Amusing Ourselves to Death (22 page)

Television offers a delicious and, as I have said, original alternative to all of this. We might say there are three commandments that form the philosophy of the education which television offers. The influence of these commandments is observable in every type of television programming—from “Sesame Street” to the documentaries of “Nova” and “The National Geographic” to “Fantasy Island” to MTV. The commandments are as follows:

 

Every television program must be a complete package in itself. No previous knowledge is to be required. There must not be even a hint that learning is hierarchical, that it is an edifice constructed on a foundation. The learner must be allowed to enter at any point without prejudice. This is why you shall never hear or see a television program begin with the caution that if the viewer has not seen the previous programs, this one will be meaningless. Television is a nongraded curriculum and excludes no viewer for any reason, at any time. In other words, in doing away with the idea of sequence and continuity in education, television undermines the idea that sequence and continuity have anything to do with thought itself.

 

In television teaching, perplexity is a superhighway to low ratings. A perplexed learner is a learner who will turn to another station. This means that there must be nothing that has to be remembered, studied, applied or, worst of all, endured. It is assumed that any information, story or idea can be made immediately accessible, since the contentment, not the growth, of the learner is paramount.

Of all the enemies of television-teaching, including continuity and perplexity, none is more formidable than exposition. Arguments, hypotheses, discussions, reasons, refutations or any of the traditional instruments of reasoned discourse turn television into radio or, worse, third-rate printed matter. Thus, television-teaching always takes the form of story-telling, conducted through dynamic images and supported by music. This is as characteristic of “Star Trek” as it is of “Cosmos,” of “Diff’rent Strokes” as of “Sesame Street,” of commercials as of “Nova.” Nothing will be taught on television that cannot be both visualized and placed in a theatrical context.

The name we may properly give to an education without prerequisites, perplexity and exposition is entertainment. And when one considers that save for sleeping there is no activity that occupies more of an American youth’s time than television-viewing, we cannot avoid the conclusion that a massive reorientation toward learning is now taking place. Which leads to the second point I wish to emphasize: The consequences of this reorientation are to be observed not only in the decline of the potency of the classroom but, paradoxically, in the refashioning of the classroom into a place where both teaching and learning are intended to be vastly amusing activities.

I have already referred to the experiment in Philadelphia in which the classroom is reconstituted as a rock concert. But this is only the silliest example of an attempt to define education as a mode of entertainment. Teachers, from primary grades through college, are increasing the visual stimulation of their lessons; are reducing the amount of exposition their students must cope with; are relying less on reading and writing assignments; and are reluctantly concluding that the principal means by which student interest may be engaged is entertainment. With no difficulty I could fill the remaining pages of this chapter with examples of teachers’ efforts—in some instances, unconscious—to make their classrooms into second-rate television shows. But I will rest my case with “The Voyage of the Mimi,” which may be taken as a synthesis, if not an apotheosis, of the New Education. “The Voyage of the Mimi” is the name of an expensive science and mathematics project that has brought together some of the most prestigious institutions in the field of education—the United States Department of Education, the Bank Street College of Education, the Public Broadcasting System, and the publishing firm Holt, Rinehart and Winston. The project was made possible by a $3.65 million grant from the Department of Education, which is always on the alert to put its money where the future is. And the future is “The Voyage of the Mimi.” To describe the project succinctly, I quote from four paragraphs in
The New York Times
of August 7, 1984:

The television programs have been broadcast over PBS; the books and computer software have been provided by Holt, Rinehart and Winston; the educational expertise by the faculty of the Bank Street College. Thus, “The Voyage of the Mimi” is not to be taken lightly. As Frank Withrow of the Department of Education remarked, “We consider it the flagship of what we are doing. It is a model that others will begin to follow.” Everyone involved in the project is enthusiastic, and extraordinary claims of its benefits come trippingly from their tongues. Janice Trebbi Richards of Holt, Rinehart and Winston asserts, “Research shows that learning increases when information is presented in a dramatic setting, and television can do this better than any other medium.” Officials of the Department of Education claim that the appeal of integrating three media-television, print, and computers—lies in their potential for cultivating higher-order thinking skills. And Mr. Withrow is quoted as saying that projects like “The Voyage of the Mimi” could mean great financial savings, that in the long run “it is cheaper than anything else we do.” Mr. Withrow also suggested that there are many ways of financing such projects. “With ‘Sesame Street,’” he said, “it took five or six years, but eventually you can start bringing in the money with T-shirts and cookie jars.”

We may start thinking about what “The Voyage of the Mimi” signifies by recalling that the idea is far from original. What is here referred to as “integrating three media” or a “multi-media presentation” was once called “audio-visual aids,” used by teachers for years, usually for the modest purpose of enhancing student interest in the curriculum. Moreover, several years ago, the Office of Education (as the Department was then called) supplied funds to WNET for a similarly designed project called “Watch Your Mouth,” a series of television dramatizations in which young people inclined to misuse the English language fumbled their way through a variety of social problems. Linguists and educators prepared lessons for teachers to use in conjunction with each program. The dramatizations were compelling—although not nearly as good as “Welcome Back, Kotter,” which had the unassailable advantage of John Travolta’s charisma—but there exists no evidence that students who were required to view “Watch Your Mouth” increased their competence in the use of the English language. Indeed, since there is no shortage of mangled English on everyday commercial television, one wondered at the time why the United States government would have paid anyone to go to the trouble of producing additional ineptitudes as a source of classroom study. A videotape of any of David Susskind’s programs would provide an English teacher with enough linguistic aberrations to fill a semester’s worth of analysis.

Nonetheless, the Department of Education has forged ahead, apparently in the belief that ample evidence—to quote Ms. Richards again—“shows that learning increases when information is presented in a dramatic setting, and that television can do this better than any other medium.” The most charitable response to this claim is that it is misleading. George Comstock and his associates have reviewed 2,800 studies on the general topic of television’s influence on behavior, including cognitive processing, and are unable to point to persuasive evidence that “learning increases when information is presented in a dramatic setting.”
²
Indeed, in studies conducted by Cohen and Salomon ; Meringoff; Jacoby, Hoyer and Sheluga; Stauffer, Frost and Rybolt; Stern; Wilson; Neuman; Katz, Adoni and Parness; and Gunter, quite the opposite conclusion is justified.
³
Jacoby et al. found, for example, that only 3.5 percent of viewers were able to answer successfully twelve true/false questions concerning two thirty-second segments of commercial television programs and advertisements. Stauffer et al. found in studying students’ responses to a news program transmitted via television, radio and print, that print significantly increased correct responses to questions regarding the names of people and numbers contained in the material. Stern reported that 51 percent of viewers could not recall a single item of news a few minutes after viewing a news program on television. Wilson found that the average television viewer could retain only 20 percent of the information contained in a fictional televised news story. Katz et al. found that 21 percent of television viewers could not recall any news items within one hour of broadcast. On the basis of his and other studies, Salomon has concluded that “the meanings secured from television are more likely to be segmented, concrete and less inferential, and those secured from reading have a higher likelihood of being better tied to one’s stored knowledge and thus are more likely to be inferential.”
⁴
In other words, so far as many reputable studies are concerned, television viewing does not significantly increase learning, is inferior to and less likely than print to cultivate higher-order, inferential thinking.

But one must not make too much of the rhetoric of grantsmanship. We are all inclined to transform our hopes into tenuous claims when an important project is at stake. Besides, I have no doubt that Ms. Richards can direct us to several studies that lend support to her enthusiasm. The point is that if you want money for the redundant purpose of getting children to watch even more television than they already do—and dramatizations at that—you have to escalate the rhetoric to Herculean proportions.

What is of greatest significance about “The Voyage of the Mimi” is that the content selected was obviously chosen because it is eminently
televisible.
Why are these students studying the behavior of humpback whales? How critical is it that the “academic themes” of navigational and map-reading skills be learned? Navigational skills have never been considered an “academic theme” and in fact seem singularly inappropriate for most students in big cities. Why has it been decided that “whales and their environment” is a subject of such compelling interest that an entire year’s work should be given to it?

I would suggest that “The Voyage of the Mimi” was conceived by someone’s asking the question, What is television good for?, not, What is education good for? Television is good for dramatizations, shipwrecks, seafaring adventures, crusty old sea captains, and physicists being interviewed by actor-celebrities. And that, of course, is what we have got in “The Voyage of the Mimi.” The fact that this adventure sit-com is accompanied by lavishly illustrated books and computer games only underscores that the television presentation controls the curriculum. The books whose pictures the students will scan and the computer games the students will play are dictated by the content of the television shows, not the other way around. Books, it would appear, have now become an audio-visual aid; the principal carrier of the content of education is the television show, and its principal claim for a preeminent place in the curriculum is that it is entertaining. Of course, a television production can be used to stimulate interest in lessons, or even as the focal point of a lesson. But what is happening here is that the content of the school curriculum is being determined by the character of television, and even worse, that character is apparently not included as part of what is studied. One would have thought that the school room is the proper place for students to inquire into the ways in which media of all kinds—including television—shape people’s attitudes and perceptions. Since our students will have watched approximately sixteen thousand hours of television by high school’s end, questions should have arisen, even in the minds of officials at the Department of Education, about who will teach our students how to look at television, and when not to, and with what critical equipment when they do. “The Voyage of the Mimi” project bypasses these questions ; indeed, hopes that the students will immerse themselves in the dramatizations in the same frame of mind used when watching “St. Elsewhere” or “Hill Street Blues.” (One may also assume that what is called “computer literacy” does not involve raising questions about the cognitive biases and social effects of the computer, which, I would venture, are the most important questions to address about new technologies.)

“The Voyage of the Mimi,” in other words, spent $3.65 million for the purpose of using media in exactly the manner that media merchants want them to be used—mindlessly and invisibly, as if media themselves have no epistemological or political agenda. And, in the end, what will the students have learned? They will, to be sure, have learned something about whales, perhaps about navigation and map reading, most of which they could have learned just as well by other means. Mainly, they will have learned that learning is a form of entertainment or, more precisely, that anything worth learning can take the form of an entertainment, and ought to. And they will not rebel if their English teacher asks them to learn the eight parts of speech through the medium of rock music. Or if their social studies teacher sings to them the facts about the War of 1812. Or if their physics comes to them on cookies and T-shirts. Indeed, they will expect it and thus will be well prepared to receive their politics, their religion, their news and their commerce in the same delightful way.