Tag Archives: psychomotor domain

Psychomotor Domain

In general, I think that we as teachers of architecture probably need to gain a better understanding of the processes of learning. I am a novice and an admitted lightweight in this arena, but I have been thinking a lot about it. I was introduced to Bloom’s taxonomy a couple of years ago by my dear friend, Jassen Callender.

I have been interested in the psychomotor domain of learning as it relates to learning about issues of sustainability/environmental engagement. I came across several systems, and I am trying to assess which one fits best within architectural education. Probably the most widely accepted is E.J. Simpson’s taxonomy. It is easy to see why. It goes beyond the development of a child’s skills, or the pure mechanistic response of reflex into the psychomotor contribution to learning. Simpson’s clearly stands out, because observation/perception is probably at the root to our understanding of the physical world. What is also interesting is that Simpson’s taxonomy acknowledges the fact that the cognitive and affective domains cannot be separated from the psychomotor, and incorporates that indivisibility in the set category.

I ask the question of my colleagues: how can we instill a body understanding of natural forces? I suppose part of the answer to that question is that students need to live some, for that aids perception. Coming close to drowning fighting one’s way out of a rip current, chopping wood, picking strawberries, these are life experiences that shape our perception of the natural world. Can we shape an understanding of the physical world? Can we construct a pedagogy of engagement that moves between the concrete and the abstract.

E. J. Simpson’s taxonomy:

Perception: The ability to use sensory cues to guide motor activity.  This ranges from sensory stimulation, through cue selection, to translation.

Set: Readiness to act. It includes mental, physical, and emotional sets. These three sets are dispositions that predetermine a person’s response to different situations (sometimes called mindsets).

Guided Response: The early stages in learning a complex skill that includes imitation and trial and error. Adequacy of performance is achieved by practicing.

Mechanism: This is the intermediate stage in learning a complex skill. Learned responses have become habitual and the movements can be performed with some confidence and proficiency.

Complex Overt Response: The skillful performance of motor acts that involve complex movement patterns. Proficiency is indicated by a quick, accurate, and highly coordinated performance, requiring a minimum of energy. This category includes performing without hesitation, and automatic performance. For example, players often utter sounds of satisfaction or expletives as soon as they hit a tennis ball or throw a football, because they can tell by the feel of the act what the result will produce.

Adaptation: Skills are well developed and the individual can modify movement patterns to fit special requirements.

Origination: Creating new movement patterns to fit a particular situation or specific problem. Learning outcomes emphasize creativity based upon highly developed skills.

R.H. Dave: this appears to nicely describe the act of acquiring a physical skill, like throwing a baseball or drawing.

Imitation — Observing and patterning behavior after someone else. Performance may be of low quality. Example: Copying a work of art.

Manipulation — Being able to perform certain actions by following instructions and practicing. Example: Creating work on one’s own, after taking lessons, or reading about it.
Precision — Refining, becoming more exact. Few errors are apparent. Example: Working and reworking something, so it will be “just right.”

Articulation — Coordinating a series of actions, achieving harmony and internal consistency. Example: Producing a video that involves music, drama, color, sound, etc.

Naturalization — Having high level performance become natural, without needing to think much about it. Examples: Michael Jordan playing basketball, Nancy Lopez hitting a golf ball, etc.

A.J. Harrow: this also describes the acquisition of skills, however, I like the final category: non-discursive skills. For artists, this category where the physical gains a level of communication is fundamental.

Reflex movements — Reflex movements are actions elicited without learning in response to some stimuli. Examples include: flexion, extension, stretch, postural adjustments.

Basic fundamental movements — Basic fundamental movements are inherent movement patterns which are formed by combining of reflex movements and are the basis for complex skilled movements. Examples are: walking, running, pushing, twisting, gripping, grasping, manipulating.

Perceptual — Perceptual refers to interpretation of various stimuli that enable one to make adjustments to the environment. Visual, auditory, kinesthetic, or tactile discrimination. Suggests cognitive as well as psychomotor behavior. Examples include: coordinated movements such as jumping rope, punting, or catching.

Physical activities — Physical activities require endurance, strength, vigor, and agility which produces a sound, efficiently functioning body. Examples are: all activities which require a) strenuous effort for long periods of time; b) muscular exertion; c) a quick, wide range of motion at the hip joints; and d) quick, precise movements.

Skilled movements — Skilled movements are the result of the acquisition of a degree of efficiency when performing a complex task. Examples are: all skilled activities obvious in sports, recreation, and dance.

Non-discursive communication — Non-discursive communication is communication through bodily movements ranging from facial expressions through sophisticated choreographics. Examples include: body postures, gestures, and facial expressions efficiently executed in skilled dance movement and choreographics.

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