scholarly journals The Arts and the Authentic Learner

2007 ◽  
Vol 1 ◽  
Author(s):  
Zuzana Vasko
Keyword(s):  
Market Economy ◽  
Contemporary Art ◽  
Arts Education ◽  
Aesthetic Experience ◽  
The Self ◽  
Meaningful Life ◽  
The Arts ◽  
Visual Artist

Amidst a goal-oriented society driven by a market economy, knowing one’s truer values and finding a sense of personal authenticity may seem challenging. With the view that education is to prepare a student for a meaningful life, this paper looks toward how arts education and the encouragement of aesthetic experience can go a long way toward helping students find a sense of authenticity in their lives. The arts foster a connection with the self as well as with our peers and the culture of which we are a part. The humanizing characteristics of art such as the emotions, intuition, our bodies and senses, and our beliefs are explored, as is the role of contemporary art. While this paper takes the viewpoint of a visual artist, the ideas apply to the arts in general.

Expanding Our “Frames” of Mind for Education and the Arts

2013 ◽  
Vol 83 (1) ◽  
pp. 15-39 ◽  
Author(s):  
Jennifer Groff
Keyword(s):  
Multiple Intelligences ◽  
Cognitive Processing ◽  
Arts Education ◽  
Digital World ◽  
The Arts ◽  
Multiple Intelligences Theory ◽  
Impact Of Technology ◽  
The Impact ◽  
The Relationship

In this article, Jennifer Groff explores the role of the arts in education through the lens of current research in cognitive neuroscience and the impact of technology in today's digital world. She explains that although arts education has largely used multiple intelligences theory to substantiate its presence in classrooms and schools, this relationship has ultimately hindered the field of arts education's understanding of the relationship between the arts, human development, and learning. Emerging research on the brain's cognitive processing systems has led Groff to put forth a new theory of mind, whole-mindedness. Here she presents the evidence and construct for this frame of mind, how it sits in relation to multiple intelligences theory, and how it might redefine the justification for arts education in schools, particularly in our digitally and visually rich world.

The Role of Music in a Balanced Arts Curriculum

1990 ◽  
Vol 7 (3) ◽  
pp. 231-238
Author(s):  
Keith Stubbs
Keyword(s):  
Arts Education ◽  
National Curriculum ◽  
Curriculum Planning ◽  
Management Structure ◽  
The Arts ◽  
Historical Factors ◽  
Arts Curriculum ◽  
Music And The Arts ◽  
Selection Of

Music has a role to play in Arts Education. This role remains largely underdeveloped. The selection of music and art as foundation subjects in the National Curriculum is divisive and fails to comprehend the fundamental concepts of arts education.This paper recognises the characteristics that are both common and distinctive between music and the arts, and reminds us of the historical factors which often prevent collaborative curriculum planning. It examines both the models and the language of collaboration, and recommends a management structure placed firmly within a single cohesive policy for the arts.

scholarly journals PELATIHAN SENI DEKORASI DI SEMINARI MENENGAH AGUSTINIANUM TOMOHON

2018 ◽  
Vol 1 (2) ◽  
Author(s):  
Budiyatmi Budiyatmi
Keyword(s):  
Character Education ◽  
Art Education ◽  
Arts Education ◽  
Aesthetic Experience ◽  
Human Life ◽  
Design Concept ◽  
Revenue Source ◽  
Business Opportunities ◽  
Aesthetic Values

Competition in all sectors and of human life : in local, national and global, requires the role of art education as a strategic choice. Arts education as part of character education is to obtain aesthetic experience and discover the value of beauty. Tomohon as one of the tourist city has a natural potential and very interesting to visit. Predicate ‘city of flowers’ is an attraction in itself too. Business opportunities in the field of Flora, make businessmen and investors keep to develop business in the field of this industrial. Then training dercoration art or art flower arrangement, became a media that needs to be selected in the creation of quality works. Media is easily obtained and if they supported with a design concept, this is can be interesting artwork in the middle of the competition and the development of applied arts. The charm of the plant is able to present the beauty of the room decor. They can complete by combining various types of flowers in a container, and inserted along with a variety of foliage. Set of parts of the plant will appear more attractive if they knew about the art of stringing. The problem is, there have some basic things who can make wild flowers or leaves to make it look attractive. Based on these ideas, skills need to be provided in an attempt to tackle the problem a lack of interest to pursue business in the field of art is one of the alternatives to bring in additional revenue source. Keywords: art education, aesthetic values, flora, flower, decoration.

scholarly journals It’s All in the Reading

Arts ◽  
2020 ◽  
Vol 9 (1) ◽  
pp. 19
Author(s):  
Déirdre Kelly
Keyword(s):  
Contemporary Art ◽  
Mass Production ◽  
Large Scale ◽  
Book Production ◽  
Art Practice ◽  
The Arts ◽  
History Of ◽  
First Time ◽  
The City

It seems inherent in the nature of contemporary artist’s book production to continue to question the context for the genre in contemporary art practice, notwithstanding the medium’s potential for dissemination via mass production and an unquestionable advantage of portability for distribution. Artists, curators and editors operating in this sector look to create contexts for books in a variety of imaginative ways, through exhibition, commission, installations, performance and, of course as documentation. Broadening the discussion of the idea of the book within contemporary art practice, this paper examines the presence and role of book works within the context of the art biennale, in particular the Venice Art Biennale of which the 58th iteration (2019) is entitled ‘May You Live In Interesting Times’ and curated by Ralph Rugoff, with an overview of the independent International cultural offerings and the function of the ‘Book Pavilion’. Venetian museums and institutions continue to present vibrant diverse works within the arena of large-scale exhibitions, recognising the position that the book occupies in the history of the city. This year, the appearance for the first time, of ‘Book Biennale’, opens up a new and interesting dialogue, taking the measure of how the book is being promoted and its particular function for visual communication within the arts in Venice and beyond.

Thinking Otherwise About the Arts in Education—A Rejoinder

2013 ◽  
Vol 83 (4) ◽  
pp. 636-643 ◽  
Author(s):  
Rubén Gaztambide-Fernández
Keyword(s):  
New York ◽  
Cultural Production ◽  
Arts Education ◽  
Aesthetic Experience ◽  
Harvard Educational Review ◽  
National Endowment ◽  
Washington Dc ◽  
Arts In Education ◽  
The Arts ◽  
New Vision

In this essay, Rubén Gaztambide-Fernández reflects on the comments made in a forum convened to reflect on his article “Why the Arts Don't Do Anything: Toward a New Vision for Cultural Production in Education,” published in the Harvard Educational Review (HER)'s special issue entitled Expanding Our Vision for the Arts in Education (Vol. 83, No. 1). Participants in the forum (published in HER Vol. 83, No.3) were John Abodeely, manager of national partnerships, John F. Kennedy Center for the Arts, Washington, DC; Ken Cole, associate director, National Guild for Community Arts Education, New York City; Janna Graham, project curator of the Serpentine Gallery, Centre for Possible Studies, London; Ayanna N. Hudson, director of arts education, National Endowment for the Arts, Washington, DC; and Carmen Mörsch, head of the Research Institute for Art Education, Zurich University of the Arts. In his original essay, Gaztambide-Fernández makes the case that advocacy for arts education is trapped within a “rhetoric of effects” that relies too heavily on causal arguments for the arts, whether construed as instrumental or intrinsic. Gaztambide- Fernández further argues that what counts as “the arts” is based on traditional, Eurocentric, hierarchical notions of aesthetic experience. As an alternative, he suggests a “rhetoric of cultural production” that would focus on the cultural processes and experiences that ensue in particular contexts shaped by practices of symbolic work and creativity. Here the author engages the forum's discussion in an effort to clarify his argument and move the dialogue forward.

Adolescent Girls Finding Purpose: The Role of Parents and Prosociality

2017 ◽  
Vol 50 (6) ◽  
pp. 801-817 ◽  
Author(s):  
Belle Liang ◽  
Terese Lund ◽  
Angela Mousseau ◽  
Allison E. White ◽  
Renée Spencer ◽  
...  
Keyword(s):  
Prosocial Behavior ◽  
Adolescent Girls ◽  
The Self ◽  
Meaningful Life ◽  
Adolescent Relationships ◽  
The World ◽  
Role Of Parents ◽  
Adolescent Thriving

Scholars have differentiated other-oriented (OO) purpose (i.e., a personally meaningful life aim intended to contribute to the world beyond the self) and self-oriented (SO) purpose (i.e., a personally meaningful life aim without intention to contribute beyond the self). OO purpose is associated with adolescent thriving, yet little is known about how to cultivate it. In a study of 207 adolescent girls, we examined how positive parent–adolescent relationships may contribute to developing OO versus SO purpose; we also tested whether the association between parent–adolescent relationships and OO purpose was mediated by prosocial behavior.

Arts Education as a Vehicle for Social Change: An Empirical Study of Eco Arts in the K-12 Classroom

2017 ◽  
Vol 33 (2) ◽  
pp. 61-80 ◽  
Author(s):  
Jeniffer Sams ◽  
Doreen Sams
Keyword(s):  
No Child Left Behind ◽  
Arts Education ◽  
Creative Thinking ◽  
The United States ◽  
Self Report ◽  
Future Research ◽  
Bottom Line ◽  
The Arts ◽  
K 12

AbstractArts education has been part of the United States K-12 educational system for over a century. However, recent administrative policy decisions addressed theeconomic bottom lineand the 1983 report,A Nation at Risk, and complied with theNo Child Left Behind (NCLB) Act of 2001(U.S. Department of Education, 2001). These decisions resulted instandardisationof both core curricula and testing, leaving arts programs to function in a diminished capacity, curtailing both individuality and creative thinking. This study unpacks the role of the arts as change agents with the ability to: address current discourse; question ideologies and culture; convey complex problems in artistic form; engage the viewer in aesthetics; provide a perspective not found in regimented thinking; and empower creative problem solvers. This work also highlights the role of eco-art as a medium for addressing complex environmental challenges. The study also empirically examines, through a self-report survey, K-12 arts educators’ perceptions of integrating eco-arts into curricula. Findings revealed respondents’ desire to integrate eco-arts into the arts curricula and identified the most significantly perceived barriers to integration, as well as the role of policy on practicality. The authors also identify the study's limitations and recommend areas for future research.

scholarly journals The role of architecture in an engaging and meaningful experience of the physical exhibition

2020 ◽  
Vol 5 (1) ◽  
pp. 36-53
Author(s):  
Bárbara Dos Santos Coutinho ◽  
Ana Cristina Dos Santos Tostões
Keyword(s):  
Digital Media ◽  
Aesthetic Experience ◽  
Theory And Practice ◽  
Spiritual Intelligence ◽  
Work Of Art ◽  
The Public ◽  
Exhibition Space ◽  
Digital World ◽  
The Arts

While recognising the part that digital media play in bringing about greater accessibility to artworks display and ensuring that they are more visible, this paper argues that the physical exhibition continues to be the primary place for the public to encounter the arts, as it can offer an engaging and meaningful aesthetic experience through which people can transcend their own existence. As such, it is essential to rethink now, in the scope of an increasing digital world, the exhibition in conceptual and methodological terms. For this purpose, the exhibition space must be considered as content rather than container and the exhibition as a work, often with the intentionality of a “total work of art”, rather than just a vehicle for exhibiting artworks and objects. Having the former purpose in mind, this paper proposes a re-reading of the exhibition designs of Frederick Kiesler (1890–1965), Franco Albini (1905–1977) and Lina Bo Bardi (1914–1992) in order to evaluate how their theory and practice can provide useful lessons for our contemporary thinking. The three architects, assuming the role of curators, use only the specific language of an exhibition and remix conventional modes of communication and architectural vocabulary, exploring the natural and artificial light, materials, layouts, surfaces and geometries in innovative ways. They considered the exhibition to be a work of art, overcoming the container/content dichotomy and trigging an intersubjective and self-reflective participation. Kiesler, Albini and Bo Bardi may all be considered visionaries of our time, as they offer a landscape that stimulates our curiosity through a multiplicity of information arranged in a multisensory way, allowing each visitor to discover associations between himself and his surroundings. None of them simply created an opportunity for distraction or entertainment. This perspective is all the more pertinent nowadays, as the processes of digitalising information and virtualising the real may well lead to the dematerialization of the physical experience of art. By drawing upon these historical examples, this paper seeks to contribute to current study on how an exhibition can stimulate the cognitive, emotional and spiritual intelligence of each visitor and clarify the importance of this effect in 21st century museums and society at large.

scholarly journals The Role of Descartes’s Dream in the Meditations and in the Historical Ontology of Ourselves

2018 ◽  
pp. 84
Author(s):  
Edward McGushin
Keyword(s):  
The Self ◽  
Care Of The Self ◽  
Historical Ontology ◽  
Negative Power ◽  
The Arts ◽  
History Of ◽  
Relations Of Power ◽  
Positive Source ◽  
The Way

This paper situates the dream-hypothesis in Descartes’s First Meditation within the historical ontology of ourselves. It looks at the way in which the dream enters into and transforms Descartes’ relation to his “system of actuality.” In order to get free from his confinement within his system of actuality – an actuality defined by relations of power-knowledge, government, veridiction, and subjectivity – Descartes draws on the disruptive, negative capacity of the dream. But, while Descartes draws on the dream to get himself free and to establish a way of thinking and living differently, he also disqualifies the dream as a positive source of knowledge, truth, or subjectivity. Excavating this ambivalent place of the dream in the genealogy of our present, we aim to recover the dream not only in its negative power but also to open up the possibility of re-imagining its positivity as a form of counter-conduct, problematization, and element in the care of the self. This paper represents one piece of a larger genealogical study that examines the history of relationships between the arts of dreaming and the problematization of power-truth-subjectivity.

Teaching Essential Drawing Principles in Relation to the Human Figure

2000 ◽  
Author(s):  
Deborah A. Rockman
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
Human Form ◽  
Traditional Art ◽  
Human Figure ◽  
Visual Artist ◽  
Principles Of Design ◽  
Changing Role ◽  
Applied Arts

There is perhaps no more significant experience in the study of drawing than the study of the human figure. One needs only to look to the ancient Greeks and to the Renaissance masters to recognize the historical importance of the human form in the study of the visual arts and the refinement of visual expression. Although the figure’s presence and significance during the period known as modernism and in contemporary art has ebbed and flowed, its influence is always felt to some degree, and no classical or traditional art education would be complete without a substantial focus on drawing and studying the human form. Much debate is currently taking place about the changing role and responsibility of foundation courses for students studying both the fine and applied arts. If we examine those aspects that the fine and applied arts have in common, we find that a concern for communication is paramount, whether it takes place in a gallery or museum, in a television or magazine ad, on a showroom floor, on a computer monitor, or in any number of other locales. The power of the human form to communicate cannot be overstated, primarily because it is what we are. We have things in common with other humans that we have in common with nothing else. Looking at a human form in any context has the potential to provide us with the experience of looking in the mirror, of seeing our own reflection, so to speak. It follows that any significant experience in visual communication must thoroughly examine the role of the figure, and for the visual artist this requires experience with drawing the figure. The fine and applied arts also have in common a concern for principles of design and aesthetics. If we acknowledge the presence of these principles in nature, then we may also recognize an element of universality. Quite simply, I can think of no finer example of the application of principles of design and aesthetics than the living, breathing human form, and the human form is universal.

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