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Dales Cone of Experience

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Dale’s Cone of Experience

Reporters: Hazel Sagabaen and Airah Nicole Batistiana

What is Dale’s cone of experience?


● The cone of experience is a pictorial device used to explain the interrelationships of the
various types of audio-visual media, as well as their individual “positions” in the learning
process.

● The cone's utility in selecting instructional resources and activities is as practical today as
when Dale created it.

Principles on the cone of Experience:


• The cone is based on the relationships of various educational experiences to reality (real
life), and the bottom level of the cone, "direct purposeful experiences," represents reality or
the closest things to real, everyday life.
• Motion pictures (also television) is where it is on the cone because it is an observational
experience with little or no opportunity to participate or use senses other than seeing and
hearing.
• Contrived experiences are ones that are highly participatory and simulate real-life situations
or activities.

Verbal Symbols
● principal medium of communication

● bear no physical resemblance to the objects or ideas for which they stand

● may be a word for concretion, idea, scientific principle, formula, or philosophic aphorism

● Disadvantage: highly abstract

Visual Symbols
• chalkboard/whiteboard, flat maps, diagrams, charts

• fits the tempo of presentation of the idea, topic, or situation

• very easy to procure and prepare

• Limitations: lack of ability to use the media size of visuals simplification of visual materials
leads to misconceptions
Recordings, Radio, Still Pictures
● attention-getting, particularly projected views attention-getting

● concretize verbal abstraction


● Limitations: the size of pictures or illustrations expensiveness of projected materials and
equipment timing difficulties between radio shows and classroom lessons

Television and Motion Pictures


• a solution to time and space constraints

• provides “windows to the world”

• effective for presenting movement, continuity of ideas or events

• substitute for dangerous direct learning experiences

• Limitations: Expensive viewing problems timing with classroom lessons 


misconceptions about time, size, and ideas

Exhibits
• present objects or processes otherwise impossible inside the classroom
• exposure to new ideas, discoveries, inventions
• problems that may be encountered: too little space time – consuming maintenance

Demonstrations
• visualized explanation of an important fact or idea or process
• may require nothing more than observation or students may be asked to do what has just been
shown how to do
• Disadvantages: ideas or processes might not be interpreted or conceived very well visible to
all learners

Field Trips
• undertaken primarily for the purpose of experiencing something that cannot be encountered
within the classroom
• a rich experience in learning about objects, systems, and situations
• Disadvantages: time-consuming expensive high exposure to danger /accidents inadequacy of
the community’s resources

Dramatized Experiences
• help get closer to certain realities that are no longer available at first hand
• stirring and attention-getting
• participant learns to understand intimately the character he portrays
• teaches cooperative work
• Disadvantages: time-consuming without commensurate results participation is limited to a few
individuals

Contrived Experiences
• an “editing” of reality • substitutes for confusing or unmanageable first–hand experiences
• easier to handle, manipulate or operate
• Disadvantages: simplification leads to misconceptions, distorted views, and incomplete
pictures of reality no freedom to handle expensive or fragile models, mock-ups, specimens, etc.

Direct, Purposeful Experiences


● unabridged version of life itself

● direct participation with responsibility for the outcome

● the basis for the most effective and lasting learning

● Disadvantage: not all things can be learned through direct, first-hand experience

Reference: Dale, E. (1954). Audio-Visual Methods in Teaching. NY: Dryden Press.

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