scholarly journals ESTETIKA DALAM KONTEKS PENDIDIKAN SENI

2017 ◽  
Vol 7 (2) ◽  
Author(s):  
Sunarto Sunarto
Keyword(s):  
Public Schools ◽  
Art Education ◽  
Public Space ◽  
Contemporary Art ◽  
Arts Education ◽  
Aesthetic Education ◽  
The Core ◽  
Works Of Art ◽  
The Aesthetic

The core of art is aesthetics, then art education is actually aesthetic education. Aesthetics itself is like a building, it has: roof, wall and hallway (foundation). As a roof, aesthetics give the spirit of art; The aesthetic wall gives themes and contents of art creation, and as aesthetic hall is the goal and background of art creation. Aesthetics are built on ideas, ideas and the purpose of creating works of art According to the results of research on the Art of Public Space in Yogyakarta (2015) shows that the aesthetic building of artwork has moved from the position, from the work to the connoisseur. The move is the latest (Contemporary) art phenomenon, resulting from the thinking of teenagers' paralogism and antihistorianism. This antagonistic, recent development is not anticipated by the learning of Arts Education in public schools.

scholarly journals Issue of Integrity of Art Education in the Context of Changes in Art and Visual Culture

Pedagogika ◽  
2014 ◽  
Vol 114 (2) ◽  
pp. 167-179
Author(s):  
Edita Musneckienė
Keyword(s):  
Visual Culture ◽  
Art Education ◽  
Contemporary Art ◽  
Cultural Context ◽  
Arts Education ◽  
New Technologies ◽  
Thinking Skills ◽  
Education Programs ◽  
Creative People ◽  
Wide Range

This article examines a paradigmatic change of contemporary art education in the context of visual culture and focus to the integrity of arts in formal and informal art education. The article is based on an international research “Contemporary art and visual culture in education” which reveals the problematic aspects of contemporary arts and visual culture in education in general. The research method was the discourse analysis of the participants and researchers, who presented the insights in reflective groups and during the interview with teachers and educators.This paper explores how contemporary cultural context and the spread of visual culture provide preconditions for changes in art education. The aim of the article is to analyze theproblems and perspectives of integral arts education in formal and non-formal education: what the educational challenges and opportunities appear in the context of contemporary art and visual culture? How the integral arts could be realized in art education practice in different arts disciplines and areas of education?Contemporary art and visual culture is increasingly multidimensional, the wide range of visual art forms integral with per formative arts, new technologies and media merge the limits between the arts disciplines. That becomes relevant pedagogical problem with the fact that arts education is traditionally allocated to the separate arts subjects such as music, art, theatre, dance, which also can also be divided into separate areas. This subject segregation of the school curriculum and strong subject orientation limits multimodal contemporary arts education. Secondary Education programs provide opportunities for several options of arts education disciplines (photography, cinema art, graphic design, contemporary music technologies), but it needs special resources for the schools and professional teachers. Many schools follow on traditional model of teaching art and still focusing on simple interpretation of modern artworks, different media and technical skills.Contemporary model of teaching integrated arts and visual culture in education is challenging, because it is based on visual literacy and critical thinking skills, it emphasizes inquiry-based education, a critical understanding of contemporary art practices, problem solving and creating new valuable ideas. Knowledge and experiences came from various sources: formal, non-formal, accidental, individual.Great potential for contemporary art education has non-formal art education programs and projects. Successful project-based initiatives in art education have been excellent examples of arts integration.Artists and other creative people involved into a process of education, their collaboration with schools and communities could initiate some interdisciplinary and collaborative practices. Non-formal arts education environment creates more space for creativity, freedom and diversity. Additional arts education programs, museum and gallery education, artistic competitions and international projects allows for the wider development of arts education. Art education in the new age requires changing attitudes towards learning and teaching, changing roles of the educator and new learning environments.

How to Carry out Aesthetic Education in Art Education

2020 ◽  
Vol 9 (4) ◽  
pp. 168
Author(s):  
Jianying Bian
Keyword(s):  
Higher Education ◽  
Art Education ◽  
Colleges And Universities ◽  
Aesthetic Education ◽  
Ideological And Political Education ◽  
Political Education ◽  
Art Teaching ◽  
Aesthetic Consciousness ◽  
The Aesthetic

In recent years, aesthetic education has been gradually emphasized by higher education. Colleges and universities actively apply aesthetic education in the cultivation of various professional talents, and integrate aesthetic education through courses such as ideological and political education. With a view to enhancing the aesthetic consciousness and ability of higher talents. Art education is the most important and direct way of aesthetic education. Based on this, this paper analyzes the current problems of aesthetic education in colleges and universities, and mainly uses the application of aesthetic education in art teaching as an example to explore the effective ways and methods of aesthetic education.

scholarly journals Influences of Japanese prints on European printmaking (in the case of Degas-Manzi partnership)

2020 ◽  
Author(s):  
Yeter Beris ◽  
◽  
İsmail Erim Gulacti ◽  
Keyword(s):  
Contemporary Art ◽  
Industrial Revolution ◽  
Human Life ◽  
Point Of View ◽  
Digital Printing ◽  
The Core ◽  
Technological Production ◽  
Works Of Art ◽  
Points Of View ◽  
Post Industrial

Contemporary artists have included classical methods together with innovative digital printing technologies to their artistic manufactures and thus their technological production interactions have been reflected on current art as well. Today’s artists have also been in collaboration with each other by involving the digital printing technologies which kept advancing during the recent 20 years in their works of art just like Degas and Manzi did in their relationships of production partnerships in 19th Century. Besides, those opinions which originated from modernism ideas and movements consist of the core of this cooperation post Industrial Revolution era. Therefore, the concept of nationalism, the devastating consequences of the world wars and the latest industrial and technological advancements have all transformed human life irreversibly. Consequently, during this transformation era, various significant movements of art such as Impressionism and Expressionism emerged in the 20th century and representatives of those art movements substituted such a lot of printmaking practices in their works of art. None of those mentioned above took place in other previous movements of art. They reflected their points of view that they display social movements and none of the other artists who represent other senses of art have ever exhibited such a lot of printmaking practices. Thus, various printing technologies which present a new laboratory environment to the artists. As a result of this, printing technologies have been preferred as a sort of new artistic media value and it started to take its prominent place in collections of art as well as in museums during artistic presentations. Within this context, this article aims at studying the phenomenon of art by considering how it has changed during the historical process by examining those works of art which reveal these variations. Common production and working techniques in traditional printmaking, contributions of the technological advantages to the artistic manufacture. Besides, periodical innovations will be examined and presented by introducing an updated point of view to the topic within the content of this article that contain some citations from the second part of the thesis titled “Effects of fine art printmaking on the phenomenon of contemporary art”.

The Aesthetics of Wind Farms

2017 ◽  
Author(s):  
Yuriko Saito
Keyword(s):  
Public Space ◽  
Energy Production ◽  
Wind Farms ◽  
The Core ◽  
Life Values ◽  
The Aesthetic ◽  
Aesthetic Values ◽  
Civic Environmentalism

As one of the sustainable forms of energy production, wind farms are becoming increasingly prevalent, changing the global landscapes and seascapes. They are often met with resistance, primarily because of their presumed ‘eyesore’ effect. This chapter reviews several arguments based upon imagination and comparison to art that are intended to mitigate the negative aesthetic impact of wind farms. It concludes that the most promising aesthetic argument in support of wind farms must be a part of a larger aesthetics of sustainability informed by life values, sometimes referred to as the ‘thick’ sense of aesthetics. At the same time, life values, such as sustainability, cannot by themselves determine the aesthetic values, since purely sensuous, ‘thin,’ considerations, such as colors, shapes, and spatial arrangements, constitute the core of aesthetic values. Most importantly, aesthetic disputes involving public space call for civic environmentalism: empowerment and inclusion of those whose aesthetic lives are affected.

scholarly journals PHILOSOPHICAL FUNDAMENTALS OF INCLUDING NATIONAL VALUES IN THE AESTHETIC CULTURE OF PERSONALITY IN THE PERIOD OF GLOBALIZATION

2021 ◽  
Vol 58 (2) ◽  
pp. 6207-6213
Author(s):  
Gaybullaev Otabek Muhammadievich
Keyword(s):  
Aesthetic Education ◽  
Philosophical Foundations ◽  
The Core ◽  
Spiritual Culture ◽  
National Values ◽  
The Aesthetic ◽  
The Individual ◽  
Integral Feature

In today's era of globalization, the presence of national values ​​in the aesthetic education of the individual is important.  In the era of globalization, the inculcation of national values ​​in the aesthetic culture of the individual as an integral feature of the spiritual culture of the Uzbek people is the ideology, worldview, and values ​​of all nations and peoples living in the country.  Raising the aesthetic culture of the individual in Uzbekistan is the core of the spiritual culture, morals, and psyche of all nations and peoples.  This article describes the philosophical foundations of the inculcation of national values ​​in the aesthetic culture of the individual.

scholarly journals Vantržišna motivacija tržišta umetničkih dela

2019 ◽  
pp. 66-85
Author(s):  
Rastko Močnik
Keyword(s):  
Contemporary Art ◽  
No Value ◽  
Art Criticism ◽  
Art Markets ◽  
Works Of Art ◽  
Economic Mechanisms ◽  
The Difference ◽  
The Aesthetic ◽  
Monopoly Rent

Art markets are not homogeneous, the difference being especially between the art products that can be technically reproduced and the unique products. As for the former, regulations of the copyright type introduce certain specificities (the author retains some rights over the object in circulation— for example, she or he can withdraw it). In case of unique goods, the demand is determined by the buyers’ tastes and does not result from some generally valid presupposition: thus, these goods have a price, but they have no value. Since the aesthetic nature of the reproducible works of art is subject to the same laws as the unique artworks, the economy of unique artworks can serve as a paradigm for the economy of artworks in general. According to a theory developed by Rade Pantić, the price of unique artworks is a monopoly rent. As any other rent, it is determined by non-economic mechanisms. These mechanisms should allow for the freedom of individual tastes and at the same time provide a unique field within which these idiosyncratic attitudes can interact. The mechanisms determining the rent (price) of artworks are therefore ideological apparatuses that present themselves and their elements (individual taste judgments) as non-ideological, and moreover formulate the judgments as individual receptions open to “interpretation,” i.e. as cognitive-affective material to be processed in specific symbolic formations (in curatorial practices, art criticism, philosophical interventions, and alike). In contemporary art, the structure of ideological apparatuses reproduces domination-through-fragmentation, typical of contemporary capitalism.

On Seeing the Birth of the Heart

2008 ◽  
Vol 12 (1) ◽  
pp. 384-410
Author(s):  
Mary Anderson
Keyword(s):  
Human Being ◽  
Bearing Witness ◽  
Religious Imagination ◽  
The Core ◽  
Working Through ◽  
Works Of Art ◽  
Aesthetic Form ◽  
Form Representation ◽  
The Subject ◽  
The Aesthetic

AbstractThis is an essay in seeing the heart of humanity, as it is re-presented in a Christian icon (Kardiotissa) and a Buddhist cave (Vishvakarma). Working through a poetics of image and word and the dialectic of revelation and concealment intrinsic to representation, this essay concentrates on wording the visible confluence of subjective and objective domains, as they appear in art and express human being. Interiority, its formlessness and its incorporation in form, is seen to reorient the religious by bearing witness to a religiosity at the core of the human, a faith rendered and remembered in aesthetic form. Representation as word, concept, and phenomenon is both the subject and medium of this inquiry, which, by plumbing the possibility of the inter-religious imagination, seeks to unearth the ethics, and thus extend the capacities, of representation itself. Significant notes in eastern and western philosophical aesthetics provide a comparative platform for a process of seeing the icon and the cave as works of art that formally illumine an originary site of the religious and the aesthetic in the birth of the heart.

scholarly journals Technologies of Aesthetic Education of Personality by Means of Theatrical Art

2021 ◽  
Vol 1 (6 (344)) ◽  
pp. 78-92
Author(s):  
Nataliia Krasnovа ◽  
Keyword(s):  
Personal Development ◽  
Aesthetic Education ◽  
Educational Process ◽  
Creative Activity ◽  
Works Of Art ◽  
Puppet Theater ◽  
Aesthetic Consciousness ◽  
Spiritual Self ◽  
The Aesthetic ◽  
The Individual

The article characterizes theatrical art as a combination of pictorial possibilities of different arts: literature, stage, painting, architecture, dance, etc. Characteristics, differences of types of theater are given: dramatic, musical (opera, operetta, ballet), pantomime, puppet theater, theater of small forms, which in a way influence the formation of the personality of the younger generation. It is shown that aesthetic education can be considered as a universal means of personal development based on the identification of individual abilities, diverse aesthetic needs and interests. The purpose of aesthetic education is determined, namely, on the basis of perception, interpretation of works of art and practical artistic and creative activity to form in a person a personal and valuable attitude to reality and art, to develop aesthetic consciousness, cultural and artistic competence, ability to self-realization, need for spiritual self-improvement. It is proved that artistic and pedagogical technologies are the most effective in the process of aesthetic education of personality; their structure contains: human resources (emotionally colored subject-subject interaction, a palette of forms and methods of organizing various types of artistic and creative activities), artistic and intellectual resources (works of art, artistic knowledge, ideas, meanings, values), technical resources (audiovisual, computer); types: local (specific methods for the development of certain skills and abilities), systemic (covering the holistic educational process, various arts). Forms and methods of art and game technologies (dramatization, pantomime, staging, dramatization) that contribute to the aesthetic education of the individual are presented.

scholarly journals The Educating Role of Visual Arts

2016 ◽  
Vol 15 (1) ◽  
Author(s):  
Sandra Palhares - University of Minho
Keyword(s):  
Art Education ◽  
Contemporary Art ◽  
Visual Arts ◽  
Community Involvement ◽  
Arts Education ◽  
Visual Art ◽  
Creative Thinking ◽  
Visual Arts Education ◽  
Active Player ◽  
Wide Range

This article discusses contemporary visual arts education current changes. Visual Arts Education is frequently underestimated by most European Curriculum which often gave and still gives priority to other knowledge areas. Nevertheless, culture industries like museums and a wide range of culture and social organizations are doing the opposite, leading visual art education to an increasingly dissemination, even if it is always less than we all expect. This article also focus on a current shift and which seems to be a kind of paradox: visual art education services from alternative culture institutions are becoming integrated on school activities. By recognizing Visual Art Education Value, culture institutions are trying to develop different approaches in order to engage visual arts with communities. By informing and promoting creative thinking, they are trying to reach community involvement and, consequently, breaking down barriers when necessary. In a more and more globalized world, it is urgent to rethink culture, ethnical, social, economical and political diversities and here is where visual arts education can become a more active player. Art always allowed man to create different worlds in our world as Nelson Goodman affirmed. By creating new worlds, art offers possibilities on new world perspectives and therefore it also might make possible a great miracle, which is the possibility of changing into a better world! Isn´t that what next Documenta 14 is doing? Documenta 14, Kassel, considered the world's largest and most prestigious exhibition of contemporary art, will be held in Athens, Greece, and Kassel, Germany, under the following theme: Learning from Athens. Both - visual art education and contemporary art - seem to share this wish and determination in changing to a better world by implicating local, national and international community. And Art always seemed to be a great `educator´ throughout mankind history.

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