Grammar is a word associated with the rules that govern language and its related pedagogy for articulating types of declarative knowledge. It can also refer to the organizational structure of practices and their related forms of knowledge, as described here by Ludwig Wittgenstein: “Essence is expressed in grammar.... Grammar tells us what kind of object anything is. (Theology as grammar.)”1 Wittgenstein’s remark about theology can be generalized to visual art, and, by extension, to the grammatical structure of art education. The (...) grammar of creative practices is described by George Steiner as the “articulate organisation of perception, reflection and experience, the nerve structure of consciousness when.. (shrink)

In _Expressive Arts Education and Therapy_ we see how the creative process in a dance theatre lab evolved into a Creative Process-based Research project that included the director/choreographer and participants in a collaborative sense-making project.

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 reaffirms the indispensable place of the arts in any coherent curriculum. The author hopes that the specific arguments formulated in the book will advance the conservationist post-Modernist aesthetic.

The purpose of our research was to explore the impact of fine arts education on psychological wellbeing among undergraduate students through moderating role of creativity and self-efficacy. Art is the most effective medium for expressing human ideals, culture, identity, lifestyles, emotions, and societal experiences. Cross-sectional research was carried out on 376 undergraduates in the 2022–2023 academic year at the public and private Chinese universities, and those students who are currently enrolled in fine arts courses. A link to (...) the Google Doc survey was sent through email and social media channels. The time frame of the data collection was 3 months, from February 2022 to April 2022. While analyzing the obtained data, we used IBM SPSS version 25, which includes both descriptive and inferential statistics. The overall results of the study indicate that the fine arts education positively and significantly influences psychological wellbeing. Moreover, findings also indicate that the creativity and self-efficacy positively and significantly moderate the relationship between fine arts education and psychological wellbeing. The study highlighted the significance of fine arts education in Chinese students. Through this study, students studying in this field should be made more aware of the importance of fine arts education and its link with psychological wellbeing. Further, art courses should be added to the curriculum at different levels of education to boost the creativity and self-efficacy of higher education students in China. Implications for parents, students, and teachers are also discussed. (shrink)

Art Education, Its Philosophy and Psychology is a collection of essays by Thomas Munro, a pioneering figure in the field of art education. Munro's work laid the foundation for a new model of art education that emphasized creativity and self-expression. This book is an essential resource for art educators, students of art education, and anyone interested in the history and theory of art education. This work has been selected by scholars as being culturally important, and is part of the (...) knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

By exploring the role of student identities in shaping attitudes to learning, this study asks how design students draw on experience to work across theory and practice. It explores how a specific group of design undergraduate students in a UK university perform on two distinct learning experiences on their course: work placement and dissertation. In particular, it considers the context for learning: the value placed on practice and scholarship; the role of social identity; links between art and design education. Using (...) Bourdieu’s concept of ‘habitus’ the discussion considers the role of experience and motivation in learning in design education, and questions how useful historical divisions drawn between theory and practice are to student learning in design education. By questioning the value of internal disciplinary conflicts to student learning, it asks how we distinguish between vital pedagogic processes and divisive practices in higher education. (shrink)

As virtues of intellectual character are commonly discussed, they aim at _propositional _intellectual goods. But some creative works—especially those in music and the visual arts—are not primarily intended to gain, keep, or share propositional goods such as truth, knowledge, and understanding. They aim at something else. Thus, to conceive of intellectual creativity in a way that accords with standard discussions of intellectual virtue is to exclude paradigmatic works of the creative intellect. There is a kind of puzzle here: (...) it appears that we cannot maintain both the commonly-discussed notion of intellectual virtue and the claim that, say, Beethoven’s Ninth, or Monet’s Water Lilies, are central cases of intellectually virtuous creativity. We provide a two-part solution to the puzzle. First, we suggest that some works of music and visual art can convey propositional goods. Second, we appeal to the notion of _acquaintance _as an epistemic good that is conveyed through creative artistic and musical to an extent not conveyed in standard prose works. In this respect, intellectual creativity is the virtue that breaks the propositional mold of much contemporary virtue epistemology. (shrink)

Creativity: what might this mean for art and art educators in the creative economies of globalisation? The task of this discussion is to look at the state of creativity and its role in education, in particular art education, and to seek some understanding of the register of creativity, how it is shaped, and how legitimated in the globalised world dominated by input-output, means-end, economically driven thinking, expectations and demands. With the help of Heidegger some crucial questions are (...) raised, such as: How can art maintain its creative ontological and epistemological potential in the creative economies of globalisation? Is it possible for art and the creative arts to act as a process of ‘revealing’ and ‘becoming’ and ‘throwing light’ on the world while working within the market economies of innovation and entrepreneurship where creativity has become a generalised discourse? What matters in this discussion is to find a way to argue for the sustainability of art education as a creative mode of enquiry through which self and the world may be better understood, identity might be realised as difference and being-in-time might be possible. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Theoretical Remarks on Combined Creative and Scholarly PhD Degrees in the Visual ArtsJames Elkins (bio)The PhD in visual arts is inescapable: it is on the horizon. In just a few years, there will be a number of such programs in the United States, and if the trend mirrors the expansion of MFAs after the mid-1960s, then in a few decades the PhD will be the consensus "terminal" degree (...) for artists. Given that, it is pressing to consider how the degree might be theorized. In Australia and the United Kingdom, where the degrees already exist, their growth has been dictated in large measure by the existing educational structures and by the inevitable quest for funding. (In the United Kingdom, university departments get a disproportionate increase in their funding if they offer doctorate programs, and the same pattern occurs in state schools in America.) As a result, existing programs simply grow by exonomic necessity or opportunity, and so far they have not been well theorized apart from models already in use elsewhere in the university. Private universities and art schools in the United States are therefore well positioned to rethink the conceptual foundations of combined studio and scholarly PhDs, because they are largely freed of the temptation of increased funding and the obligation to fit the new programs into existing structures. In this essay, I propose eight configurations that such degrees might take. I close with three general observations about the future of such programs.Three pieces of background are necessary as introduction. First, the School of the Art Institute, Chicago, where I teach, is currently running an four-year undergraduate major in visual studies. Soon we will be expanding it into an MA and, in a few years, a PhD. At the BA level our program already has a large studio component. For that reason we have been looking at programs that offer comparable combinations of creative and scholarly work at the PhD level. Our own program, we hope, will be a place [End Page 22] where the possibilities of other programs can be kept open and continuously questioned.Second, this essay was originally a reader's report for a creative-arts PhD thesis called "Beyond the Surface: The Contemporary Experience of the Italian Renaissance," written by Jo-Anne Duggan for the University of Technology, Sydney. In fall 2003 Duggan was a candidate for the "DCA," Doctorate of Creative Arts." She is a photographer, and her special interest is photographing inside museums; her thesis explores the history and theory of that practice. The report I wrote for her was the basis of this essay, because I found that her thesis is a mixture of what I think are the eight principal possibilities for combining PhD-level scholarship and creative work.Third, this essay is the outgrowth of several colloquia that have been held at the College Art Association and at the Association of Independent Colleges of Art and Design/National Association of Schools of Art and Design (AICAD/NASAD) conferences (organizations of art school administrators). These ad hoc forums have been, so far, the only places where the new programs have been debated. I hope this essay can contribute to a more detailed discussion.Here are the eight configurations. The first five are (or will be) common, and the last two are rare but preferable.1. The thesis is art history, intended to inform the art practice. The most obvious relation between scholarship and creative work is that the former informs the latter. The artist positions her scholarship so that it supports her art practice. Within this possibility, perhaps the most common option would be to write an art historical thesis, covering the history of practices that lead up to the writer's own practice. Among the advantages would be that, in theory, the candidate would be able to go on to teach in a department of art history. In terms of her practice, the idea would be that historical knowledge strengthens art practice: a debatable point, if only because so many artists have done so well by ignoring or distorting the relevant history. In Canberra in summer 2003, I met a recent PhD whose thesis was on... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Theoretical Remarks on Combined Creative and Scholarly PhD Degrees in the Visual ArtsJames Elkins (bio)The PhD in visual arts is inescapable: it is on the horizon. In just a few years, there will be a number of such programs in the United States, and if the trend mirrors the expansion of MFAs after the mid-1960s, then in a few decades the PhD will be the consensus "terminal" degree (...) for artists. Given that, it is pressing to consider how the degree might be theorized. In Australia and the United Kingdom, where the degrees already exist, their growth has been dictated in large measure by the existing educational structures and by the inevitable quest for funding. (In the United Kingdom, university departments get a disproportionate increase in their funding if they offer doctorate programs, and the same pattern occurs in state schools in America.) As a result, existing programs simply grow by exonomic necessity or opportunity, and so far they have not been well theorized apart from models already in use elsewhere in the university. Private universities and art schools in the United States are therefore well positioned to rethink the conceptual foundations of combined studio and scholarly PhDs, because they are largely freed of the temptation of increased funding and the obligation to fit the new programs into existing structures. In this essay, I propose eight configurations that such degrees might take. I close with three general observations about the future of such programs.Three pieces of background are necessary as introduction. First, the School of the Art Institute, Chicago, where I teach, is currently running an four-year undergraduate major in visual studies. Soon we will be expanding it into an MA and, in a few years, a PhD. At the BA level our program already has a large studio component. For that reason we have been looking at programs that offer comparable combinations of creative and scholarly work at the PhD level. Our own program, we hope, will be a place [End Page 22] where the possibilities of other programs can be kept open and continuously questioned.Second, this essay was originally a reader's report for a creative-arts PhD thesis called "Beyond the Surface: The Contemporary Experience of the Italian Renaissance," written by Jo-Anne Duggan for the University of Technology, Sydney. In fall 2003 Duggan was a candidate for the "DCA," Doctorate of Creative Arts." She is a photographer, and her special interest is photographing inside museums; her thesis explores the history and theory of that practice. The report I wrote for her was the basis of this essay, because I found that her thesis is a mixture of what I think are the eight principal possibilities for combining PhD-level scholarship and creative work.Third, this essay is the outgrowth of several colloquia that have been held at the College Art Association and at the Association of Independent Colleges of Art and Design/National Association of Schools of Art and Design (AICAD/NASAD) conferences (organizations of art school administrators). These ad hoc forums have been, so far, the only places where the new programs have been debated. I hope this essay can contribute to a more detailed discussion.Here are the eight configurations. The first five are (or will be) common, and the last two are rare but preferable.1. The thesis is art history, intended to inform the art practice. The most obvious relation between scholarship and creative work is that the former informs the latter. The artist positions her scholarship so that it supports her art practice. Within this possibility, perhaps the most common option would be to write an art historical thesis, covering the history of practices that lead up to the writer's own practice. Among the advantages would be that, in theory, the candidate would be able to go on to teach in a department of art history. In terms of her practice, the idea would be that historical knowledge strengthens art practice: a debatable point, if only because so many artists have done so well by ignoring or distorting the relevant history. In Canberra in summer 2003, I met a recent PhD whose thesis was on... (shrink)

Richly researched, the book explores how creativity has been invoked in arenas as varied as Enlightenment debates over the nature of the cognition, Victorian-era intelligence research, the Cold War technology race, contemporary education, and even modern electoral politics. Along the way, the book turns to a set of art works from mobile steampunk sculptures to bicentennial adaptations of Frankenstein to a musical about the US Presidential election that ask how our ideas about creativity are bound up with those (...) of self-fulfillment, responsibility, and the individual, and how these might seduce us into joining a worldview and even a set of social imperatives that we might otherwise find troubling. The Creativity Complex traces the history of how creativity has come to mean the things it now does, and explores the ethical implications of how we use this term today for both the arts and for the social world more broadly. (shrink)

Virtual learning environments (VLEs) present us with unprecedented opportunities in bringing together students and educators from widely disparate geographical locations, as well as diverse cultures and backgrounds to participate in a learning experience that should take into cognizance the affordances of these novel arenas in the design of both content and the environment(s) in which this content is to be implemented/enacted. While VLEs do seem to address the requirements of well-structured learning endeavours, the boundaries of which are clearly defined, they (...) are challenged where complex learning material in which boundaries are less easily defined, as is the case in art/creativity education, are concerned. Given that the learning content of the creative fields is open ended by its very nature and as such does not seem to readily lend itself to an implementation within the structure of present-day, two-dimensional virtual learning environments, can such an environment/methodology be developed in the open-ended three-dimensional structure of a metaverse, based upon the critical examination of a real-life, historic precedent? (shrink)

A notion of "good work," derived from William Morris and the Arts and Crafts Movement but also part of a wider tradition in philosophy (associated with pragmatism and Everyday Aesthetics) understanding the global significance of, and opportunities for, aesthetic experience, grounds both art making and appreciation in the organization of labor generally. Only good work, which can be characterized as "authentic" or as unalienated conditions of production and reception, allows the arts to thrive. While Arts and Crafts (...) sometimes promotes a limited aesthetic (both theoretically and stylistically) around handicraft, a good-work aesthetic theory encompasses a broader range of working methods and materials without compromising the core Arts and Crafts "authenticity" principles of control over production and creative autonomy. Moreover, it gives weight to the equally important role of spectators by linking their aesthetic education to good work in their working lives and, in turn, to the success of artworks. The theory delivers insights into the nature of works as collaborative projects and the developmental courses, participatory and esoteric, open to the arts generally; and it is a robust counter to anti-aestheticism and intellectualism in the theory and practice of the arts. William Morris and the artist-craftsmen and -women of the Arts and Crafts Movement have a theory of art and the aesthetic that has an importance beyond their own artistic work and its achievements. Morris delivered lectures on the arts in many British towns and cities in the 1870s, 1880s, and 1890s; these were published as Hopes and Fears for Art and later as a volume of his collected works.1 The movement codified and publicized its practices through various societies and organizations like the Arts and Crafts Exhibition Society and Charles Ashbee's Guild and School of Handicraft, each producing its own literature, which ranged from practical handbooks to political exhortations. Later, William Lethaby's lectures, often to organizations that were part of the movement, were published as Form in Civilisation.2 To that extent, then, a Morrisian or Arts and Crafts aesthetic theory has to be constructed from sources that were necessarily rhetorical, as well as being practical and theoretic. Morris and Lethaby were explicitly aiming to influence current artistic practice through their lectures to audiences usually composed of artists, architects, civic leaders, and so on (and this no doubt at least partly accounts for their neglect in philosophical aesthetics). Still, I will argue that this reconstructed theory is sufficiently coherent and sophisticated to be worth investigating for its relevance to contemporary debates in analytic aesthetics, particularly against those arguing for art as a nonaesthetic activity (of which the seminal text remains Arthur Danto's "The Artworld"), and for its arguments for art's connections (as an activity of both making and experiencing artworks) with other life experiences.3 In these respects, then, in the history of aesthetics it is a forerunner of, or at least has intellectual associations with, pragmatist aesthetics (yet it is often unacknowledged within that paradigm, so neither Dewey's Art as Experience nor the more recent pragmatist works by Richard Shusterman cite Morris) and shares ground associated with the Everyday Aesthetics movement.4In arguing for the theoretic and historic significance of a Morrisian aesthetic, I take encouragement and a lead from Paul Guyer's recent acknowledgement of the neglect of Morris in accounts of the history of philosophical aesthetics. Guyer names Morris, along with Schiller, Ruskin, and Dewey, as properly understanding the full significance of the distinctive character of aesthetic experience. As Guyer writes, they understood that aesthetic experience is distinctive in its freedom from our most immediate obsessions with purpose and utility, but that the freedom it thereby allows us is not a freedom for the simple contemplation of beauty with no further concerns or implications, but rather a freedom to develop our imaginative and cognitive capacities, to gain knowledge of ourselves and others, and to imagine new ways of life, a freedom that is valued not simply for its own sake but also because of the benefits the developments of these capacities can bring to the rest of our lives. (shrink)

This article explores the concept of knowledge as an internal process of inner knowing. In the educational context, we describe our experiences in using art in the classroom to assist our students in accessing this inner knowing. We describe the design and use of such creative expressions. Our findings indicate that students have to integrate both right- and left-brain thinking to access their inner tuition. This slows down linear thinking in order to access the more affective-based learning process. Further, it (...) encourages students to experiment with non-linear methods of learning. We argue that these findings assist students in accessing more choices in their decision making, which in turn will build managers who energize, revitalize and facilitate the growth of humanity through organizational compassion and understanding. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 65-77 [Access article in PDF] In Defense of Observational Practice in Art and Design Education Howard Cannatella Introduction It is increasingly debatable whether observational drawing and making in nature are still regarded as principal activities of art and design learning. Against this, the aim of this article is to strengthen sympathetically a teacher'sunderstanding of observational creative work from nature and to assert (...) that such an approach should be central to art and design teaching and learning.My reasons for writing this article are to reconsider observational aspects of this approach that are not generally expounded in existing art and design educational practice circles. The reluctance by some to debate theimportance of the observational creative process may be construed as a questionable position to take, for a number of educational practitioners in art and design appear to see observations in nature as irrelevant to current art and design learning, as if it were a fashion item, one that has lost its appeal. Creative poiesis, some would argue, could never extend sufficiently to observations in nature. When observations in nature are seen as trite, not high art, there is the perception that art and design may have lost something precious, unable to nurture, becoming too introverted and sensational at the expense of grappling with common human realistic experiences. A decline in observational visual sensibilities may seem inevitable under these conditions.There is a persistent view in art and design education that seems to me to be a misconception — that observations in nature are restrictive and superficial, an experience that deals only with archaic approaches in learning. In the work of Immanuel Kant, imitation could not be an original factuality. 1 In Kantian terms, to imitate exactly a thing of beauty would be an act considered as "wholly destitute of taste." 2 A similar kind of sentiment is echoed by Georg Hegel, who considers imitation in art as "deceptive" and goes on to say: "the pursuit of imitation is on the same lines as the feat of the man who has taught himself to throw lentils through a small aperture [End Page 65] without missing." 3 More recently, Norman Bryson criticizes the idea of a "natural attitude" toward observations in natureas he denounces any suggestion of the purity of the universal visual image. 4 This backlash may make us feel a little uneasy as to why observations in nature should play a primary role in art and design education.My argument will be that although creative observations in nature do involve mimetic and regulative factors, these factors, when sensitively handled,can enlarge our imagination, touching us deeply in the process. Along these lines, it does not follow that because a work is mimetic in kind that it necessarily fails to produce significant learning. In accepting that there is a degree of control exerted normatively by what is being observed in the nature of such work, these perceptions in art and design become, through the creative process, refined and subtle experiences. Normative features and experiences may spur the artist or designer to create powerful expressions of them in the work.I will try to demonstrate that observational creative work, for all its reality checks, has the capability to be powerfully expressive and make discoveries that seem pertinent and true. As I see it, this encounter involves moral, social, perceptual, cognitive, and aesthetic orchestrations.Of course, some might insist that artistic autonomy could be a problem when having to work from observation in nature but the idea of autonomy relates to self-rule, a condition that is perhaps best understood, as Robert Young states, as being predominately dispositional as opposed to occurrent. 5 Educators like myself may want to argue that art and design teaching and learning requires, apart from other things, an understanding of theworld in which one lives as we come into contact with what actually and candidly stands publicly before us. This position cannot be reached through channelling our efforts exclusively via autonomist means.Certainly, in education, motivation, prior experience, personality, student... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 65-77 [Access article in PDF] In Defense of Observational Practice in Art and Design Education Howard Cannatella Introduction It is increasingly debatable whether observational drawing and making in nature are still regarded as principal activities of art and design learning. Against this, the aim of this article is to strengthen sympathetically a teacher'sunderstanding of observational creative work from nature and to assert (...) that such an approach should be central to art and design teaching and learning.My reasons for writing this article are to reconsider observational aspects of this approach that are not generally expounded in existing art and design educational practice circles. The reluctance by some to debate theimportance of the observational creative process may be construed as a questionable position to take, for a number of educational practitioners in art and design appear to see observations in nature as irrelevant to current art and design learning, as if it were a fashion item, one that has lost its appeal. Creative poiesis, some would argue, could never extend sufficiently to observations in nature. When observations in nature are seen as trite, not high art, there is the perception that art and design may have lost something precious, unable to nurture, becoming too introverted and sensational at the expense of grappling with common human realistic experiences. A decline in observational visual sensibilities may seem inevitable under these conditions.There is a persistent view in art and design education that seems to me to be a misconception — that observations in nature are restrictive and superficial, an experience that deals only with archaic approaches in learning. In the work of Immanuel Kant, imitation could not be an original factuality. 1 In Kantian terms, to imitate exactly a thing of beauty would be an act considered as "wholly destitute of taste." 2 A similar kind of sentiment is echoed by Georg Hegel, who considers imitation in art as "deceptive" and goes on to say: "the pursuit of imitation is on the same lines as the feat of the man who has taught himself to throw lentils through a small aperture [End Page 65] without missing." 3 More recently, Norman Bryson criticizes the idea of a "natural attitude" toward observations in natureas he denounces any suggestion of the purity of the universal visual image. 4 This backlash may make us feel a little uneasy as to why observations in nature should play a primary role in art and design education.My argument will be that although creative observations in nature do involve mimetic and regulative factors, these factors, when sensitively handled,can enlarge our imagination, touching us deeply in the process. Along these lines, it does not follow that because a work is mimetic in kind that it necessarily fails to produce significant learning. In accepting that there is a degree of control exerted normatively by what is being observed in the nature of such work, these perceptions in art and design become, through the creative process, refined and subtle experiences. Normative features and experiences may spur the artist or designer to create powerful expressions of them in the work.I will try to demonstrate that observational creative work, for all its reality checks, has the capability to be powerfully expressive and make discoveries that seem pertinent and true. As I see it, this encounter involves moral, social, perceptual, cognitive, and aesthetic orchestrations.Of course, some might insist that artistic autonomy could be a problem when having to work from observation in nature but the idea of autonomy relates to self-rule, a condition that is perhaps best understood, as Robert Young states, as being predominately dispositional as opposed to occurrent. 5 Educators like myself may want to argue that art and design teaching and learning requires, apart from other things, an understanding of theworld in which one lives as we come into contact with what actually and candidly stands publicly before us. This position cannot be reached through channelling our efforts exclusively via autonomist means.Certainly, in education, motivation, prior experience, personality, student... (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)

_Education as Mutual Translation_ examines Hindu Vedantist and Yoruba philosophical concepts of self and mutuality with others, in a contemporary higher art education context. It suggests that resilient, original voices emerge more successfully from awareness of social interactions, than from individualism.

The role of emotional creativity in practicing creative leisure activities and in the preference of college majors remains unknown. The present study aims to explore how emotional creativity measured by the Emotional Creativity Inventory (ECI; Averill, 1999) is interrelated with the real-life involvement in different types of specific creative leisure activities and with four categories of college majors. Data were collected from 251 university students, university graduates and young adults (156 women and 95 men). Art students and (...) graduates scored significantly higher on the ECI than other majors. Humanities scored significantly higher than technical/economic majors. Five creative leisure activities were significantly correlated with the ECI, specifically, writing, painting, composing music, performing drama, and do-it-yourself home improvement. Keywords: Creativity, Emotional Creativity, Emotions, Creativeness, Affect, Feelings, Leisure Activities, Creative Ability, Artistic Creativity, Creative Thinking, Creativeness, Aging, Cognitive Deficits, Performance. MeSH Headings: Emotions, Creativity, Leisure, Leisure Activities, Hobbies, Recreation, Affect Affective Symptoms, Creativeness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology experimentally. (...) However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology experimentally. (...) However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Justifying the Arts:Drama and Intercultural EducationMike Fleming (bio)IntroductionFor teachers of arts subjects, questions about justification can be tiresome in the same way that contemporary aestheticians may feel fatigue about defining art.1 Providing justification can feel more like an exercise in rhetoric than theoretical enquiry, induced more by political necessity than intellectual challenge. If the value of the arts is not self-evident, it is difficult to advance (...) arguments to convince those who have no knowledge or affinity with them. Not that many educationists admit to falling into the latter category. As Eisner has said, nobody wants to be seen as a philistine.2 Yet to those with a deep commitment to the value of the arts in education and wider society, the arts are rarely thought to be taken as seriously as they should be.3 This paper will describe five approaches to the question of justifying the arts before examining the specific case of drama and intercultural education.Approaches to Justifying the Teaching of the ArtsFaced with questions of justification, providing a list of reasons for teaching the arts is one approach but not the only one. Instead, looking for broader categories of justification within possible lists (e.g., between art and entertainment, feeling and cognition) exposes differences of emphasis more easily. Exploration of the tension between such concepts as "creating" and "responding" may help get behind bland claims of the kind that the arts can "develop creativity." In this way, the relevance of aesthetic theory, which often centers on the tension between competing concepts, can be demonstrated more readily. Another approach to the question of justification is to reject the idea that the arts should serve instrumental goals at all by advancing an argument in favor of their intrinsic rewards. A fourth approach is to [End Page 54] question whether it is appropriate to seek justification for the arts as a generic concept, rather than looking instead at individual art forms; the benefits of dance may be different in certain respects from those of visual arts. Finally, a priori enquiry could be abandoned altogether in favor of seeing what teachers actually say about their reasons for teaching the arts. Each of these positions will be examined briefly.Mortimer includes physical education and personal and social education among the areas of benefit he attributes to the arts.4 Within five broad categories, he describes further subcategories, amounting to more than seventeen reasons for teaching the arts. He also claims that the arts are a way of developing life skills and attitudes that are transferable across the curriculum and are a way of contextualizing other learning. It is easy to sympathize with someone who is passionate about the arts and concerned that they should be seen as a "fundamental" not as a "frill," but such general claims do not always bring clarity or insight. It is difficult for example to see how poetry "encourages physical confidence in balance." A visit to a children's home may be more fruitful in "developing sensitivity to others." The benefit of "using imagination and creativity" (a catchall phrase that on its own says very little) may in practice find tension with other stated benefits such as "discriminating, selecting, editing." The latter concepts suggest a more constrained, skills-oriented form of teaching rather than an approach that encourages free flow of imagination. Long lists of justifications can obscure theoretical differences and from a tactical point of view in the political arena can appear overblown. They are well meant but not always helpful. Nor do they go far in explaining the deep importance of the arts in so many people's lives.The influential Gulbenkian report in the United Kingdom was wide-ranging in its claims but reinforced the idea of the arts as being an alternative to academic study and what it termed "logico-deductive thought."5 "Society," it argued, "needs and values more than academic abilities." In the 1980s, many writers were keen to free themselves from the influence of narrow theories of self-expression to embrace a wider discipline-based approach but continued to underplay the cognitive dimensions of work in art.6 Of course an emphasis... (shrink)

Unlock the secrets of the art world and unleash your creative potential with this innovative and inspiring book. Drawing on the principles of vital art education, this book offers a fresh approach to art instruction that emphasizes the importance of creativity, experimentation, and personal expression. Full of practical tips, engaging exercises, and stunning examples of art, this book is a must-read for artists of all levels and backgrounds. This work has been selected by scholars as being culturally important, and (...) is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

This chapter contains sections titled: The Subject of Art Badiou's Five Problems Badiou's Inaesthetic Badiou Exposed Why Art Can't Be Taught—It Can However Educate! Notes References.

This book is for anyone interested in how to build a teacher education program utilizing the arts as one central modality for teaching and learning or for those interested in building some of their program along these lines. Throughout the book you will find reference to the intersection of ethics, aesthetics, and teaching. We provide an integrated program devoted to good learning and the good society. In the book we discuss how the program came to be and the underlying (...) educational thinking that informs the whole program. This section of the book is invaluable for understanding how the reader can build her/his own arts approach to teacher education. The central section of the book is devoted to the specific coursework of the program. Each author describes in detail how she/he leverages aesthetics and art to expand the possibilities of learning and teaching (including a chapter focused on the core competency course, Teaching, Imagination, Creativity) in language and literacy, psychology of education, science education, mathematics education, social studies education, and classroom management including many examples from our teaching. The book ends with a focus group discussion about the program by former students. (shrink)

We live in a world of massive change, and each decade appears to move faster and faster. It is not just the inventions that are picking up speed, but the adoption of technologies is increasing by businesses and consumers. The early adaptors switch to general consumption at an increasing pace. Part of the increase in adoption is attributed to challenges such as a pandemic. Nevertheless, in general, the concepts of a VUCA (volatile, uncertain, complex, and ambiguous) are becoming a standard (...) year-on-year driven by the exponential growth of knowledge and, therefore, technology (Jari & Lauraeus, 2019). As this chapter will explain, this exponential growth in technology would not be possible without the creative surge upon us. Organizations are promoting out-of-the-box thinking and creativity. Historically, creativity was only necessary for the arts and philosophical thinkers. Creativity has moved to its rightful place as part of our problem solving. No discussion of disruption is complete without addressing the work of Harvard professor Dr. Christensen, who for over 20 years has looked in detail at the phenomenon of disruption at the technology and business model levels. Christensen was not just aware of some new technologies’ disruptive nature and provided guidelines on how organizations should view different disruptive technologies (Christensen, 1997; Christensen, 2015; Christensen et al., 2018). Academic institutions and business schools need to embrace creativity and technology as part of the core skill sets required for successful organizations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.4 (2004) 32-45 [Access article in PDF] Ernst H. Gombrich, Pictorial Representation, and Some Issues in Art Education Nanyoung Kim Introduction This essay will deal with different ways of conceptualizing pictorial representation in art education and their implications. The philosophical issues involved in pictorial representation have fascinated philosophers since the time of Plato and Aristotle. In the first half of the twentieth century, the (...) issue of representation became a centerpiece of various theories among art historians in an attempt to explain representational styles of non-Western cultures that were vastly different from Western styles, and also in order to reinterpret less-valued Western styles that had deviated from the Classical and Renaissance traditions. In recent years, the field of aesthetics has seen a resurgence of interest in the issue, probably because of the demise of Formalism and the returning interest in representation among postmodernists.In art education, interest in pictorial representation has been limited to research on children's drawing (mostly unsolicited drawing) and to the alleged benefits of drawing activity on children's emotional and cognitive development. To understand art images made by adult artists, especially in the Western tradition, art educators must refer to art history or aesthetics. For non-Western images, an anthropological or sociological approach seems appropriate because, more than Western images, they seem to demand knowledge about the culture in which they originated. Art education therefore does not have one comprehensive model of pictorial representation to encompass all these different kinds of images.For more than a decade, the dominant theory of children's pictorial representation in art education has been a symbolic model, and it thrived and is thriving in the context of ever-growing cognitive claims on art. Replacing the long-held creative self-expression model of Viktor Lowenfeld of the 1960s and 1970s, the advocates for this model advanced their theory based on Nelson Goodman's symbolic interpretation of pictorial representation.1 [End Page 32] While their theory illuminated what had not been revealed by the previous creative self-expression model, its long-held dominance in the field lends it an aura of self-evidence and authority.My aim in this essay is to reintroduce Ernst H. Gombrich's theory of pictorial representation in order to balance the dominant theory and to provide a broad perspective for viewing children's drawings and adults' art images together.2 Despite its potential contribution to art education, Gombrich's theory has not been adequately interpreted for art educators. When Gombrich's theory was introduced in art education in the past, he was treated, along with Goodman, as a prime advocate of the concept of representation as a convention. His attention to cultural, psychological, biological, sociological, and art historical dimensions of pictorial representation has never been fully explored by art educators. Gombrich was first and foremost an art historian and theorist of art history of solid classical scholarship, but he was also a cultural historian equipped with extensive knowledge of diverse fields such as cognitive psychology, ethology, psychoanalysis, and the philosophy of science. He was truly a scholar with an interdisciplinary penchant, which makes it difficult for his readers to categorize him. In addition, his elusive writing style tends to limit access to his theory.In this sense, Leslie Cunliffe's recent reintroduction of Gombrich's theories to art education is notable.3 Cunliffe covered the whole gamut of Gombrich's theories, including that on representation, by contextualizing him as a Social-Constructivist, and he expounded many potential benefits that art educators may gain through understanding and adopting his theories. My scope will be narrower than Cunliffe's. I will deal with Gombrich's theory of representation insofar as it illuminates the nature of children's drawings and other art images and helps us understand them within a coherent system. The order of discussion will be as follows: first, the linguistic model derived from Goodman and its continuing influence on art education; second, Gombrich's theory of pictorial representation, including his discussions of the conventional and biological aspects of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.4 (2004) 32-45 [Access article in PDF] Ernst H. Gombrich, Pictorial Representation, and Some Issues in Art Education Nanyoung Kim Introduction This essay will deal with different ways of conceptualizing pictorial representation in art education and their implications. The philosophical issues involved in pictorial representation have fascinated philosophers since the time of Plato and Aristotle. In the first half of the twentieth century, the (...) issue of representation became a centerpiece of various theories among art historians in an attempt to explain representational styles of non-Western cultures that were vastly different from Western styles, and also in order to reinterpret less-valued Western styles that had deviated from the Classical and Renaissance traditions. In recent years, the field of aesthetics has seen a resurgence of interest in the issue, probably because of the demise of Formalism and the returning interest in representation among postmodernists.In art education, interest in pictorial representation has been limited to research on children's drawing (mostly unsolicited drawing) and to the alleged benefits of drawing activity on children's emotional and cognitive development. To understand art images made by adult artists, especially in the Western tradition, art educators must refer to art history or aesthetics. For non-Western images, an anthropological or sociological approach seems appropriate because, more than Western images, they seem to demand knowledge about the culture in which they originated. Art education therefore does not have one comprehensive model of pictorial representation to encompass all these different kinds of images.For more than a decade, the dominant theory of children's pictorial representation in art education has been a symbolic model, and it thrived and is thriving in the context of ever-growing cognitive claims on art. Replacing the long-held creative self-expression model of Viktor Lowenfeld of the 1960s and 1970s, the advocates for this model advanced their theory based on Nelson Goodman's symbolic interpretation of pictorial representation.1 [End Page 32] While their theory illuminated what had not been revealed by the previous creative self-expression model, its long-held dominance in the field lends it an aura of self-evidence and authority.My aim in this essay is to reintroduce Ernst H. Gombrich's theory of pictorial representation in order to balance the dominant theory and to provide a broad perspective for viewing children's drawings and adults' art images together.2 Despite its potential contribution to art education, Gombrich's theory has not been adequately interpreted for art educators. When Gombrich's theory was introduced in art education in the past, he was treated, along with Goodman, as a prime advocate of the concept of representation as a convention. His attention to cultural, psychological, biological, sociological, and art historical dimensions of pictorial representation has never been fully explored by art educators. Gombrich was first and foremost an art historian and theorist of art history of solid classical scholarship, but he was also a cultural historian equipped with extensive knowledge of diverse fields such as cognitive psychology, ethology, psychoanalysis, and the philosophy of science. He was truly a scholar with an interdisciplinary penchant, which makes it difficult for his readers to categorize him. In addition, his elusive writing style tends to limit access to his theory.In this sense, Leslie Cunliffe's recent reintroduction of Gombrich's theories to art education is notable.3 Cunliffe covered the whole gamut of Gombrich's theories, including that on representation, by contextualizing him as a Social-Constructivist, and he expounded many potential benefits that art educators may gain through understanding and adopting his theories. My scope will be narrower than Cunliffe's. I will deal with Gombrich's theory of representation insofar as it illuminates the nature of children's drawings and other art images and helps us understand them within a coherent system. The order of discussion will be as follows: first, the linguistic model derived from Goodman and its continuing influence on art education; second, Gombrich's theory of pictorial representation, including his discussions of the conventional and biological aspects of... (shrink)

This essay is prompted, in part, by a spate of alarmist articles in the media over the past several years concerning what journalists have called "the creativity crisis,"2 articles claiming, in other words, that American creativity is in decline. A corresponding call has arisen to seek remedies and determine how creativity might be fostered in the lives of children so as to stem the tide of this (alleged) decline. While taking these dramatic concerns and pronouncements cum grano (...) salis, this article responds, nevertheless, by extracting a set of themes drawn from the childhoods of three individuals whose remarkable contributions to the disparate fields of science, classical music, and visual art are beyond.. (shrink)

In this paper, the author addresses the problem of socialisation of children with a history of disabilities and mental retardation by means of visual arts. It is important to look at the very sphere of life of these categories of children. As a rule, these children, for the most part, live in dysfunctional families, which makes it almost impossible to provide them with a form of socialization. This article focuses on the extent to which and how a programme of (...) socialisation of these children can be achieved through the medium of visual arts. At the moment there are works of modern pedagogues who have devoted their scientific researches to this problem, but there are few teachers-artists who deal with this problem. In this article the author devotes his creative attention to this issue and reflects on what means of fine arts and visual literacy can develop and guide in the right direction the socialization of children and young people with disabilities by means of fine arts. A number of scientific works devoted to this problem are seriously reviewed. The author is actively trying to draw the attention of the teaching community to the problem of prevailing social conditions, to reach an educational and cognitive level and, as a consequence, to a better product of the set task of socialization of children with special needs and disabilities in the learning process by means of subject disciplines: drawing, painting, composition, printmaking, etc. (shrink)

Este artigo propõe uma reflexão sobre arte, filosofia, cultura e educação balizada pelos pensamentos de Friedrich Nietzsche e Vilém Flusser. Avesso à erudição acadêmica e profissionalizante, o jovem professor Nietzsche criticava a cultura histórica que segregou o pensamento e a maneira de viver. A essa tendência, o autor opunha uma educação artística, ou seja, uma formação para o pensamento livre e para a criatividade. Este conceito é basilar no pensamento de Flusser e deve ser entendido em consonância com o termo (...) grego poiesis, isto é, instauração de elementos novos na realidade, passagem do não-ser ao ser, abertura de novos caminhos. Trata-se de uma caracterização complexa e extremamente inspiradora para uma reflexão sobre processos educativos que valorizam aquilo que ambos os autores consideram ser o mais próprio do homem: a capacidade de criar.: This paper establishes a reflection about art, philosophy, culture and education inspired by the thoughts of Friedrich Nietzsche and Vilém Flusser. Disinclined to academic and specialised learning, the young teacher Nietzsche criticized the historical culture that had created a separation between the ability of thinking and the ways of life. To this tendency, the author opposed an artistic education, that is, an education towards free thought and creativity. This concept is fundamental in Flusser`s philosophy and must be understood in accordance with the Greek word poiesis, which means the introduction of new elements in reality, the passage from not-being to being, the opening of new routes. This is a complex conceptualization and yet extremely inspiring to a reflection about educational processes that accentuate what both authors consider the most essential human feature: the capacity to create. Keywords: education, art, philosophy, learning, culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Somaesthetics, Education, and the Art of DancePeter J. Arnold (bio)This essay has two related purposes. The first is to explicate what dance as an art form should minimally comprise if it is to be taught as a distinctive aspect of education in the school curriculum. The second and main purpose is to argue that dance, if taught in accordance with what is outlined, is not only an efficacious means (...) in the development, understanding and promotion of somaesthetics, a new term in aesthetic theory, but an example of itsvery embodiment. Put differently it will be upheld that the practice of danceis not only an excellent vehicle in the promotion of somaesthetics but a paradigm case of what it is.But what is somaesthetics? Briefly put, in common with the thinking of some noted philosophers in the past, it can be said that somaesthetics is as much concerned with the idea of being a person and living well as with the development of rational thought and the development of the intellect. It emphasizes, in particular, that the soma in the form of its physical skills, senses and pleasures plays no less a part in the living of a full life than conceptual understanding and the imaginative use of language.1 Richard Shusterman, upholding these sentiments, refers to somaesthetics asthe critical and meliorating study of the experience and use of one's body as a locus of sensory aesthetic appreciation and creative self-fashioning. It is....devoted to the knowledge, discourses, practices, and bodily disciplines that structure such somatic care or can improve it.2Although such values and concerns are known to many educationists, they are rarely acted upon or taught in a deliberate or systematic way. Even within the realms of dance and sport more could be done than is done somaesthetically to educate in the interests of what it is to be a whole person. [End Page 48]Before embarking on the task of exemplifying dance as a form of somaesthetics, it will be helpful first to say a little about education and the idea of dance as a valued human practice; and second, to say something about the aesthetic in relation to art.Education and the Art of Dance as a Valued Human PracticeWhat is clear about the idea of dance as an art form is that it is more than the human body making rhythmical and patterned movements in space. It can be more accurately described as a coherent and complex range of actions in which intentions are physically expressed in terms of a meaningful performance that is artistic in nature and not merely aesthetic in appeal.It is my view that these elements of what constitutes dance best come together and are most readily grasped when it is seen as a valued form of human practice. Following Alistair MacIntyre, I take the term "practice" to meanany coherent and complex form of socially established co-operative human activity through which goods internal to that activity are realized in the course of trying to achieve those standards of excellence which are appropriate to, and partially definitive of, that form of activity, with the result that human powers to achieve excellence and human conceptions of the ends and goods involved are systematically extended.3The idea of the arts as forms of practice is helpful in at least two important ways. First, it draws attention to the fact that an art, like medicine, the law, or sport, is a distinctive form of life with its own standards, values, and procedures. Second, it recognizes, in keeping with the idea of education, thatthe internal goods of an activity, like the art of dance, will enlighten and enlarge the powers of the participant. MacIntyre undoubtedly recognizes the connection between the idea of a practice and the concept of education when he observes the proper end of education isto help to discover activities whose ends are not outside themselves — The critical ability which ought to be the fruit of education serves nothing directly except itself, no one except those who exercise it — above all the task of education is to teach the value of activity for its own... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Learning from Examples of Civic Responsibility:What Community-Based Art Centers Teach Us about Arts EducationJessica Hoffmann Davis (bio)Introduction/QuestionThroughout the United States, beyond school walls, there struggles and soars a sprawling field of community art centers dedicated to education.1 Most frequently clustered on either coast in bustling urban communities, these centers provide arts training that enriches or exceeds what is offered in schools. They serve artists who need (...) space for work or performance, students who crave instruction and direction, and the broader community that enjoys attendant cultural enrichment. At the core, they create safe havens for arts learning that has been marginalized elsewhere.Unfettered by the demands and constraints of school administrations, these self-designed centers have been of considerable interest to arts education researchers over the last twenty years.2 Largely conceived and staffed by artists, they demonstrate artful alternatives to mainstream education: creative visions of teaching, learning, and assessment. Moreover, the positive impact these centers have had on students considered at risk across a number of variables has caught the attention of researchers looking for better ways to serve our youth.3The location of these centers beyond school walls, like their operation beyond the hours of the school day, would naturally seem to cast them as positive opportunities for extending arts learning that goes on in school. But with school art curricula scarce or in danger of elimination, supplementary options can seem threatening to school arts specialists. Administrators have regarded the opportunities that outside artists and centers provide as sufficient substitutes for a school-based course of sequential instruction in the arts. While vital funding sources encourage and sustain collaboration, a tension persists between the autonomy of outsider arts centers and the integrity [End Page 82] of insider school arts programs. For students disenfranchised from schools, the "otherness" of centers has a certain cachet. For centers unable to afford their own space, school classrooms in after-school hours offer a home base for their offerings and easy access for students. The back and forth across school walls raises opportunities and concerns that have resulted in a range of creative solutions.4 But my interest here is not in the cross-wall meeting of services, but rather in the differences in arts learning on either side of school walls. In the pages that follow, I pose the question, What can schools learn from the arts education provided in the community?In addressing this question, I first mark the differences between arts learning in schools and in the community as a need for justification versus an opportunity for demonstration. I then describe the research from which my thinking and discussion draw and offer a brief overview of the history of community art centers as inspired by and illustrative of civic responsibility. With an eye to what educators and advocates can learn from these community-based efforts, I focus next on three common objections to prioritizing the arts in our schools: value, measurement, and autonomy. Each objection is introduced from a school-based perspective and then reconsidered in light of community-based attitudes and activities.5 In conclusion, I delineate the insights derived from a consideration of community arts education as stimulus for the redirection of educational objectives and advocacy rationales for arts learning in schools.Justification vs. DemonstrationIn its struggle for recognition and place in school settings, arts education has sought justification in terms of its potential to serve the broader educational scene. We ask of classes that provide mounting skills in visual arts, music, or theater, "Yes, but what else does arts learning do? Can it improve student skills in reading, mathematics, or any other subjects that are more traditionally valued?" Such demands may seem unfair. When has math ever been defended for its ability to improve arts performance? Beyond a sense of injustice, claims for arts learning's causal impact on measurable extraneous outcomes (such as improvements in test scores in nonarts academic subjects) are at best most difficult to prove.6In community centers where art is the chosen heart of the matter, students come specifically to study the arts and to benefit from their enhancement of more generalized experience... (shrink)

This book brings together Steiner's philosophical, biodynamic and cultural contributions to education, where 'spirit' and ‘soul’ are the creative elements in human evolution. His thought is applied to selected examples of innovative artistic practice and pedagogy of the present. This volume is intended for researchers in the arts and education with an interest in Rudolf Steiner's huge influence on educational thought and policy.This is an urgent point in time to reflect on the role of arts in education and (...) what it might mean for our souls. An accessible yet scholarly study of interdisciplinarity, imagination and creativity is of critical widespread interest now, when arts education in many countries is threatened with near-extinction. (shrink)

The article is devoted to problems of creative and reproductive strategies of modern Russian pedagogy with regard to the asynchrony of cultural personality layers of students. The asynchrony of cultural and psychological personality layers means that a system of personal attitudes consists of orientations that prevailed in different historical periods and therefore is able to combine both harmony and disharmony of interaction between them. Orientation on the reproduction or on the creativity has a particularly strong influence on the formation (...) and dominance over private personal attitudes. Special attention is paid to active group learning methods that are capable of intensifying the creative development of a personality. The cause of many of the shortcomings of the modern education is the state bureaucratic activity armed of consolidating the archaic reproductive attitudes in teachers and students practices and at enhancing the asynchrony of cultural layers of personality, which hampers the further development of creativity. Much attention is paid to the traditions of Russian humanitarian thought and experience of outstanding Russian teachers largely determined the development of modern pedagogical practice. The activity of the most talented native teachers of the twentieth century was aimed at reducing the specified cultural asynchrony of pupils through active intragroup interaction with increasing inclusion of each in the process of development of modern cultural skills of creativity. Not ‘stucking‘ on the tasks that the group could decide for herself, the teacher worked "for the future", focusing it on the broader educational interests and creativity. Typology of culture correlates with cognitive mechanisms of socialization. (shrink)

Margaret Boden presents a series of essays in which she explores the nature of creativity in a wide range of art forms. Creativity is the generation of novel, surprising, and valuable ideas. Boden identifies three forms of creativity each eliciting a different form of surprise.

This paper examines the relationship between learning and practice, rule and invention, in Japanese art. Drawing on Chinese precedent, learning through the close observation of conventional models for technical mastery or stylistic construction, underpinned training in almost all of the arts and crafts in Japan. The practice of building individually inventive projects was usually developed only after the successful completion of long apprenticeships in studio settings. The pictorial engagements of Edo, today's Tokyo, form the principal focus for this examination (...) of how individually forged learning pathways developed within the formal constraints of Tokugawa period art-training arrangements. This paper... (shrink)

In recent decades education is increasingly perceived as an instrument for generating economic growth and enhancing production. Unexpectedly, however, many prominent economists, throughout history, have rejected this view of education. This article examines the grounds on which Tibor Scitovsky, who was one of the leading economists of twentieth century America, objected to the spread of production oriented education. The article begins by an historical overview of the relationship between economic and educational theory. It then explains why Scitovsky held the economic (...) growth achieved in the 20th necessitates an educational reform and presents the outline of this proposed educational reform. It is argued that by distinguishing between creative and defensive forms of consumption and by highlighting the inherent tension between comfort and pleasure, Scitovsky offers an innovative and challenging conception of the desired relationship between economics and education that can serve as an alternative to the one that prevails today and amend its many fallacies. The paper concludes by briefly exploring some of the educational implications that stem from Scitovsky’s thought. It is maintained that Scitovsky’s views provides an original defense for teaching the arts and humanities and a suggestive perspective on consumer education and teaching of high culture. (shrink)

The importance of cultivating creativity in language education has been widely acknowledged in the academic literature. In this respect, digital technologies can play a key role in achieving this endeavour. The socio-cultural conceptualization of creativity stresses the role of communication, collaboration and dialogical interaction of creative expression in language education. The objective of this paper is to study the literature focusing on cases of collaborative creativity and technology embedded in language education. To this end, we carry out (...) a systematic revision of state-of-the-art literature consisting of 26 blind peer-reviewed empirical studies selected from several databases that address our main research question, namely, which specific roles and forms of digital technology can be identified in the existing literature that support collaborative creativity in language education. Results show that the features of digital technology unfold a range of learning opportunities in language education and can play three different roles in promoting collaborative creativity: as a tutoring device that guides the implementation of key co-creation skills; as a tool that enables and shapes the development of co-creative thinking skills; and as a medium that creates rich and resourceful environments to stimulate the emergence of collective creative processes. The paper also reveals that these three roles can be performed using a wide range of interactive technologies that encourage students to participate in a rich, co-creative language learning experience and equip learners with key competences to approach complex problems in a globalised and hyper-connected world. Finally, this paper may contribute to developing future language technology-enhanced learning projects capable of promoting key collaborative and creative processes. (shrink)

AbstractFrom Karl Marx to Martin Heidegger, the dialectical relationship between technology and art has become an ontological question of social reality. Marshall McLuhan’s theory of cool-hot media provides an analytical framework for the information age. “Cool-hot media” is McLuhan’s truly original concept. However, while McLuhan determined electronic media to embrace printing media which was regarded as a typical representative of hot media, he could not foresee that electronic media is properly speaking the latest representative of the split type of hot (...) media. Through Gödel’s Incompleteness Theorems which underlies formalization and Embodied Cognition Theory, this article argues that there exists an ontological difference between computers and human existence and explores the position of art from the contemporary cool media perspective. This contribution is not only intended to be a philosophical critique of the philosophy of technology of the media age, but also a repositioning of contemporary art and its function from the media perspective. The technological division and abstraction represented in hot media becomes the basic premise for a holistic approach to computer science and artificial intelligence. Their rich information context leads to multiple interpretations of meaning instead of a one-dimensional definition; the everyday actions of cold media have become a type of life art in a broad sense, and manifest their social function as an art of the information age, i.e. to balance the cognitive narrative of hot media and to ensure that its communication does not suppress the audience’s individual creativity, so that they can maintain their subjectivity by tracing the source of information. Art facilitates active audience participation and so allows participants to overcome a one dimensional way of thinking and promotes imagination and creativity in liberal arts education. Following the rules of art, cold media obtains its greatest significance as the guardian of the free subjectivity of all humans, which is alien to modern technology. Cold media and hot media balance each other to create a new way of producing and living that not only discovers but also safeguards the world. (shrink)