Abstract

In lieu of an abstract, here is a brief excerpt of the content:IntroductionLori A. Custodero and Anna NeumannIn this symposium, three scholars present the genesis, meaning, and artfulness of creative work and its realization as aesthetic experience within three educational fields. Lori A. Custodero, working out of music education, provides a perspective emanating from an aesthetic of childhood wonder and playfulness; David T. Hansen, writing out of philosophy of education, discusses how being fully present in the teaching moment leads to meaningful experience; and Anna Neumann, who writes out of the field of higher education studies, represents scholars as engaged in intellectual pursuits, often framed aesthetically, and as struggling to hold on to precious time for creation. Aware of the inherent tensions in learning environments from child care centers to graduate schools, we address ways in which our research has revealed people's sustained pursuit of imagined possibilities, oftentimes amidst perceived impediments.Creative work involves imagining possibilities whereby individuals, alone and together, pose personally relevant questions and pursue fluent pathways of inquiry within the shared meanings of cultural context. At its finest, such work is artful, simultaneously responding to and emanating from immediate circumstance and past experience. It is malleable and vulnerable and compelling, fusing familiar images and surprising perceptions into new "equilibria... stable, even though moving" whereby "changes interlock and sustain one another."1 As scholars and teachers committed to learning, we strive to create and discern meaning between established understandings and emerging ideas and images. As we dance between reception and action, between insight and "onsight,"2 fully attentive to the perceived potentials in our work, we move toward synchrony, experiencing the aesthetic. The realizations that arise from experiences such as these — new or newly reconfigured words, sounds, images, movement, and ideas — express new balances of sense and feeling and, sometimes, beauty. Whether in the shared, artfully expressive vocalizations between the newborn infant and mother or in the scientist's finessing patience with elegant mathematical imagery, creative work invites a drawing together of what we know and what we struggle to know. Over time, the interplay of this work and its realization, [End Page 33] what Dewey refers to as "movement and culmination,"3 creates a momentum that serves to define lives as aesthetic.We have created this symposium as a space for considering the meanings of the aesthetic in lives — from its earliest instantiations in the experiences of infants and young children, to its developed expression in the professional (in this case, intellectual) efforts of adults pursuing scholarly careers, to its representation in teaching as intergenerational fusions of knowledge, learning, and lives. We see the aesthetic as both native and learned; as individually held and formed and felt, and as collectively created and voiced, the product of lives in intersection; as marking bounded moments in time (those instants of compelling "present-ness") and as spreading through years, well beyond bounded present-ness, perhaps as memory. Yet while striving to define the aesthetic in lives, we also strive to understand lives, individually and interactively, as lodgings for the aesthetic, as locations that give shape, form, and voice to beauty and insight, to creativity and learning. As we explore the lives in which the aesthetic finds its home, and within which it forms, we wonder about the extent to which the aesthetic may, in its turn, illuminate the strivings of those lives, including human desires to create, know, learn, understand, sense. We are then collectively concerned with the meanings of the aesthetic in lives and about the lives themselves as "moving spaces" within which the aesthetic can grow.We pursue this theme, centered on the power of the aesthetic to illuminate human lives, out of a realization that current understandings of what it means to be human — and especially what it means to learn and create — have been framed within the rubrics of the social sciences, certainly in productive ways. And yet we suggest that the artful, though powerful in its abilities to voice emotion and beauty, has not been employed as intensively as it might in efforts to understand what it means to create and learn as virtues of human existence, as perhaps the ultimate of human strivings. We hope that these symposium papers will help invigorate such...