THEORIES AND

PRINCIPLES IN THE
USE AND DESIGN OF
TECHNOLOGY-
DRIVEN LESSON
• In this chapter, you will be acquainted with
different theories and learning principles
such as Dale’s Cone of Experience, the
TPACK Framework, SAMR and the ASSURE
model.
THE CONE OF EXPERIENCE
BY EDGAR DALE
Learning Outcomes
1. Familiarized with Dale’s Cone of Experience
and provided classroom processes or
practices that exemplify each strata of the
Cone of Experience.
2. Provided examples of the various
instructional materials appropriate for given
instructional contexts.
THE CONE OF EXPERIENCE
The Cone is a visual analogy and like
all analogies, it does not bear an
exact and detailed relationship to
the complex elements it
represents.
In preparing to become a teacher, there are elements that
should be taken into consideration. One way of putting it is
the 8M’s of teaching and each element contributes to
ensuring effective instruction.
• Milieu – the learning environment
• Matter – the content of learning
• Method – teaching and learning activities
• Material – the resources of learning
• Media – communication system
• Motivation – arousing and sustaining interest in learning
• Mastery – internalization of learning
• Measurement – evidence that learning took place
With reference to the 8 M’s of instruction, one
element is media. Another is material. These two
M’s (media and material) are actually the elements
of the Cone of Experience. Edgar Dale’s Cone of
Experience relates well with various instructional
media which form part of the systems’ approach to
instruction.
GROUP ACTIVITY
In your group, discuss the following:
1. How are the experiences of reality arranged in the
Cone of Experience?
2. Is the basis of the arrangement according to the
degree of difficulty or degree of abstraction?
3. Do the bands of experience follow a rigid, inflexible
pattern?
4. Does the Cone of Experience device mean that all
teaching and learning must move systematically
from base to pinnacle?
GROUP ACTIVITY
In your group, discuss the following:
5. Is one kind of sensory experience more
educationally useful than another?
6. Can we overemphasize the amount of direct
experience that is required to learn a new
concept?
7. Are the upper levels of the Cone of Experience
for the older student and the lower ones for
the children?
 EXPERIENCE
EDGAR DALE’S CONE OF
Verbal Symbols
Visual Symbols

Recordings, Radio Still Pictures

Motion Pictures

Educational Television

Exhibits

Study Trips

Demonstrations

Dramatized Experiences

Contrived Experiences

Direct Purposeful Experiences

HOW IS THE CONE OF
EXPERIENCE ARRANGED?
First introduced in Dale’s 1946
book, Audio-Visual Methods in
Teaching.
Designed to “show the progression of
learning experiences” from the
concrete to the abstract.
DALE (1969)

The pattern of arrangement of the bands

of experience is not difficulty but degree of
abstraction – the amount of immediate sensory
participation that is involved. A still photograph
of a tree is not more difficult to understand
than a dramatization of Hamlet. It is simply in
itself a less concrete teaching material than the
dramatization…
DALE (1969)

In our teaching, then, we do not always

begin with direct experience at the base of the
Cone. Rather, we begin with the kind of
experience that is most appropriate to the
needs and abilities of particular learning
situation. Then, of course, we vary this
experience with many other types of learning
activities.
 MISCONCEPTIONS OF THE CONE

• All teaching/learning must move from the bottom to the

top of the Cone.
• One kind of experience on the Cone is more useful than
another
• More emphasis should be put on the bottom levels of the
Cone
• The upper level of the Cone is for older students while the
lower levels are for younger students
 DIRECT PURPOSEFUL EXPERIENCES
• “First hand Experiences”
• Students have direct participation in the outcome
• Use of all our senses
Examples:
 Baking
 Practice Teaching
 CONTRIVED EXPERIENCES
 Here, we make use of a models and mock-
ups of reality.
 “Edited copies of reality”
 Necessary when real experience cannot
be used or are too complicated.
 Examples
 Conducting election of class and school officers
 Planetarium
 MODELS

GAMES MOCK UPS

CONTRIVED
EXPERIENCES

SIMULATIONS OBJECTS

SPECIMENS
 DRAMATIZED EXPERIENCES
 “Reconstructed Experiences”
 Can be used to simplify an event or idea to its most important
parts.
 Divided into two categories
 Acting (Role Playing)– actual participation (more concrete)
 Observing – watching a dramatization take place (more abstract)

Other forms:
1. Plays
2. Puppets
3. Pageant
4. Pantomime
5. Tableau
 DEMONSTRATIONS
• Showing how things are done.
• How to make a peanut butter and jelly sandwich
• How to play the piano
• A visualized explanation of an important fact, idea or
process by the use of photographs, drawings, films,
displays, or guided motions.
• Demonstrations are a great mixture of concrete
hands-on application and more abstract verbal
explanation.
 STUDY TRIPS
• These are excursions, educational
trips, and visits conducted to observe
an event that is unavailable within
the classroom.
• Watch people do things in real
situations
Example: Field Study
• These are displays to be seen by spectators.
• May consist of working models, charts and
posters.
• Sometimes are “for your eyes only”. More on
visual.
Two types
 Ready made
○ Museum
○ Career fair
 Home-made
○ Classroom project
○ National History Day competition
 EDUCATIONAL TELEVISION AND
MOTION PICTURES
Television
 Bring immediate interaction
with events from around the
world
 Edit an event to create clearer
understanding than if
experienced actual event first
hand
 Example:
 TV coverage of SONA
 News
Motion Pictures
 Can omit unnecessary or
unimportant material
 Used to slow down a fast
process
 Viewing, seeing and hearing
experience
 Can re-create events with
simplistic drama that even
slower students can grasp
Example:
The movie Rizal
• Television and motion pictures can
reconstruct the reality of the past so
effectively that we are made to feel we
are there.
• The unique value of the messages
communicated by film and television lies
in their feeling of realism, their emphasis
on persons and personality, their
organized presentation, and their ability
to select, dramatize, highlight, and clarify.
 RECORDINGS, RADIO
STILL PICTURES
 Can often be understood by those who cannot read.
 Helpful to students who cannot deal with the motion or pace of
a real event or television
 These are visual or auditory devices which maybe used by an
individual or a group.
 Examples:
 Radio Drama
 Songs
 Listening to pronunciations
 Magazines
 VISUAL SYMBOLS
These are more abstract
representations of the concept or the
information and no longer realistic
reproduction of physical things.
 STRIP
MAPS DRAWINGS
GRAPHS

DRAWINGS
VISUAL CHARTS
SYMBOLS

CARTOONS
DIAGRAMS
POSTERS
 VERBAL SYMBOLS

• They are not like the objects or ideas for which they
stand. They usually do not contain visual clues to their
meaning.
• Written words fall under this category. It may be a word
for a concrete object (book), an idea (freedom of
speech), a scientific principle (the principle of balance), a
formula (e=mc2)