This text introduces readers to definitions and examples of arts-based educational research, presents tensions and questions in the field, and provides exercises for practice. It weaves together critical essays about arts-based research in the literary, visual, and performing arts with examples of artistic products of arts-based research (arts for scholarship's sake) that illuminate by example. Each artistic example is accompanied by a scholARTist's statement that includes reflection on how the work of art relates to the scholar's research interests and practices. (...) Arts-Based Research in Education: Foundations for Practice: helps the reader understand what arts-based research is - tracing the history of the field and providing examples; includes end-of-chapter questions to engage students in practicing arts-based inquiry and to generate class discussion about the material; features a diverse range of contributors -- very established scholars in educational and social science research as well those new to the field; represents a variety of voices - scholars of color, queer and straight orientations, different ages, experience, and nationalities; and presents beautiful illustrations of visual art, data-based poems, plays, short stories, and musical scores. First-of its kind, this volume is intended as a text for arts-based inquiry, qualitative research methods in education, and related courses, and as a resource for faculty, doctoral students, and scholars across the field of social science research methods. (shrink)

This volume has 41 chapters written to honor the 100th birthday of Mario Bunge. It celebrates the work of this influential Argentine/Canadian physicist and philosopher. Contributions show the value of Bunge’s science-informed philosophy and his systematic approach to philosophical problems. The chapters explore the exceptionally wide spectrum of Bunge’s contributions to: metaphysics, methodology and philosophy of science, philosophy of mathematics, philosophy of physics, philosophy of psychology, philosophy of social science, philosophy of biology, (...) class='Hi'>philosophy of technology, moral philosophy, social and political philosophy, medical philosophy, and education. The contributors include scholars from 16 countries. Bunge combines ontological realism with epistemological fallibilism. He believes that science provides the best and most warranted knowledge of the natural and social world, and that such knowledge is the only sound basis for moral decision making and social and political reform. Bunge argues for the unity of knowledge. In his eyes, science and philosophy constitute a fruitful and necessary partnership. Readers will discover the wisdom of this approach and will gain insight into the utility of cross-disciplinary scholarship. This anthology will appeal to researchers, students, and teachers in philosophy of science, social science, and liberal education programmes. 1. Introduction Section I. An Academic Vocation Section II. Philosophy Section III. Physics and Philosophy of Physics Section IV. Cognitive Science and Philosophy of Mind Section V. Sociology and Social Theory Section VI. Ethics and Political Philosophy Section VII. Biology and Philosophy of Biology Section VIII. Mathematics Section IX. Education Section X. Varia Section XI. Bibliography. (shrink)

In this paper I address some questions pertinent to the development of school art education. I begin by considering how we relate to art and how we might understand the notion of this relation in terms of human subjectivity and the art object. To do this I describe particular art practices that have broadened social conceptions of art, which in turn, become part of art itself and shape performances of understanding, learning and practice. Implicit to this discussion is a (...) change in how artists, art practice and engagement with art are conceived. I then consider some art events in school art education and analyse how human subjects, art practices and objects are understood in this context. This leads to further remarks about how learners and practice in school art education might be discerned in the light of the preceding discussion. (shrink)

In this paper I address some questions pertinent to the development of school art education. I begin by considering how we relate to art and how we might understand the notion of this relation in terms of human subjectivity and the art object. To do this I describe particular art practices that have broadened social conceptions of art, which in turn, become part of art itself and shape performances of understanding, learning and practice. Implicit to this discussion is a (...) change in how artists, art practice and engagement with art are conceived. I then consider some art events in school art education and analyse how human subjects, art practices and objects are understood in this context. This leads to further remarks about how learners and practice in school art education might be discerned in the light of the preceding discussion. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Art, Artists and Pedagogy. Philosophy and the Arts in Education ed. by Christopher Naughton, Gert Biesta, David R. ColeAnnette ZiegenmeyerChristopher Naughton, Gert Biesta, and David R. Cole, eds., Art, Artists and Pedagogy. Philosophy and the Arts in Education (New York: Routledge, 2018)The question about the role and purpose of the arts in education in the twenty-first century is an important issue being currently (...) discussed in various publications.1 Despite many valuable approaches about how to reflect on the challenges arts and education face today, no adequate and sustainable solution seems to have been worked out yet.In their book Art, Artists and Pedagogy, Christopher Naughton, Gert Biesta and David R. Cole (editors) and other co-authors explore new ways to rethink arts education in the twenty-first century via two main philosophies in education. The first one is based on Gert Biesta’s work, The Rediscovery of Teaching, that focuses on the relation of the arts to the world and on what kind of society we may wish to envisage by using concepts such as “grown-up-ness” and “middle ground.”2 The second one is based on Gilles Deleuze and Félix Guattari, who provide a theoretical framework to look more deeply into the influence of state and global capital when taking decisions on how art education should develop in the future. Within their different positions, both philosophies also complement each other by sharing some relevant aspects concerning, for example, the value of arts in society. [End Page 104]Besides the editors who are leading academics in the arts, philosophy, and education, most of the co-authors are established professors and senior lecturers from Australia, New Zealand, Canada, and the USA. Considering the fact that the book is intended for educators who teach the arts at different age-levels in schools and universities or for artists working in the community, it is surprising that there are not more voices of contemporary artists and teachers integrated in the publication to capture the philosophical discourse being perceived from their viewpoints. This could add an interesting counterpoint to the philosophical approaches and thus widen the perspective on the subject.The book comprises fifteen chapters which can be read either individually or sequentially. In the introductory chapter, Biesta reflects on the potential of the arts in an era of growing economization of education. Representing the exploration and transformation of our desires, the arts can thus become a positive force for the ways in which we seek to exist in the world in grown-up modes. As a consequence, Biesta suggests an “approach of resistance in how we engage with others and how we come to terms with our own desires and those of the others.”3 He sees the work of the teacher as “interruptive” in that it raises the question about which desires appear to be helpful towards existing in a grown-up way in the world.4Many articles in the book use aspects of Biesta’s philosophy as a (methodological) starting point and lens to further develop their approach. To begin with, Mary Ann Hunter reflects on Biesta’s concept of “interruption” by examining how school partnerships with artists can be valued as a necessary interruption.5 According to Hunter, the way artists act “unteacherly” presents a chance to interrupt the regulatory practices of schooling and to thus ameliorate some of the negative impacts of assessment-focused teaching. Julianne Moss and Anne-Marie Morrissey also refer to Biesta, but concentrate on issues of identity and subjectivity by showing how the teacher comes to terms with herself, her desires, and those of the students (by mitigating her own knowledge and skills with those of her class). Robyn Ewing and John Saunders focus on the concept of grown- up-ness. With reference to a drama project with children from a primary school in the context of an Australian teacher professional learning program, Ewing and Saunders show that the process of co-creating drama work with children provides an open space within teaching where “transformative learning” can be experienced. Nico de Vos focuses on another interesting aspect by bringing in the philosophical idea of bodily connectedness in... (shrink)

The oral eye is a metaphor for the dominance of global designer capitalism. It refers to the consumerism of a designer aesthetic by the 'I' of the neoliberalist subject, as well as the aural soundscapes that accompany the hegemony of the capturing attention through screen cultures. An attempt is made to articulate the historical emergence of such a synoptic machinic regime drawing on Badiou, Bellmer, Deleuze, Guattari, Lacan, Rancir̈e, Virilio, Ziarek, and Zizek to explore contemporary art (post-Situationism) and visual cultural (...) education. Jagodzinski develops the concept of an 'avant-garde without authority,' 'self-refleXion' and 'in(design)' to further the questions surrounding the posthuman as advanced by theorists such as Hansen, Stiegler and Ziarek's 'force' of art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.4 (2004) 71-80 [Access article in PDF] The Arts and the Creation of Mind: Eisner's Contributions to the Arts in Education Arthur Efland Professor Emeritus, Department of Art Education The Ohio State University In the last four years at least three books in arts education have dealt with the subject of cognition in relation to the arts. I refer to (...) Charles Dorn's Mind in Art, my book Art and Cognition, and Elliot Eisner's The Arts and the Creation of Mind, with the publication of the latter providing the occasion for this article.1 Each of these texts makes its case for the arts in education on somewhat similar grounds. All three share the view that the creation and understanding of works of art, though endowed with feeling and emotion, are nevertheless cognitive endeavors. But why have so many books appeared on the topic of cognition at this time? To answer this question it becomes necessary to describe the changes in our understanding of cognition and the problems these have created for the arts in education.Once cognition was the term used to designate propositional thinking with verbal and numerical symbols, whereas the current sense of the term embraces all forms of thought including mental images obtained through perception. In short it includes all forms of sentience by which the human organism comes to know itself and its environment. This change was to have a major impact upon curriculum reform initiatives in all studies but it was to have a revolutionary impact upon education in the arts for reasons explained later in this essay. However, an adequate story of cognition in the arts cannot be told without a discussion of Eisner's contributions to this discourse. The Waning of Behaviorism For the first half of the twentieth century the psychology that dominated educational practice was behaviorism. Its proponents included psychologists like Edward L. Thorndike, James B. Watson, and B.F. Skinner.2 Each strove to create a science of psychology that would match the rigor of physics or chemistry, where causes in relation to effects would be carefully observed and measured, making the explanation, prediction, and control of phenomena possible, especially those behaviors that fall under the control of the classroom teacher. The formation of connections called stimulus-response (S-R) bonds had become the molar unit to explain learning, much [End Page 71] like the way that differences in the structure of the atom was used to explain the behavior of the chemical elements of the Periodic Table. This bond between environmental stimuli and the organism's response was seen as the elementary unit of behavior while the IQ had become its measure. Invisible notions like mind and imagination were banished to metaphysical philosophy, outside the legitimate bounds of science.Though behaviorists never denied the existence of higher order thinking that is, abstract, sense-free thinking as found in pure mathematics, they were unable to explain how these human capacities emerge through the accumulation of such rudimentary stimulus-response events. Nevertheless, they recognized that humans do have a capacity for thinking that relies heavily upon symbols like words, numbers and the like. Moreover, certain subjects that require reason and logic, like math and theoretical physics, would be inconceivable without such symbols and the rules by which these are manipulated. By contrast it was assumed that the arts, which relied on sensory images, either did not employ this type of propositional thought, or did so to a far lesser degree. Thus the arts could be dispatched to the noncognitive or affective domains with little or no reduction in the learner's cognitive capacities. Indeed, these noncognitive realms, which gave play to feelings and emotions, were often seen as inimical to the acquisition of rational powers of thought. Intellectual power as it was then understood, required that feelings and emotions be brought under the control of reason.As long as behaviorism served as the dominant paradigm, the school curriculum could be divided into two or three broad divisions... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.4 (2004) 71-80 [Access article in PDF] The Arts and the Creation of Mind: Eisner's Contributions to the Arts in Education Arthur Efland Professor Emeritus, Department of Art Education The Ohio State University In the last four years at least three books in arts education have dealt with the subject of cognition in relation to the arts. I refer to (...) Charles Dorn's Mind in Art, my book Art and Cognition, and Elliot Eisner's The Arts and the Creation of Mind, with the publication of the latter providing the occasion for this article.1 Each of these texts makes its case for the arts in education on somewhat similar grounds. All three share the view that the creation and understanding of works of art, though endowed with feeling and emotion, are nevertheless cognitive endeavors. But why have so many books appeared on the topic of cognition at this time? To answer this question it becomes necessary to describe the changes in our understanding of cognition and the problems these have created for the arts in education.Once cognition was the term used to designate propositional thinking with verbal and numerical symbols, whereas the current sense of the term embraces all forms of thought including mental images obtained through perception. In short it includes all forms of sentience by which the human organism comes to know itself and its environment. This change was to have a major impact upon curriculum reform initiatives in all studies but it was to have a revolutionary impact upon education in the arts for reasons explained later in this essay. However, an adequate story of cognition in the arts cannot be told without a discussion of Eisner's contributions to this discourse. The Waning of Behaviorism For the first half of the twentieth century the psychology that dominated educational practice was behaviorism. Its proponents included psychologists like Edward L. Thorndike, James B. Watson, and B.F. Skinner.2 Each strove to create a science of psychology that would match the rigor of physics or chemistry, where causes in relation to effects would be carefully observed and measured, making the explanation, prediction, and control of phenomena possible, especially those behaviors that fall under the control of the classroom teacher. The formation of connections called stimulus-response (S-R) bonds had become the molar unit to explain learning, much [End Page 71] like the way that differences in the structure of the atom was used to explain the behavior of the chemical elements of the Periodic Table. This bond between environmental stimuli and the organism's response was seen as the elementary unit of behavior while the IQ had become its measure. Invisible notions like mind and imagination were banished to metaphysical philosophy, outside the legitimate bounds of science.Though behaviorists never denied the existence of higher order thinking that is, abstract, sense-free thinking as found in pure mathematics, they were unable to explain how these human capacities emerge through the accumulation of such rudimentary stimulus-response events. Nevertheless, they recognized that humans do have a capacity for thinking that relies heavily upon symbols like words, numbers and the like. Moreover, certain subjects that require reason and logic, like math and theoretical physics, would be inconceivable without such symbols and the rules by which these are manipulated. By contrast it was assumed that the arts, which relied on sensory images, either did not employ this type of propositional thought, or did so to a far lesser degree. Thus the arts could be dispatched to the noncognitive or affective domains with little or no reduction in the learner's cognitive capacities. Indeed, these noncognitive realms, which gave play to feelings and emotions, were often seen as inimical to the acquisition of rational powers of thought. Intellectual power as it was then understood, required that feelings and emotions be brought under the control of reason.As long as behaviorism served as the dominant paradigm, the school curriculum could be divided into two or three broad divisions... (shrink)

Kevin Williams; Are We Too Defensive about the Place of the Arts in Education?, Journal of Philosophy of Education, Volume 29, Issue 1, 30 May 2006, Pages 149–1.

This article explores the contrasting arguments for the place of the arts in education made by the two distinguished arts educators—the American Elliot Eisner and British dance and physical education theorist Graham McFee. Both scholars begin with the premise that the arts should be central to a liberal education and then diverge. McFee argues, from his success in seeing dance as part of the National Curriculum in the UK, that a conceptually precise and closely focused philosophical rationale (...) is critical, whereas Eisner takes the opposite path—arguing for the inclusion of the arts because they embody the most profoundly central task of all education—the nuanced development of mind. (shrink)

This paper describes an experimental course in the preparation of art teachers. The goal of the course was to engage final-year art students in thinking about the fundamental questions in aesthetic education and in considering various views of their roles as teachers of art. The classes presented a dialogue between two teachers: a philosopher of art and an artist. We discussed the social justification of art, the place of art in education and more generally the portrayal of visual (...) culture in philosophical thought. The bibliography for the course comprised a list of basic texts in aesthetic education, from Friedrich Schiller to Nelson Goodman. In class we linked the range of philosophical views examined to the artistic exploration of themes (mainly in contemporary and local art). The course also incorporated guest speakers who presented their own projects relating to different meeting points of art and education, including social-activist artists, curators, philosophers of education and school architects. The article presents the rationale for the course, its method and a sample of its content. (shrink)

Cover -- Half Title -- Title Page -- Copyright Page -- Table of contents -- Contributors -- Introduction -- 1 From place to planet: The role of the language arts in reading environmental identities from the UK to New Zealand -- From here to there -- Cockney translation -- Environmental identities -- Environmental knowledge -- Conclusion: moving from place to planet -- Notes -- References -- 2 Connecting community through film in ITE English -- Introduction -- The place of English (...) in the contemporary policy context -- Place in English: doing things differently -- The film project -- The films -- 'Our Place': the Kingsville School -- 'This is Our Place': High Bridge -- 'This is My Place': Silver Hill -- Discussion -- The place of school -- The place of the subject -- The place of pupils -- Connecting community through film: the possibilities of place -- Note -- References -- 3 Muslim youth identities through devotional songs and poetry in South Yorkshire communities -- Introduction 1: creative language study as etiolation -- Introduction 2: faith-based complementary schooling and language heritage -- Introduction 3: Islamophobia and youth identity -- Poetry and 'song' in the Islamic world and among Muslim youth in the UK -- This study -- Conclusion -- Notes -- References -- 4 Creative spaces for developing independent writing with English teachers -- Why do we need to develop teachers as creative writers? -- The role and influence of the National Writing Project -- The writing identities of trainee teachers -- Writing in creative spaces -- Some conclusions: writing teachers in creative spaces -- Writing from the Georgian House -- Writing from Brandon Hill -- Notes -- References -- 5 Durham city as an educational resource in initial teacher education for English: Seeing the city with new eyes -- Context -- The activity -- Implications. (shrink)

This volume explores the deeply interwoven connection of education, art and nature in the context of East Asia. With contributions from authors in South Korea, Japan and Taiwan, the book considers unnoticed but significant themes involved in the interplay of nature, art, and education. It manifests how nature and art can educate, and how education and nature play the role of art. The chapters explore a range of themes relevant to East Asian characteristics, including skill acquisition, Japanese (...) calendar arts and ritual of feelings, garden architecture, the ritualised body, collaborative poetry art, translational language between humans and nature, the Confucian classical Six Arts, the artistic embodiment of the Kyoto School, and the heritage art based education in Korea. The authors examine these themes in novel ways to bring to light the relevance of the East Asian insights to the contemporary global world. This book is an outstanding resource to all researchers, scholars, and students interested in educational aesthetics, philosophy of education, East Asian studies, comparative education and intercultural education. (shrink)

What good is art? What is the point of a university education? Can philosophers contribute anything to social liberation? Such questions, both ancient and urgent, are the pulse of reformational philosophy. Inspired by the vision of the Dutch religious and political leader Abraham Kuyper, reformational philosophy pursues social transformation for the common good. In this companion volume to Religion, Truth, and Social Transformation, Lambert Zuidervaart presents a socially engaged philosophy of the arts and higher education. (...) Interacting with the ideas of leading Kuyperian thinkers such as Calvin Seerveld and Nicholas Wolterstorff, Zuidervaart shows why renewal in the arts needs to coincide with political and economic transformation. He also calls for education and research that serve the common good. Deeply rooted in reformational philosophy, his book brings a fresh and inspiring voice to current discussions of religious aesthetics and Christian scholarship. Art, Education, and Cultural Renewal is a testament to the practical and intellectual richness of a unique religious tradition, compelling in its call for social solidarity and cultural critique. (shrink)

There appear to be various respects in which the outdoor environment has been regarded as significant for education in general and moral education in particular. Whereas some educationalists have considered the environment to be an important site of character development, others have regarded attention to conservation and sustainable development as pressing moral educational concerns in a world of widespread human environmental abuse. The following paper argues that approaches to environmental education that proceed by way of character (...) class='Hi'>education or environmental ethics may yet fall short of the central goal of promoting intrinsic appreciation of nature and the outdoors, and explores an alternative strategy focused on exposure to the arts. (shrink)

Peter Kivy is the author of many books on the history of art and, in particular, the aesthetics of music. This collection of essays spans a period of some thirty years and focuses on a richly diverse set of issues: the biological origins of music, the role of music in the liberal education, the nature of the musical work and its performance, the aesthetics of opera, the emotions of music, and the very nature of music itself. Some of these (...) subjects are viewed as part of the history of ideas, others as current problems in the philosophy of art. A particular feature of the volume is that Kivy avoids the use of musical notation so that no technical knowledge at all is required to appreciate his work. The essays will prove enjoyable and insightful not just to professionals in the philosophy of art and musicologists, or to musicians themselves, but also to any motivated general reader with a deep interest in music. (shrink)

There appear to be various respects in which the outdoor environment has been regarded as significant for education in general and moral education in particular. Whereas some educationalists have considered the environment to be an important site of character development, others have regarded attention to conservation and sustainable development as pressing moral educational concerns in a world of widespread human environmental abuse. The following paper argues that approaches to environmental education that proceed by way of character (...) class='Hi'>education or environmental ethics may yet fall short of the central goal of promoting intrinsic appreciation of nature and the outdoors, and explores an alternative strategy focused on exposure to the arts. (shrink)

Increased attention to the relationship between democracy and education in the UK has been accompanied over the past thirteen years by an interest in how art can be used to promote democratic citizenship.While this approach has led to increased funding for the arts, it is not without its problems,and has often entailed an apolitical and instrumentalist view of both art and education. This paper turns to the political philosophy of Mouffe and Rancière, the work of Rancière in (...) aesthetics, and Biesta’s educational philosophy to develop an alternative way of understanding the significance of art for democracy and education. Building on their work, I take a performative and collective view of democratic subjectivity as the basis on which to construct this alternative understanding. I further argue that this conceptualisation can aid our understanding of democratic learning and our ability to provide opportunities for it through art and educational practice. (shrink)

14 lectures and talks, Ilkley, Yorkshire, August 5-17, 1923 (CW 307) In this fine introduction to Waldorf education, written out of a series of lectures given in 1924, Steiner provides one of the most comprehensive introductions to his pedagogical philosophy, psychology, and practice. Steiner begins by describing the union of science, art, religion and morality, which was the aim of all his work and underlies his concept of education. Against this background, many of the lectures describe a (...) new developmental psychology. On this basis, having established how children's consciousness develops, Steiner discusses how different subjects should be presented so that individuals can grow and flourish inwardly. Only if the child absorbs the right subject in the right way at the right time can the inner freedom so necessary for life in the modern world become second nature. Contents: Introduction by Christopher Bamford Science, Art, Religion, Morality The Principles of Greek Education Greek Education and the Middle Ages Spirit's Relationship to the Body Freeing Volition in the Human Organism Walking, Speaking, Thinking Rhythm, Sleep, Imitation Reading, Writing, Nature Study Arithmetic, Geometry, History Physics, Chemistry, Handwork, Language, Religion Memory, Temperaments, Physical Education, Art Education toward Inner Freedom The Three Eras of Human Religious Education Closing Address Index "Readers of Steiner's lectures printed here will be 'quietly astonished' and 'genuinely enthusiastic.' After an introduction, in which he speaks of reuniting science (intellectual knowledge), art, and morality once again, he turns to the principles of Greek education, in which body, soul, and spirit were still a unity. He then traces the development through the Middle Ages, during which new, evolving elements were added. In our time, he says, we must understand the concrete connection of the spirit with the human being, so that thinking, feeling, and willing can once more become alive. He relates this to the child's developmental stages, as well as the human basics such a sleeping and waking. Then he turns to the specifics of the curriculum: reading, writing, nature study, arithmetic, geometry, history physics, chemistry, crafts, language, and religion. Finally, he turns to memory, the temperaments, physical culture, art, and the actual organization of a Waldorf school--to which this volume is, all in all, one of the best introductions." --Christopher Bamford, from his introduction German source: Gegenw rtiges Geistesleben und Erziehung (GA 307). Previous English edition: Education and Modern Spiritual Life. (shrink)

Claude P. Bruter (editor), Mathematics in Art: Mathematical Visualization in Art and Education, Springer-Verlag, New York, 2002, pp. X + 337, ISBN 3-540-43422-4.

An exploration of Rudolf Steiner's recommendation that class teachers create verses for their pupils to be inserted into their annual school reports.

In lieu of an abstract, here is a brief excerpt of the content:A Wittgensteinian Approach to Discerning the Meaning of Works of Art in the Practice of Critical and Contextual Studies in Secondary Art EducationLeslie Cunliffe (bio)In order to get clear about aesthetic words you have to describe ways of living.Wittgenstein, Lectures and Conversations on Aesthetics, Psychology and Religious Belief1Language is a labyrinth of paths. You approach from one side and know your way about; you approach the same place from (...) another side and no longer know your way about.Wittgenstein, Philosophical Investigations2IntroductionThis article explores a Wittgensteinian approach for dealing with the meaning of works of art in the practice of critical and contextual studies in art education. The article is aimed at developing a methodology for eleven to nineteen year olds, known in the UK as the secondary phase of education, but the approach could be generalized to other educational phases.Henry Finch3 interprets four references to meaning found in Ludwig Wittgenstein's philosophy of language as a quadrant that combines the horizontal axis of meaning as physiognomies (the experiential and visual) and meaning as constructions (concepts, uses, science, and mathematics), with a vertical axis of meaning as imperatives (rule following, obligations, and law) and meaning as custom (ceremonies, myths, and ritual).4 The quadrant represents Finch's understanding of Wittgenstein's views about how language serves a different but complementary role in the way human beings engage [End Page 65] with meaning in the world and their place in it.5 Such meanings are embedded in social practices, including first-person responses to a physiognomy, although these start off as biologically primed reactions.Michael Luntley argues that Wittgenstein's philosophy of language and the related remarks on perception should be understood as setting conditions for the possibilities of judgment in "seeing the world aright, in taking the right attitude to the world"6 rather than simply mapping the possibilities of meaning, as the former underscores the role of will7 in the way meaning is actively witnessed and ethically processed by an agent. Having the right view is still only a view, but for Wittgenstein this amounted to an immense ethical and philosophical project to see things accurately and in correct relationship to each other. Such perspectival stances result from an agent's capacity to selectively engage with meaning, with a more unitary understanding resulting from criss-crossing the same territory from different points of view. Wittgenstein's four references to meaning can be thought of as forming four different points on a compass that direct the "self-as-will engaged with that which is independent of will "8 in a quest to see things aright. By extension, such an approach could be used in art education to enable students to develop the dispositions to see works of art aright.Marcia Eaton describes the tension between epistemic and interpretative approaches to the meaning of works of art in this way: "In which direction should one go? In other words, how can judgments which seem so personal (relative, subjective, etc.) also play a role in interpersonal (absolute, objective, etc.) language games?"9 Michael Podro gives a similar description of the apparent tension between a context-bound analysis of works of art and their irreducible and autonomous qualities as like "constantly treading a tightrope."10 Ralph Smith highlights the difference "between having knowledge about art and personally experiencing its presence and power."11Ben Tilghman12 advocates a Wittgensteinian way of going beyond these twofold approaches for understanding and interpreting art by focusing on the role that ponderable and imponderable evidence play in achieving the right stance when attempting to condense the meaning of works of art. Following Wittgenstein, Tilghman argues that a judgment based on imponderable evidence can often be supported by ponderable evidence, a process that is always linked to the relative experience, knowledge, and wisdom of the person making the judgment. Wittgenstein's four references to meaning could be thought of as points on a compass for directing the will in fittingness when endeavoring to understand the role and relationship of ponderable and imponderable evidence in any attempt to see works of art aright. But before these ideas can be... (shrink)

educational judgments Education, like art, politics, science, and other activities on which men pinned their highest hopes, has become the object of heated ...

In lieu of an abstract, here is a brief excerpt of the content:Art in Social Studies: Exploring the World and Ourselves with RembrandtIftikhar Ahmad (bio)IntroductionRembrandt’s art lends itself as a fertile resource for teaching and learning social studies. His art not only captures the social studies themes relevant to the Dutch Golden Age, but it also offers a description of human relations transcending temporal and spatial frontiers. Rembrandt is an imaginative storyteller with a keen insight for minute details. His narrative (...) of the culture, society, economy, geography, and contemporary events of seventeenth-century Dutch life is as vivid and perceptive as a historian’s eloquent text. How people lived in community, how the city of Amsterdam functioned, how important religion was to people, how diverse and cosmopolitan the culture was, how interdependent the world was in the seventeenth century, and what the social and civic ideals of the Dutch people were during the Golden Age—Rembrandt’s paintings, etchings, and drawings neatly organize these and other social studies themes into visual messages. More importantly, our appreciation and interpretation of Rembrandt’s work helps us learn about not just Dutch society and culture of four hundred years ago but also about ourselves. The passion, emotions, conflicts, and inspirations of his subjects are essentially human and eternal, arousing empathy in every generation and cross-section of society. In this article I look at Rembrandt’s art for the purpose of teaching and learning social studies in our contemporary interdependent world—a world that is chronologically and geographically distant from the Dutch Golden Age but in many respects shares its enduring values, norms, ideals, pursuits, challenges, and possibilities. To do so, I employ a conceptual lens—the curriculum thematic strands of the National Council for the Social Studies (NCSS)—to examine Rembrandt’s art in order to explore life and make meaning of the story that is being told about the human condition, and to seek out its relevance to ourselves and [End Page 19] our world in the early twenty-first century. Although Rembrandt’s oeuvre is extensive, including the diverse genres of self-portraits, group portraits, drawings, etchings, landscapes, and religious themes, for our limited purpose I have selected only those works that, in my judgment, correspond with the following seven of the ten thematic curriculum strands of the NCSS:CultureTime, Continuity, and ChangePeople, Places, and EnvironmentIndividual Development and IdentityProduction, Distribution, and ConsumptionGlobal ConnectionsCivic Ideals and PracticesThese thematic curriculum strands are derived from the foundational disciplines of the social sciences and humanities such as anthropology, history, geography, sociology, political science, psychology, economics, philosophy, and law, but they are conceptually interrelated.1 For example, culture is a core concept in anthropology but it is also relevant to Time, Continuity, and Change, which is the main concept in the history discipline. Similarly, culture is relevant to the theme of People, Places, and Environment, which is the central focus of geography. More importantly, since social studies is about human experiences, there is a general consensus among the social studies educators that classroom teachers should draw content knowledge not just from the social sciences as mentioned here but from wide sources “to construct curricular experiences enabling students to actively relate new knowledge to existing understanding.”2 That is to say all fields of knowledge that are related to human civilization and that help in developing students’ skills in reflective thinking, decision making, and problem solving are relevant to social studies education. Those fields also include art. Rembrandt’s art is especially relevant because his themes are universal and the social, political, and economic contexts in which he created his work—globalization, individualism, and free enterprise—are more or less similar to our age.It needs to be mentioned that by looking at Rembrandt’s art from the social studies perspective it is not my intention to strip his work of its aesthetic scope and value. On the contrary, by looking at Rembrandt in the social studies classroom I seek to humanize social studies education itself. That [End Page 20] is to say I wish to step back from the conventional view of social studies to feel free from the bonds of traditionalism and discover, describe, analyze... (shrink)

In international philosophy of music education, there are some philosophers who are important points of reference. One of them is the German Immanuel Kant (1724–1804). While his philosophy is complex, an oversimplified understanding of his ideas turned him into the “bad guy” of international music education philosophy, being in favor for instance of art for its own sake. His assumed ideas are thought to be the foundation of aesthetic education, in opposition to music (...) class='Hi'>education concepts promoting praxis and social change. The prominent role Kant plays leads to questions: Can an eighteenth-century philosopher be blamed for twentieth-century music education concepts and their supposed aberrations? And what did Kant really say? By addressing these and related questions, this paper offers fresh perspectives on Kant’s original concept and the role his assumed ideas play in international music education philosophy, aiming at revising some discourses around them. Furthermore, Kant as a case in point, can lead to general considerations about the function of philosophy in music education philosophy. (shrink)

The book has two aims. First, to examine the extent and significance of the connection between Hume's aesthetics and his moral philosophy; and, second, to consider how, in light of the connection, his moral philosophy answers central questions in ethics. The first aim is realized in chapters 1-4. Chapter 1 examines Hume's essay "Of the Standard of Taste" to understand his search for a "standard" and how this affects the scope of his aesthetics. Chapter 2 establishes that he (...) treats beauty in nature and art and moral beauty as similar in kind, and applies the conclusions about his aesthetics to his moral thought. Chapter 3 solves a puzzle to which this gives rise, namely, how individuals both accept general standards that they also contravene in the course of aesthetic and moral activity. Chapter 4 takes up the normative aspect of Hume's approach by understanding moral character through his view of moral beauty. The second aim of the book is realized in chapters 5-7 by entertaining three objections against Hume's moral philosophy. First, if morality is an immediate reaction to the beauty of vice and the deformity of virtue, why is perfect virtue not the general condition of every human individual? Second, if morality consists of sentiments that arise in the subject, how can moral judgments be objective and claim universal validity? And third, if one can talk of "general standards" governing conduct, how does one account for the diversity of moral systems and their change over time? The first is answered by showing that like good taste in aesthetics, 'right taste' in morals requires that the sentiments are educated; the second, by arguing against the view that Hume is a subjectivist and a relativist, and the third, by showing that his approach contains a view of progress left untouched by any personal prejudices Hume himself might harbor. The book concludes in chapter 7 by showing how Hume's view of philosophy affects the scope of any normative ethics. (shrink)

Drawing on John Dewey and the later Ludwig Wittgenstein, this book employs philosophy as a conceptual resource to develop new methodological and analytical tools for conducting in situ empirical investigations. Chapter one explores the philosophies of Wittgenstein and Dewey. Chapter two exposits Deweyan ideas of embodiment, the primacy of the aesthetic encounter, and aesthetically expressive meaning underdeveloped in Wittgenstein. Chapter three introduces the method of practical epistemological analysis and a model of situated epistemic relations to investigate the learning of (...) body techniques in dinghy sailing. The concluding chapter introduces a model of situated artistic relations to investigate the learning of artistic techniques of self-expression in the Swedish sloyd classroom. (shrink)

This paper considers a key text in the field of Cultural Studies for its relevance to questions about the identity of knowledge in education. The concept of ‘aura’ arises as being of special significance in ‘The Work of Art in the Age of Mechanical Reproduction’ as a way of understanding the change that occurs to art when mass reproduction becomes both technologically possible and industrially realised. Aura seems to signify something of the symbolic halo generated by objects of special (...) significance that is both powerful and indefinite. This paper argues that aura is in fact the necessary property of symbolic representation—and that it attaches as much to the figure of Walter Benjamin as it does to any canonical work of art. But the paper also claims that Benjamin’s argument about the significance of popular forms of art—particularly photography and film—can be updated and applied to critical questions about the established order of knowledge in education. This is particularly relevant to those curriculum domains where specific objects—texts, for example—are invested with powerful auras. It may also be applicable to all forms of established knowledge and curricula. (shrink)

This paper approaches the topic of visual art in medical education from a philosophical perspective, drawing on arguments from epistemology, philosophy of science, aesthetics, and contemporary ethical theory. Several medical ethicists have noted that the traditional clinical paradigm may increase the epistemic and emotional distance between patient and physician in part by focusing on the physical body and medical technology. Some of these same writers recommend a new approach to patients based on empathy and increased attention to suffering. (...) After reviewing these arguments, supporting examples, and recommendations, I explain how visual art that expresses or symbolizes the emotional response to illness could be used to introduce an additional paradigm into medical education. This would be a paradigm based on empathetic attention to patients' emotional experiences in illness. My own argument is that this additional way of perceiving and relating to patients may reduce the distance between patient and physician and may allow physicians to better meet the ideal of treating the patient as a person. (shrink)

This paper draws on insights from Jacques Rancière's writing on politics and aesthetics to offer new perspectives on debates in education and the arts. The paper addresses three debates in turn; the place of contemporary art in schools and gallery education, the role of art in democratic education and the blurring of boundaries between participatory art and community education. I argue that Rancière's work helps to illuminate some essentialist assumptions behind dichotomous arguments about contemporary art in (...) the classroom—both over-hyped claims about its value, and exaggerated fears about its threat to educational values alike. On democratic education I argue that his work highlights the importance of the aesthetic dimensions of democratic learning and, on art and community education, I issue caution against readings of Rancière's work that frame his contribution as a ‘rehabilitation‘ of the aesthetic. Although each debate is tackled discretely, the paper advances the overall argument that attention to equality in Rancière's work—both aesthetic and political—is vital when applying his philosophy to debates that occupy the boundaries of education, politics and art. (shrink)

A multi-disciplinary and inter-disciplinary volume exploring the damage to the arts, arts’ funding and education through the rhetoric, manipulation and auditing of value. The collection includes contributions from anthropology, the history of art, literature, education, musicology, political science, and philosophy.

Art has the power to affect our thinking, changing not only the way we view and interact with the world but also how we create it. In Art in Mind , Ernst van Alphen probes this idea of art as a commanding force with the capacity to shape our intellect and intervene in our lives. Rather than interpreting art as merely a reflection of our social experience or a product of history, van Alphen here argues that art is a historical (...) agent, or a cultural creator, that propels thought and experience forward. Examining a broad range of works, van Alphen—a renowned art historian and cultural theorist—demonstrates how art serves a socially constructive function by actually experimenting with the parameters of thought. Employing work from artists as diverse as Picasso, Watteau, Francis Bacon, Marlene Dumas, and Matthew Barney, he shows how art confronts its viewers with the "pain points" of cultural experience-genocide, sexuality, diaspora, and transcultural identity-and thereby transforms the ways in which human existence is conceived. Van Alphen analyzes how art visually "thinks" about these difficult cultural issues, tapping into an understudied interpretation of art as the realm where ideas and values are actively created, given form, and mobilized. In this way, van Alphen's book is a work of art in itself as it educates us in a new mode of thought that will forge equally new approaches and responses to the world. (shrink)

This article reports on Art-at-Work, a twenty-four-hour exhibition that took place on Auckland University of Technology’s North Shore campus on 17 July 2013. The passing away of progressive educator Elwyn S. Richardson was the catalyst for this project that emerged simultaneously alongside the Elwyn S. Richardson symposium, Revisiting the early world. Researching the history of progressive education, and its relationship to art, in Aotearoa/new Zealand created an opportunity to enact a relational curatorial approach to art-centred research in education. (...) Artworks, including archival children’s works, were installed, others performed, in three re-imagined sites across the campus. The project was informed by an understanding of walking as something to do with knowing as seeing, a seeing that opens up spaces and places, and, with a nod towards Michel Serres’ notion of the parasite, the practice of walking is productive in agitating points of rupture. The exhibition’s audience-publics were equipped with a ‘Site-Map’ that invited them to construct a ‘walk-talk the landscape’ of their own making. It was anticipated that the points of rupture that would emerge would enable imaginings of a different ordering of events to emerge, different to those that are already known and understood as well as to those that might otherwise unfold within a narrow neoliberal narrative. The project overview offered in this article reveals our endeavour to do something different with research in education, with history, to be attentive to art, with art, making art matter, keeping art in touch, with education, in twenty-first century learning teacher education environments. (shrink)

This book focuses on the mind and its ability to seek answers to unknown or unanswered questions. The theory of educating provides the grounding for using V diagrams by students, educators, researchers, and parents. Teachers make lesson plans using V diagrams and concept maps. They become expert coaches in guiding student performances. Students learn to construct their own knowledge. They change from question-answerers to question-askers. Parents share meaning with their children and their children's teachers and administrators. Administrators monitor programs and (...) are in touch with all participants in schools and universities. Researchers and evaluators can share records of events and facts. With this theory working in the classrooms and laboratories of many practical places of educating plus extending into the world of technology literacy, The Art of Educating with V Diagrams explains how educating works. (shrink)

The COVID-19 pandemic has shed new light on some significant problems that have been present in the education systems for decades. Тhe lack of various educational methods is becoming more and more evident, leading to a decreasing interest in learning and critical thinking. Оn the other hand, more and more research shows that different types of digital games can enhance creative and critical thinking in students. А closer look at the requirements of the educational programs shows how strict they (...) are in their demands on students. Digital games like role playing games can be a bridge between students’ imaginations and complex educational material. Video games feature a variety of game mechanics that stimulate creative thinking and spark interest in otherwise difficult to understand topics. Motivation and engagement in digital games can be used in a specific way for educational purposes. If we think of teaching as an art in itself, what better method of teaching than through interactive arts. (shrink)

Philosophy of education is regarded as an art of hermeneutics that integrates a theory of mimesis in its understanding of the educational transmission. The idea of the master is reconsidered in this perspective in order to overcome the old opposition between classicism and romanticism. In that way the author attempts to respond to the question: What is the secret to pedagogically sound education?