DEVELOPMENTAL POTENTIAL OF ARTISTIC SYNTHESIS IN THE ART EDUCATION OF A FUTURE TEACHER

2020 ◽  
pp. 61-69
Author(s):  
Olena Malytska
Keyword(s):  
Art Education ◽  
Modern Art ◽  
Modern Society ◽  
Future Teacher ◽  
Developmental Potential ◽  
Artistic Creation ◽  
Methodological Basis ◽  
Works Of Art ◽  
The Arts ◽  
Artistic Training

The synthesis of the arts is not the latest concept, but at the beginning of the XXI century it acquired a unique, compared to other eras, role in the artistic culture of modern society. Modern artistic practices are characterized by new synthetic properties, and therefore approaches to the mastery of modern teachers of modern art forms should take into account the relevant features of perception of works of art and synesthetic features of the process of artistic creation. Updating the technologies of art education and its methodological basis in the context of artistic synthesis is a factor in effectively solving the problems of artistic training of future teachers.

Creativity in Art

2009 ◽  
Author(s):  
Philip Alperson
Keyword(s):  
Characteristic Feature ◽  
Common Sense ◽  
Academic Disciplines ◽  
Necessary Condition ◽  
Creative Activity ◽  
Artistic Practice ◽  
Artistic Creativity ◽  
Artistic Creation ◽  
Works Of Art ◽  
The Arts

Perhaps no other concept seems as fundamental to common thinking about the arts as the concept of artistic creativity. This is not because creativity seems to most people to be unique to art. Quite the contrary: we speak freely of creative activity in the sciences, in academic disciplines, in cooking, in sports, and, indeed, in virtually every area of human productive endeavour. Nor is this surprising. Creating and making are closely associated etymologically (from the Latin creare) and in the popular mind, and it does no violence to common sense to say that what can be made or done can be made or done creatively. Nevertheless, creativity, if not a necessary condition of artistic practice, seems at least a hallmark or a characteristic feature of art generally. And so we think of artists as creating their works, we think of works of art (including physical things, performances, events, and conceptual objects and structures) as artistic creations, and we praise artists, their works, and even entire artistic epochs for their creativity. Many people take artistic creation to be the quintessential human creative activity.

scholarly journals Widening Sphere of Modern Art and Literature in Nepal: A study of the interface between them

2021 ◽  
Vol 7 (1) ◽  
pp. 6-27
Author(s):  
Abhi Subedi
Keyword(s):  
Art Education ◽  
Modern Art ◽  
Evolutionary Process ◽  
Great Role ◽  
Cultural Consciousness ◽  
Art Students ◽  
Long Period ◽  
Works Of Art ◽  
Art And Literature ◽  
Basic Argument

I see modernism in painting in this region as an evolutionary process that should trigger discussions about its constituent features. This argument harps on the two questions. Is modernism only an emulation of the Western style and methods in paintings and literature, or is it also the evolution of native cultural consciousness that is reflected in the experiments made by painters in art and by writers in creative literary works? To answer these questions, this article includes discussions about evolutions of modernism in paintings and culture in meta-artistic and literary discourses. Examples are drawn from very selective discussions about literature and works of art for reason of space. The basic argument of this article is that modernism in Nepali paintings should be seen in its evolutionary process. Modernism in art is not a condition that we see in palpable form today. It has grown over a long period of creative engagements and efforts both by painters and literary writers. Nepali art students' exposure to art education in Kolkata and literary writers' engagements with print-capitalism in Banaras over a century ago have played significant roles in introducing modernism in both paintings and literature. But I have said clearly that the use of the Western techniques and education has played great role in this process. We can see that in the interface between art and literature, which should be seen in the widening sphere of such sharing in terms of both techniques, and native orientations.

scholarly journals Specifics of the Concert Master's Pedagogical Activity in the Context of Trends of Modern Art Education

2021 ◽  
Vol 10 (3) ◽  
Author(s):  
Natalia Koresandovich ◽  
Keyword(s):  
Art Education ◽  
Personal Development ◽  
Modern Art ◽  
Modern Society ◽  
Spiritual Needs ◽  
Process Conditions ◽  
Stage Of Development ◽  
Pedagogical Competence ◽  
Methodological Principles ◽  
Art Pedagogy

The article considers the problems of pedagogical activity of the accompanist through the prism of the peculiarities of the development of art education in the first decades of the XXI century. It is stated that the current stage in the pedagogy of concertmaster activity is characterized by the presence of formed and developed by specialists in various fields of science basic concepts, scientific and methodological principles, methods of artistic and aesthetic education of future musicians. It was found that the issue of pedagogical competence of the accompanist is one of the urgent problems, as each historical stage of development of society, forming its own guidelines for art pedagogy, makes new demands or modifies existing ones. It is noted that the problems of concertmaster activity in the context of art education at the present stage are determined by the nature and content of the conditions that characterize the life of modern society. It is emphasized that the prospects for the development of pedagogical activities of the accompanist include educating future artists of the best artistic and aesthetic qualities, creating in the learning process conditions for comprehensive personal development, meeting professional and spiritual needs, developing their creative abilities and skills of artistic research. The specifics of the development of modern art education involves the transformation of traditional methods and approaches to teaching in order to adapt to the requirements of modern students, as well as - to the conditions of socio-cultural space.

scholarly journals MODERNISATION OF ART EDUCATION OF A FUTURE TEACHER UNDER CONDITIONS OF GLOBALISATION

10.23856/4213 ◽  
2021 ◽  
Vol 42 (5) ◽  
pp. 95-103
Author(s):  
Olena Malytska
Keyword(s):  
Art Education ◽  
Mutual Influence ◽  
Modern Art ◽  
Future Teacher ◽  
Modern World ◽  
Cultural Concepts ◽  
Art Object ◽  
Art Practices ◽  
Is Integration ◽  
Traditional Arts

The article addresses the reflection of the processes of globalisation in contemporary art and their influence on the content and technologies of art education of a future teacher. The emphasis was placed on the fact that even under conditions of globalisation, artistic culture cannot be transformed on the basis of unification because it leads to the loss of ethnocultural values of a certain nation and the destruction of their cultural genotype. It was determined that the only direction of the transformation of modern art is integration technologies. The classification of integration methods in modern art practices is offered according to the following forms: mutual influence of cultural concepts on a territorial basis; the synergy of traditions and innovations; the combination of modern technologies into a conglomerate that preserves the characteristics of an art object; innovative synthesis of traditional arts on a group or type basis. Attention was focused on the fact that globalisation processes, that take place in the modern world, affect the content and determine the technologies of art education. It was established that among the forms of artistic integration of contemporary arts, that were proposed by the author, such as the synergy of traditions and innovations as well as the synthesis of traditional arts on a group or type basis are mainly introduced in the art education of a future teacher.

scholarly journals NEGATIVITAS TOTAL: KRITIK ADORNO TERHADAP RASIONALITAS DAN SENI MASYARAKAT MODERN

2016 ◽  
Vol 1 (2) ◽  
pp. 137
Author(s):  
Sunarto Sunarto
Keyword(s):  
Critical Theory ◽  
Modern Art ◽  
Modern Society ◽  
Frankfurt School ◽  
Max Horkheimer ◽  
Art Object ◽  
The Arts

Theodor Wiesengrund Adorno (1903-1969) adalah salah satu tokoh dari Mazhab Frankfurt, yang sangat akrab dengan Max Horkheimer. Keduanya membesarkan Mazhab Frankfurt. Adorno ahli dari berbagai bidang: filsafat, sosiologi, dan musikolgi. Pemikirannya saling bertautan. Kritiknya terhadap seni modern lebih kepada pertautan dengan sosiologi. Kondisi masyarakat modern post-aufklarung telah begitu memprihatinkan dengan mengorbankan hidup demi rasionalitas teknologi yang instrumental. Adorno menganggap telah terjadi pembalikkan total atas peran manusia sebagai subjek menjadi objek. Masyarakat modern telah terjebak rasionalitasnya sendiri. Bidang seni telah terjebak pada industrialisasi, yang memungkinkan manusia telah kehilangan daya estetis. Manusia menciptakan seni dan sebagai subjek seni akhirnya menjadi objek seni. Realitas inilah yang disebut sebagai “negativitas total”, manusia ingin menguasai alam akhirnya terkuasai oleh alam itu sendiri. Seni yang diciptakan manusia, akhirnya menjadi seni untuk kebutuhan “sesaat” dan konsumtif belaka.Kata Kunci: seni, negativitas total, teori kritis, rasionalitas Theodor Wiesengrund Adorno (1903-1969) is one of the leaders of the Frankfurt School, who is very familiar with Max Horkheimer. Both raise the Frankfurt School. Adorno experts from various fields: philosophy, sociology, and musikolgi. Their thinking is interlocked. His criticism of modern art is more to engagement with sociology. Conditions Aufklarung post-modern society has been so alarming at the expense live for rasionality instrumental technology. Adorno considers there has been a total reversal of the role of man as a subject to an object. Modern society has stuck own rationality. The arts have been stuck on industrialization, which allows humans have lost their aesthetic. Humans create art and as a subject of art eventually became an art object. Reality is what is referred to as "total negativity", humans want to control nature eventually possessed by nature itself. Art created humans, eventually becoming an art for the needs of “instantaneous” and a mere consumer.Keywords: art, total negativity, critical theory, rationality 

Pavel Chistiakov and Jan Ciągliński: New Approaches to Art Pedagogy in Nineteenth- and Early Twentieth-Century Russia

2019 ◽  
Vol 46 (4) ◽  
pp. 305-319
Author(s):  
Isabel Wünsche
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Art Education ◽  
Modern Art ◽  
Fine Arts ◽  
Avant Garde ◽  
The Arts ◽  
Academic System ◽  
Imperial Academy ◽  
Art Pedagogy

Abstract This essay looks at art education in Russia in the nineteenth century, specifically at artist-training practices at institutions such as the Imperial Academy of Fine Arts and the Imperial Society for the Encouragements of the Arts in St. Petersburg. Particular emphasis is on the role and significance of Pavel Chistiakov and Jan Ciągliński, charismatic teachers who developed their distinct art-pedagogical systems as an alternative to the existing academic system and paved the way for the emergence of modern art and the avant-garde in Russia.

Radikale Reflexion–Phänomenologie der Kunst bei Merleau-Ponty

2010 ◽  
Vol 55 (2) ◽  
pp. 115-125
Author(s):  
Frank Ruda
Keyword(s):  
Works Of Art ◽  
The Arts ◽  
Phenomenology Of Perception

Der Beitrag untersucht Merleau-Pontys Phänomenologie der Wahrnehmung als eine Phänomenologie der Kunst. Die dominante Rolle, die Beispiele aus den Künsten in dem Text einnehmen, läßt sich zunächst daraus erklären, daß Kunstwerke eben diejenige Dynamik und Verfaßtheit eines Reflexionsgeschehens zeigen, die das phänomenologische Projekt als solches zu entfalten sucht. Darüber hinaus wird es durch die Konfrontation mit künstlerischen Werken über sich selbst hinaus – oder besser: zu einer Reflexion seiner selbst getrieben. Dieser von der Kunst ausgehend entwickelte »neue Stil« der Reflexivität wird als »ästhetische Inkorporation« diskutiert.<br><br>The paper discusses Merleau-Ponty’s Phenomenology of Perception as a phenomenology of art. The prevalence of examples from the arts in his text indicates that works of art possess the very same dynamic of reflexivity that the phenomenological project as a whole seeks to develop. Furthermore, by way of confrontation with works of art, the project is driven to transcend itself – or more precisely: to reflect itself. This »new style« of reflexivity may be discussed as »aesthetic incorporation.«

How Art Works

2018 ◽  
Author(s):  
Ellen Winner
Keyword(s):  
Statistical Analysis ◽  
Data Collection ◽  
Social Science ◽  
Modern Art ◽  
Hard Work ◽  
Objective Truth ◽  
The Arts ◽  
Art Form ◽  
Art Works ◽  
Truth Value

This book is an examination of what psychologists have discovered about how art works—what it does to us, how we experience art, how we react to it emotionally, how we judge it, and what we learn from it. The questions investigate include the following: What makes us call something art? Do we experience “real” emotions from the arts? Do aesthetic judgments have any objective truth value? Does learning to play music raise a child’s IQ? Is modern art something my kid could do? Is achieving greatness in an art form just a matter of hard work? Philosophers have grappled with these questions for centuries, and laypeople have often puzzled about them too and offered their own views. But now psychologists have begun to explore these questions empirically, and have made many fascinating discoveries using the methods of social science (interviews, experimentation, data collection, statistical analysis).

The Getty Center for Education in the Arts and Discipline-Based Art Education

Art Education ◽  
1988 ◽  
Vol 41 (2) ◽  
pp. 7 ◽  
Author(s):  
Leilani Lattin Duke
Keyword(s):  
Art Education ◽  
The Arts

Culture as a Market: “Inspiration Is Not for Sale”?

2021 ◽  
pp. 5-17
Author(s):  
Liudmila A. Bulavka-Buzgalina ◽  
Keyword(s):  
21St Century ◽  
Modern Society ◽  
Dual Nature ◽  
Artistic Creativity ◽  
Artistic Creation ◽  
Market Relations ◽  
Total Market

Considering artistic creativity through the prism of socio-philosophical prob­lems, the author reveals the reasons and the course of the increasing subordina­tion of culture to the market and capital in the process of evolution of modern society. The article shows that this subordination becomes most intense due to the expansion of the total market of simulacra – a system that is becoming dominant in the 21st century. The dominance of simulacra on the market de­velops to the extent that the main object of not only economic, but all social transactions are signs that have no basis (denotatum) – simulacra. This process of increasing subordination to the total market of simulacra extends not only to the external (sale of the results of artistic creation, which was typical for the previous market), but also to the internal life of culture, including the goals, values, motives of the artist’s activity and transforming co-creativity into alien­ated market relations. This transformation is transforming the market for manuscripts into a market for “inspiration”. The author identifies contradic­tions specific to this process, including the dual nature of the brand, artifact, glamour and the measure of the transformation of cultural phenomena into an “empty sign”.

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