How We Think · John Dewey
SOME GENERAL CONCLUSIONS
No rules can be laid down for attaining the due balance and rhythm of these two phases of mental life. No ordinance can prescribe at just what point the spontaneous working of some unconscious attitude and habit is to be checked till we have made explicit what is implied in it. No one can tell in detail just how far the analytic inspection and formulation are to be carried. We can say that they must be carried far enough so that the individual will know what he is about and be able to guide his thinking; but in a given case just how far is that? We can say that they must be carried far enough to detect and guard against the source of some false perception or reasoning, and to get a leverage on the investigation; but such statements only restate the original difficulty. Since our reliance must be upon the disposition and tact of the individual in the particular case, there is no test of the success of an education more important than the extent to which it nurtures a type of mind competent to maintain an economical balance of the unconscious and the conscious. [Sidenote: The over-_analytic_ to be avoided] The ways of teaching criticised in the foregoing pages as false "analytic" methods of instruction (_ante_, p. 112), all reduce themselves to the mistake of directing explicit attention and formulation to what would work better if left an unconscious attitude and working assumption. To pry into the familiar, the usual, the automatic, simply for the sake of making it conscious, simply for the sake of formulating it, is both an impertinent interference, and a source of boredom. To be forced to dwell consciously upon the accustomed is the essence of ennui; to pursue methods of instruction that have that tendency is deliberately to cultivate lack of interest.
Sec. 2. _Process and Product_ [Sidenote: Play and work again] A like balance in mental life characterizes process and product. We met one important phase of this adjustment in considering play and work. In play, interest centers in activity, without much reference to its outcome. The sequence of deeds, images, emotions, suffices on its own account. In work, the end holds attention and controls the notice given to means. Since the difference is one of direction of interest, the contrast is one of emphasis, not of cleavage. When comparative prominence in consciousness of activity or outcome is transformed into isolation of one from the other, play degenerates into fooling, and work into drudgery. [Sidenote: Play should not be fooling,] By "fooling" we understand a series of disconnected temporary overflows of energy dependent upon whim and accident. When all reference to outcome is eliminated from the sequence of ideas and acts that make play, each member of the sequence is cut loose from every other and becomes fantastic, arbitrary, aimless; mere fooling follows. There is some inveterate tendency to fool in children as well as in animals; nor is the tendency wholly evil, for at least it militates against falling into ruts. But when it is excessive in amount, dissipation and disintegration follow; and the only way of preventing this consequence is to make regard for results enter into even the freest play activity.
In spite of many appearances to the contrary--usually due to social conditions of either undue superfluity that induces idle fooling or undue economic pressure that compels drudgery--childhood normally realizes the ideal of conjoint free mental play and thoughtfulness. Successful portrayals of children have always made their wistful intentness at least as obvious as their lack of worry for the morrow. To live in the present is compatible with condensation of far-reaching meanings in the present. Such enrichment of the present for its own sake is the just heritage of childhood and the best insurer of future growth. The child forced into premature concern with economic remote results may develop a surprising sharpening of wits in a particular direction, but this precocious specialization is always paid for by later apathy and dullness. [Sidenote: The attitude of the artist] That art originated in play is a common saying. Whether or not the saying is historically correct, it suggests that harmony of mental playfulness and seriousness describes the artistic ideal. When the artist is preoccupied overmuch with means and materials, he may achieve wonderful technique, but not the artistic spirit _par excellence_. When the animating idea is in excess of the command of method, aesthetic feeling may be indicated, but the art of presentation is too defective to express the feeling thoroughly. When the thought of the end becomes so adequate that it compels translation into the means that embody it, or when attention to means is inspired by recognition of the end they serve, we have the attitude typical of the artist, an attitude that may be displayed in all activities, even though not conventionally designated arts.
Naturally, these incidents are not told in order to encourage methods of teaching that appeal to the sensational, the extraordinary, or the incomprehensible. They are told, however, to enforce the point that the familiar and the near do not excite or repay thought on their own account, but only as they are adjusted to mastering the strange and remote. It is a commonplace of psychology that we do not attend to the old, nor consciously mind that to which we are thoroughly accustomed. For this, there is good reason: to devote attention to the old, when new circumstances are constantly arising to which we should adjust ourselves, would be wasteful and dangerous. Thought must be reserved for the new, the precarious, the problematic. Hence the mental constraint, the sense of being lost, that comes to pupils when they are invited to turn their thoughts upon that with which they are already familiar. The old, the near, the accustomed, is not that _to_ which but that _with_ which we attend; it does not furnish the material of a problem, but of its solution. [Sidenote: which, in turn, can be given only through the old] The last sentence has brought us to the balancing of new and old, of the far and that close by, involved in reflection. The more remote supplies the stimulus and the motive; the nearer at hand furnishes the point of approach and the available resources. This principle may also be stated in this form: the best thinking occurs when the easy and the difficult are duly proportioned to each other. The easy and the familiar are equivalents, as are the strange and the difficult. Too much that is easy gives no ground for inquiry; too much of the hard renders inquiry hopeless.
Text from Project Gutenberg, public domain in the United States.