professional Development
TPACK Integration of Emergent Technologies
Equity and Quality of Diverse Learning in the Digital Age
Learning Technologies in the 2-year Technical College

Education

Ph.D.
Candidate, Learning Technologies (previous Instructional System and Technology), Department of Curriculum and Instruction, University of Minnesota-Twin Cities 2004-

M.S.ED.
Art Education, Wayne State College, Nebraska, and toward 2nd bachelor degree in the B.F.A. Studio Art program. Research Project: Integrating Multimedia Technology into Art Curriculum with Classroom Implementation 1997

M.S.
Sociology, University of Wisconsin-Madison (due to job relocation, leaving Madison to Nebraska)
Major: Social Psychology focusing on Social Movements.
Minors: Journalism and Women's Studies Thesis Title: Multilevel Analysis of A Social Movement-1947, 228 Social Uprising in Taiwan, 1993

M.A.
Socio-political Science (Graduate Institute of National Development), National Taiwan University.
Thesis: Social Ideology and Gender Roles-Women's Issues in Contemporary society,
1986

Military Program
Major: Military Education, Political Warfare Academy, Army of Taiwan
(due to a national crisis, I joined Army Academy).

B.A.
Sociology, National Taiwan University
Taipei Municipal First Girls' High School.

Teaching Experience

Faculty
In the 7th year of teaching at the Chippewa Valley Technical College, WI Teaching Intro Sociology, Psychology, Contemporary American Society and Diversity Studies 2003-

Lecturer
Sociology, Social Science Department and academic advisor of Undecided Student Program of UW-Stout 2000-2003

TA
Wayne State College, NE 1.Taught “Introduction to Visual Arts” sections. 2. Assisted Painting and Design Studios 3.Conducted workshop for Information Literacy and Library Automated System classes. 1995-1997

Language Teacher
1.English teacher at English Spontaneous Institute
2.Japanese teacher at Chung Swu Vocational School 1986-1988

Military Educator
Military educator for seven years in Taipei, retired at the rank of Captain in 1985. Taught at Chung Shan Girls’ High School, National Chung Hsing University and National Taipei Technology College 1978-1985

Professional Positions

Delegate' Representing CVTCEA to WEAC 2009

Program Coordinator , Undecided Student Advisement Office, College of Arts and Sciences, University of Wisconsin-Stout. 1999-2000

PC Layout /Columnist , Computer Layout in the Composing Department and Lifestyle Columnist in the Editorial Department of the Dunn County News, Menomonie, Wisconsin. 1997-1999

Civil Servant , Congressional Staff at the Legislative Yuan (Congress of Taiwan), Taipei China-Taiwan Policy Researcher at the Executive Yuan (Central Government), Taipei 1995-1997

News Reporter , News Reporter at the Ta Hwa Evening News, Taipei 1986-1988

Social Worker , Intern. Social Worker at low income district of An Kan Community, Taipei

Certificates:
- WebCT/BlackBoard/E360 (LMS) Teaching Certificates from UW-Stout and CVTC
- Hybrid and Web-conference training Certificates from CVTC
- Quality Matters Certified Peer-Reviewer
- Web Design and ITV Certificates from UW-Stout
- General (1985) and Special Higher Civil Service Certificates (1986) from Taiwan

- 1886: National English Tour Guide Certificate


Profile and Skills:

· Enthusiastic and helpful with strong work ethics.
· Multiple language ability: Taiwanese, Mandarin, English, and Japanese.
· Have taken Computer Science as a minor. Knowledgeable of C++, JAVA, Assembly language,  
  COBOLand Web Design General Software application: Multi-aid, QuarkXpress, Pagemaker,  
  Photoshop/Photodeluxe, Premiere, Illustrator, Microsoft Office 2000 (esp. FrontPage, PowerPoint, Excel,
  MS Publisher), Hyperstudio, Inspiration, BlackBoard, WebCT, E360,
  Macromedia (DreamWeaver, and Flash)
  PC and Mac proficiency. Statistic software: Spss, MaxQDA2, and Minitab.
· Calligraphy
· Visual-art making (2-D: drawing, traditional ink/painting and mixed media;
   3-D: mainly, ceramics and  other mixed media.)

Academic Activities

Co-Presenter , The 16th Midwest Quality Research Conference
Topic: The Lived Experience of Relocated Teachers in Korea, 2008

Poster Presentation , The 1st C & I Research Day at University of Minnesota-Twin Cities
Topic: The Wonder of the Tao-Six Meditation on Science, Spirit, and the Future of Economics, 2008

Poster Presentation , The 1st Grad Research Conference at University of Minnesota-Twin Cities
Poster 1 Topic: Beauty vs. Artistic Beauty
Poster 2-Topic: Freedom Fighters. 2008

Co-presenter , A Brief Introduction of CMS and An Introduction to Media Enhancers at UW-Stout, 2008

Collaborative Research Project , Joined the Rural Family Speak– a multistate, longitudinal and multidisciplinary research project, focusing on low-income women’s using information technology.
 2007-2008

Published , A TPaCMK Model as a Framework for Hybrid Teaching at Local Editorial, 2006

Grants , develop and deliver Race, Ethnicity and Diversity studies, and American Government 2 online courses for Chippewa Valley Technical College 2005

Presenter , UW-System Women's Study Consortium.Topic A Hermeneutic Phenomenological Study of Childless Issues in Contemporary American Society, 2004

Keynote Speaker , Annual Spring Awards and Recognition of Multicultural Student ServicesA Cultural Sojourner's "Courage to teach" in Intro-Sociology (Word), 2003

Poster Presentation , Student and Faculty Research Day at UW-StoutAn Action Research Report on a Spontaneous Thematic Pedagogy in Intro-Sociology:PowerPoint; Word:

PanelistTalkInternational Forum , AAUW Midwest Regional Conference Rapid City, South Dakota. Presentation: The Trajectory of Women's Development in Taiwan(PowerPoint)-Empowering Women through Education - 3 Women's Stories (Word)" Poster Session, 2002

Poster Presentations , Teaching Day at UW-Stout Sociological Pedagogy-Blending Teaching Strategy to Empower Student ActiveLearning"Professional Development Day at UW-Stout Enhancing Active Teaching/Learning Via Electronic Application”, 2001

Training and Workshop:

- Fall 2002, Oct.11. Feminist Pedagogy Workshop at UW-Eau Claire.
- Summer 2001(Aug. 20-23), Advanced Webcamp Blackboard Workshop
- Summer 2001(July 23-26), Brick and Glass-Clinic Distant Learning Workshop
- Summer 2000, Webcamp Workshop
- Spring 2001-Interdepartmental Racial Understanding Reading Group
- Spring 2001, participated Datatel Training program for enhancing advisement
- Fall 2000-assisted as the Mandarin/English interpreter “the ChineseVisiting Tech Scholars”
   at Stout.- Mini workshop for sociology students (PowerPoint, FrontPage.etc)

Governance involvement at UW-Stout:
- A member of the International Advisory Committee.
- A member of the Professional Development Planning Committee
- Continued as a member of Academic Staff Personnel Committee
- Spring, 2002, a member of Curriculum and Instruction global studies subcommittee
- A member of Academic Staff Professional Development Global/Traveling Opportunities subcommittee

Awards:
- 2006: Teacher of the Year, Menomonie, WI
- 2001: nominated and received the Outstanding Contribution to UW-System and Woman of Color award.
- 1996-97: Elected as the Graduate Representative to the Graduate, Council of Wayne State College.
- 1995-96: Who’s Who Among Students in American Universities and Colleges.
- 1994-95: Special Abilities Scholarship at Wayne State College, NE
- 1996: Treasurer of National Art Education Association (NAEA,) Wayne State College, NE
- 1995-97: often invited as a speaker on multicultural related issues at Wayne State College.
- 1994-95: Secretary and newsletter editor of International Club at Wayne State College.

In Taiwan:
- 1988: Elected as the Supervisor of the National Congressional Assistant Association, Taipei
- 1987-88: Delegate of Taiwan, invited by both Congresses of Taiwan and the U.S. to observe the Primaries
   and Causes in New Hampshire and Iowa as well as followed the Presidential campaign trails.
- 1984-85: "Self-Strengthen for Nation," Summer and Winter Camp Speaker
- Twice “Dr. Sue-woei Huang For Congress” Campaign Coordinator and Speaker, and later, the Speech
   Writer of Congressman Huang.- Executive Secretary and member of Taipei Women Rescue Foundation
- 1983-84: Vice Chairperson of the Graduate Association of National Taiwan University.
- 1978-1985: due to a National Crisis, I joined the Army Academic.A retired Captain since 1985.
- 1976-78: four semesters top 3% students of Sociology Department, National Taiwan University.
- 1974-76: Selected, members of softball and volleyball varsity teams, National Taiwan University.

Affiliation :
· AECT
· ISTE
· NEA
· WEAC
· Wisconsin Vocational Education Association
· American Sociological Association.
· Member of American Association of University Women (AAUW)

Publications/Writing:
· Calligrapher and illustrator of The Wonder of the Tao-Six Meditation on Science, Spirit, and the Future of
   Economics by Jim Eggert. A Human Trade Group Publisher, FL., 2004.
·  Karma Ode, Burning Snow-Poetry, 2002, (in process)
· "Introductory Miao (Hmong) History and Culture by Tinqgui Li": Translation,
   (collaborated with Steve Vang.) Wisconsin, UW-Stout. 2001
·  A Comprehensive History of the Chinese Miao (Hmong) by Xingfue Vue. Translation,
   (collaborated with Steve Vang.), Wisconsin, UW-Stout, 2001
· 10 articles related to cultural phenomena for the Dunn County News, 1998-1999
1. A thought to the Humane Society
2. Homeopathy- a look from a tradition medical perspective
3. The sociocultural perspective to Mulan
4. Gua Sha-the traditional home remedy
5. Halloween in the U.S. vs. Ghost Festival in Asia
6. Organic products and its co-op practice
7. Bosnia first hand report-Military sisters
8. A cultural-sojourner's multicultural perspective
9. Mini international house-visit the "Sharon the ambassador"
10.The legends behind Chinese New Year in Taiwan.

· “Women and Social Order,” The Research and Assessment Monthly, Taipei, Taiwan, 1990
· “The Interpellation to the Central Government” - a compilation of 3 volumes (300 articles) related to
    social welfare and political system reformation drafted by me when working at Congress,1986-88.
    Some articles related to Women's issues are:
    1. A proposal for "Equal Right, Equal Pay and Equal Opportunity of Employment for both genders."
        - September 29th,1987, the 80th session Legislative Yuan.
    2. A proposal to Establish the "'Ministry of Women's Affairs' to implement the Social Welfare
        for Women." January 6th, 1988, the 80th, session, Legislative Yuan.
    3. An interpellation on the issue of the Dilemma of Single Parent and Divorced Women. January 19th,
        1988.the 80th session, Legislative Yuan.
    4. An interpellation on the issue of "the Myth of Marriage and Increasingly Dysfunctional Families in
        contemporary society." January 18th, 1987, the 80th session, Legislative Yuan.
·  Personal Quantitative Research Project:
    "Gender and Political Tolerance-The Study of Dane County, Wisconsin."  UW-Madison, 1992.

Hobbies:
Enjoy reading, writing, poetry, music, cooking, visual art-making, nature and pet-caring.
Like to play basketball, ping pong, volleyball, tennis, softball, swimming, and hiking.
Love to watch football games.

Phantom and Reality

An Amorphous Word

A Mid-Summer Pulse

http://www.youtube.com/watch?v=2_jOc6zu1Kc&feature=related

28th Distance Teaching and Learning conference Aug 8-10, 2012, Madison

The first 3 pages (of 7) of my Introduction to Sociology syllabus. Does not look boring!!!!

Having been spending more time on teaching/facilitating race, ethnicity, class, gender, sexual orientation, disability as well as their intersectionality, this coming fall semester, I decided to go back to my Sociology teaching along with  intro to Psychology and other diversity courses.  My sociology syllabus is designed much more interesting than that of my psychology - just my personal preference.

Verstehen

http://www.youtube.com/watch?v=ZkQQU_U48WU

Aug 19, 2012 Quest

TPCMK Model (An Abridged version published in the Dunn County News Editorial Op-ed pages)

Running head: A TPCMK MODEL AS A FRAMEWORK FOR HYBRID TEACHING


A TPCMK Model as a Framework for Hybrid Teaching  (Spring, 2008)

Li-chin (Crystal) Huang

University of Minnesota – Twin Cities

Abstract

This paper discusses the emerging trend of a course delivery format- the hybrid or blended/mixed model of teaching and learning. Based on the positive effects of this model which combine the best part of the pure online delivery and the traditional face-to-face practices, the paper takes a further step to explore a possible TPCMK framework (integration of pedagogical, content, technological and moral/ethical knowledge in the educational context) as a more comprehensive curricular and instructional guideline to enhance the designing and delivering of hybrid courses.


A TPCMK Model as a Framework for Hybrid Teaching

In his MegaTrends, Naisbitt (1982) points out a phenomenon regarding an inherent tension between “high touch” and “high tech.” As an instructor/online facilitator having a passion in engaging several types of delivery formats, Naisbitt’s remark provided a venue for me to reflect on my daily juggling between human contact and technological mediation in the educational setting.

Since its inception, information technology (IT) has been perceived as a double-edged sword. It provides a cost-effective and individualizing education that may save education from the unaffordable, ineffective and inefficient delivery and uncertain outcomes. On the other hand, IT is also perceived as a digital monster, dehumanizing and impersonalizing the educational and learning experience (Green, 2004). The conflicting views of high tech vs. high touch as well as searching for the solutions challenge many scholars, practitioners, policy makers and people at stake.

According to Alfred P. Sloan Foundation’s recent survey (2005) based on responses from over 1,000 colleges and universities found that over 1.9 million students were studying online in the fall of 2003, which grew to 2.6 million by the fall of 2004. Clearly the demand for the e-learning is on the rise. There are several socio-economic factors pushing a tide of adults coming back to college campuses for courses, certificates and degrees. These include the new demand of knowledge and skills to meet the changing society’s needs, the public policy making in regards to the cost-effectiveness of allocating budgets and resources, the demands on flexible, and efficient ways of learning in the fast paced post-modern life style, which make the life long learning is a necessity to thrive in the IT world. Such high demand of distance education is also witnessed by the exploding number of for-profit cultural enterprises targeting on potential consumers in the educational markets.

The benefits of e-learning to students are many, and the essential one is that it allows the flexibility to schedule around students’ already busy lives. This is particularly true in the non-traditional student population. Learners with fully loaded daily schedule – jobs/careers, children, family and social activities, or due to geographical barriers, online learning can be an ideal alternative to solve the problems. However, most online facilitators and administrators are aware that online (pure) courses are NOT for everybody or for all academic disciplines. Online facilitators reiterate that online courses work best for learners who are self-motivated and disciplined. They need to be focused and have good computer skills.

Thus, the desirable characteristics need to be weighed against a list of shortcomings including less authentically virtual information delivered in visual and verbal formats, missing of the dynamic atmosphere of classroom ecology, lack of the face-to-face socio-psychological proximity, and loosening up of self-discipline in effective leaning management that have been expressed via many online surveys from less satisfied or less successful online learners. The results as Hinterberger et al. (2004) point out, are that no matter how ingenious, interactive or innovative the virtual electronic learning environments can be, online alone cannot acquire the effective knowledge transference. Pure online learning is facing many challenges in providing the quality assurance of teaching and learning.

Green (2004) interprets Naisbitt’s high tech vs. high touch in this way, “Whenever new technology is introduced into society, there must be a counterbalancing human response that is, high touch ­or the technology is rejected” (Section 1). However, instead of the “either-or” option, a recurrent phenomenon shows that the education community is continuously searching for an efficient and effective teaching and learning instructional design and pedagogy that can absorb the best part of the above two worlds. Graham Spanier (2003), President of Penn State University, claims that hybrid instruction is the single greatest unrecognized trend in higher education today.

In this paper, the author reviewed a part of the current research on the effects of the hybrid model, and found a majority of supportive yet disparate results regarding hybrid teaching. Hence, a further step was taken to explore an integral TPCMK model to support the fledging hybrid teaching and learning method. In this model, T represents technology; P for pedagogy, C for contents, M for moral or ethical concerns, and K is as knowledge base. The model integrates the four knowledge bases into a holistic conceptual framework to guide the hybrid teaching and learning, which currently the author is involved with at her workplace.

The following sections examine the emerging hybrid trend and the relating research results. The origin of PCK and TPCK is introduced. Then, the author explains the possibility to integrate morality/ethics into the TPCK as a TPCMK model which can be a framework to scaffold her current hybrid course developing. Finally, three stages of integration and conclusion are discussed.

Examination of the Hybrid Model – The Best Part of the Two Worlds

What exactly is a hybrid course? How is it operated and delivered? What is the theoretical framework to support such a delivery format? How does it work in terms of assessing the teaching quality and learning outcomes? In a recent review of research on teaching online courses by Tallent-Runnels et al. (2006), they found little consistency of terminology used in electronic learning environment. Furthermore, few universities have written policies, guidelines, or technical support for faculty or students under such circumstances. As Spanier points out that the hybrid is an important yet unrecognized educational trend, Tallent-Runnels et al.’s abovementioned remarks about the amorphous conditions in the e-learning does depict the current hybrid teaching’s situations.

Being an emerging delivery format, one may find no consensus in the definition of a hybrid or blended/mixed course. But, an understanding from hybrid practices generates a generally acceptable definition by referring a hybrid course as “in which a significant portion of the learning activities have been moved online,” a combination of traditional classroom and Internet instruction (Garnham & Ketela, 2002).

In the literature review, researchers (Hugenberg & Moyer, 1997; Bolding, 1999; Leh, 2002; Schrum and Hong, 2002; Young, 2002; Matthews, 2003; Twigg, 2004) compared various delivery formats and found that most research supported the effectiveness and efficiency in hybrid model. Another body of research reveals that hybrid courses replace classroom time with online learning and offer instructors both big advantages and big risks (Garanham et al., 2003). Rare conclusions drawn from comparative research found the negative effects of hybrid teaching and learning. In Reasons et al.’s (2005) research results demonstrate that the internet-based format could possibly lead to better student outcomes compared to face-to-face and hybrid formats. They also point out that the hybrid format seems likely to be used in most courses.
Currently, only two educational institutions, University of Central Florida and University of Wisconsin-Milwaukee, have conducted comprehensive investigations of hybrid course effectiveness (Gould et al., 2003). Both in-depth case studies confirmed the hybrid students performed better in writing, projects and engaging in meaningful discussion than those of the traditional classroom students (Garnham & Kaleta, 2002; Gould et al., 2003. p. 57). In addition, both studies recognized the powerful effects of the model’s flexibility and pedagogical effectiveness. The instructors stated that the hybrid experience would change their approach to all of their future teaching, whether in a traditional, hybrid or distance education class., as one of the instructors put it, "Hybrid gives me the best of both worlds" (Garnham & Ketela, 2002).

As an instructor/facilitator, the daily experiences with both positive and undesirable aspects of pure online and traditional face-to-face delivery demand a search for a more effective method in teaching. As a fledging delivery method, the hybrid model is of great research interest to many scholars, practitioners, educational institutions, and policy makers. Currently, four hybrid courses from my Department will be available for the coming fall semester. Having been part of the developer team, the author has great concerns in designing the hybrid model. The various issues will be discussed in the following section which leads to the searching for a more comprehensive framework as the developing guidance.

A large body of literatures focuses on the pragmatic concerns as part of the justification of the model’s existence, such as solving the complex budgetary and enrollment growth issues (Hinterberger et al., 2003, p. 58). However, if hybrid is to be viewed as an alternative mode to maximize resources and student learning, it needs a holistic framework that can harvest from the existing educational theories and practices. These established knowledge, such as (1) PCK (Schulman, 1987) model - an integrated knowledge base of pedagogy and contents, and (2) its extended model of TPCK (Keating et al., 2001) – an integrated knowledge base of technology, pedagogy, and contents, as well as an increased concern for moral or ethical issues both in the cyber and traditional learning environment that calls for many stakeholders’ attention. To equip hybrid as important instructional delivery and curricular design, the author investigates a possibility of integrating the aforementioned knowledge bases into the TPCMK - the integral knowledge of pedagogy, content, technology, morality/ethics as a framework for the hybrid teaching and learning.

Many researchers point out the flexibility, pedagogical effectiveness, student learning enhancement and so on positive effects of hybrid teaching. But the fragmented outcomes of specific protocols, or objectives within certain experimenting projects lack of a holistic guideline. There is no integral or common ground as a conceptual framework to support hybrid teaching and learning. Thus, the author constructs a larger scaffold-TPCKM model, which was originated from Schulman’s knowledge bases for educators– the PCK model. The other part of this frame was inspired by the moral or ethical vocabulary of Sockett and LePage’s research (2002). The last component is based on the author’s understanding of learning technology.

The TPCMK model As Hybrid Teaching and Learning Framework

The TPCMK model – integrated knowledge of technology, pedagogy, and content, can be an appropriate conceptual framework for many other delivery formats. But the author recognizes it as an ideal model matching many demands of a hybrid course: face-to-face plus computer-based teaching and learning.

Schulman points out seven categories of the knowledge base that underlie the teacher understanding needed to promote comprehension among students (1987, p. 8). Sockett and LePage reiterate the importance of moral education to encourage teachers to envision classrooms as moral rather than technical arenas (2002, p, 14). They urge teachers to use moral vocabulary in the daily teaching and learning activities.

The original TPCK model was proposed by range of scholars who have argued that that knowledge about technology cannot be treated as context-free, and that good teaching requires an understanding of how technology relates to the pedagogy and content. These include Hughes, Keating & Evans, Lundeberg, Bergland, Klyczek & Hoffman, Neiss, Margerum-Leys & Marx, and Zhao (Mishra & Koehler, 2006).

The moral or ethical issues extend the abovementioned concerns due to the inundated information and technology in both face to face and online environments. At the individual level, cyber legalities in terms of freedom, in particular, relating to the 1st Amendment, cyber proper conducts and criminality (such as plagiarism, intellectual property rights/copy rights, Internet Security, fair and open usage; FERPA etc.) compose a vast amount of moral and ethical knowledge and practices that need to be addressed in both in face-to-face and online classes. At the societal level, information technology widens the social inequality. The omnipresence of the digital divide (Carvin, 2000) - the gap between individuals, households, businesses and geographic areas at different socio-economic levels with regard to their opportunities to access information and communication technologies and to their use of the internet for a wide variety of activities is a contributor to inequality. This phenomenon makes the concepts of justice and equity a moral imperative in the midst of teaching and learning no matter in the face to face or online environments. Thus it is an important aspect to address and integrate the moral/ethical components into the TPCK as TPCMK.

The term “integration”, Hughes (2004) refers to the capacity of educators who understand, consider, and choose to use different knowledge bases only when they uniquely enhance the curriculum, instruction, and students’ learning. The integration can happen in the basic format, such as replacing an old technique, content, or pedagogy with a new one both in face-to- face and online environment. The next step is to magnify or enhance the functions of the original techniques, contents, or pedagogies. The last stage is transformation which generates a holistically integral of teaching and learning outcomes. The following section presents the three stages of integration.

Stage I – Specific knowledge base

At this stage, each base is a discrete unit of knowledge:
General institutionalized process knowledge- the materials (e.g., curricular, textbooks, finance) and the contextual settings of the school, community, and related organizations (Schulman, 1987, p. 9).
Pedagogical knowledge- the wisdom of carrying out the instructional objectives. It is the special province of teachers. It is the special form of professional understanding tied to broad principles and strategies in both online and on-ground teaching that transcends subject matters.
Content knowledge-the scholarship in content disciplines, such as content syntactic structure, and substantive structures (Grossman, 1990, p.5).
Technological knowledge-this knowledge is about standard technologies such as books and chalk and blackboard, as well as digitally or electronically based technologies relating to computer and Internet. This would involve with knowledge and skills associated with hardware and software required to operate particular technologies (Mishra & Koehler, 2006).
Moral/ethical knowledge- formally or informally attentive to the teaching and learning activities related to the issues of justice, equality, fairness, honesty, integrity, and Constitutionality in both online and face-to-face setting. Lickona (1991) identified the following facets of character education (for K-12) programs to assist teaching of character values within the school curricula:

1) a high expectation for responsible behavior
2) a process for implementing positive values when making decisions
3) visual reinforcement of character values to keep students focused on the words,
concepts and behaviors
4) a school culture that fosters positive peer recognition and empowers all members of the school community to exemplify behaviors consistent with respect and responsibility
5) parent, student and community involved in decision making of the character education programs.

Research suggests that teachers with high levels of moral professionalism have a deep sense of obligation to help students learn and to demonstrate their moral professionalism. However, some researches show that the value of compulsory ethics education as an intervention to improve the moral reasoning could be questionable (Netherlands, 2004).

Stage II-integrating more than two knowledge bases
At this level of integration, two or more knowledge bases are synergized to enhance the curriculum, instruction, and students’ learning. The term synergy refers to the phenomenon in which two or more discrete knowledge bases acting together create an effect greater than the predicted outcomes.

1. Pedagogical content integration (PCK)- conceptions of purposes for teaching subject
matter including knowledge of students’ understanding, curricular knowledge, and
knowledge of instructional strategies. Schulman (1987) points out that PCK represents
the amalgamation of content and pedagogy into an understanding of how particular
topics, problems, or issues are organized, represented, and adapted to the diverse
interests and abilities of learners, and presented for instruction (p. 8).
Pedagogical content technological integration (TPCK) – this is the capability of negotiating relationships among pedagogy, content, and technology that represents a form of expertise different from and greater than, the knowledge of a disciplinary expert, a technology expert, and a pedagogical expert. Effective technology integration for pedagogy around specific subject matter requires developing sensitivity to the dynamic, transactional relationship between all three components (Hughes, 2004).

Stage III – comprehensive knowledge based integration
At this stage, the pedagogical, content, technological, and moral/ethical knowledge
(TPCKM) would be integrated with the general educational or contextual knowledge. The genuine transformation of technology, pedagogy, content, and moral/ethical element happens at this stage. To provide integrated PCTKM to students could be perceived as the optimal goal of educators.

Conclusion and Discussion
In contemporary fast-paced societies, diverse learners throughout the world are demanding educational opportunities and quality assurance in an “anytime and anywhere” formats. Both public and private institutions are responding with ingenuity and devotion to meet such needs. Through last decades’ practice, both the traditional face-to-face and pure online learning have demonstrated their merits and weakness. In searching for the best features of these two main approaches, the hybrid model emerges as an alternative method. Via thoughtful curricular and instructional design the hybrid model addresses to a variety of learning styles in a wide range of formats. The ultimate goal of hybrid courses is to combine the best quality of face-to-face teaching with the best practices of online learning to promote active, ethical, and independent learning.

As an emerging trend, it is time to search for and construct a conceptual framework to support the future development. This PCTMK integration is such an attempt. Being at the starting point, the author recognizes the tremendous challenges and difficulties involved in each stage of implementation. At current stage, the framework at least can serve as a moral guideline in pursuing the optimal goals of teaching and learning. To materialize such framework requires great endeavors to reify each component’s condition, process, and procedure regarding when, how, who, what and where to make the integrations happening and functioning in the educational setting.


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