scholarly journals VIRTUAL ART MUSEUM AS EDUCATIONAL CONTENT ICT IN TEACHING FINE ARTS (THEORETICAL ASPECT)

2020 ◽  
Author(s):  
Aleksandar Mitrović ◽  
Keyword(s):  
Information And Communication Technologies ◽  
Aesthetic Experience ◽  
Fine Arts ◽  
Theoretical Aspect ◽  
Art Museum ◽  
Educational Goals ◽  
Educational Content ◽  
Virtual Museums ◽  
The Aesthetic ◽  
Almost All

The educational goal of teaching fine arts is to adopt visual literacy and visual expressiveness. Learning by means of information and communication technologies (ICT) involves the use of digital devices for the effective and creative extension of knowledge. The production of electronic educational materials is increasing daily, and thanks to the Internet, it is available on almost all ICT devices. In this paper virtual museums are presented as educational contents of ICT in the teaching of fine arts, as well as their method of application in teaching. The contents presented by virtual museums provide an interactive and non- interactive method of learning and exploration. The interactive educational content of virtual museums is often in the form of educational applications or websites that can be found on ICT and have well-intended educational goals. The contemporary approach and use of ICT in the teaching of fine arts provides new learning opportunities that focus on the aesthetic experience and theoretical aspect of visual content. Given that it takes less time to adopt pictorial content than to adopt verbal content, today’s approach to fine arts education involves the use of ICT.

Aesthetics of the Everyday

2009 ◽  
Author(s):  
Crispin Sartwell
Keyword(s):  
Aesthetic Experience ◽  
Fine Arts ◽  
Philosophy Of Art ◽  
Aesthetic Experiences ◽  
Popular Art ◽  
Art Objects ◽  
Everyday Aesthetics ◽  
Art Activities ◽  
Art As Experience ◽  
The Aesthetic

‘Everyday aesthetics’ refers to the possibility of aesthetic experience of non-art objects and events, as well as to a current movement within the field of philosophy of art which rejects or puts into question distinctions such as those between fine and popular art, art and craft, and aesthetic and non-aesthetic experiences. The movement may be said to begin properly with Dewey's Art as Experience (1934), though it also has roots in continental philosophers such as Heidegger. The possibility of everyday aesthetics originates in two undoubted facts: firstly, that art emerges from a range of non-art activities and experiences, and, secondly, that the realm of the aesthetic extends well beyond the realm of what are commonly conceived to be the fine arts.

Introduction: music and urban history

Urban History ◽  
2002 ◽  
Vol 29 (1) ◽  
pp. 5-7 ◽  
Author(s):  
Vanessa Harding
Keyword(s):  
Cultural History ◽  
Urban History ◽  
Aesthetic Experience ◽  
Fine Arts ◽  
New Historicism ◽  
Special Issue ◽  
Urban Experience ◽  
Academic Field ◽  
History Of ◽  
The Aesthetic

Music – as many of the contributors to this special issue of Urban History point out – is an important component of the urban experience and can play a significant role in the construction of a civic identity, and yet it is a topic that urban historians have tended to overlook. There are some parallels with the case of the fine arts, to which a special issue of this journal was devoted in 1995, both in the causes for this neglect – which similarly include ‘the intimidating traditions of connoisseurship associated with the field’ and the difficulty we have with analysing the ‘aesthetic experience’ – and in the developments which are helping to overcome such inhibitions. So far, the impulse seems to be coming from musicologists and music historians, who, inhabiting a fairly small corner of the academic field, are fully conscious of the need to forge connections with other disciplines and historiographical traditions. The importance of contextualizing and historicizing not only the composition but also the production, transmission and reception of music has been recognized for some time, but so far urban historians have not responded as perhaps the music historians thought they might to the insights and openings that a musical ‘new historicism’ seems to offer. But there is clearly an opportunity – indeed, a pressing need – to develop a broadly-based cultural history of towns and cities in which music will take its place. The aim of this special issue is to promote that objective by illustrating the state of the art and suggesting some of the ideas, tools and methodologies with which it might be developed in future.

scholarly journals Making Sense of Things: Constructing Aesthetic Experience in Museum Gardens and Galleries

2017 ◽  
Vol 14 (1) ◽  
pp. 33-51 ◽  
Author(s):  
Gemma Mangione
Keyword(s):  
Aesthetic Experience ◽  
Botanical Garden ◽  
Art Museum ◽  
Ethnographic Study ◽  
Organizational Practice ◽  
Museum Collections ◽  
Visitor Experience ◽  
Making Sense ◽  
Museum Staff ◽  
The Aesthetic

Studies of museum behaviour in sociology often examine how external environments shape organizational practice. Through an ethnographic study, this article considers programmes for visitors with disabilities at a major metropolitan art museum and botanical garden to ask how ‘sensory conventions’ vary across museums, and with what effects. I trace how museum staff construct the aesthetic experience of art and nature differently to shape how visitors use their senses, and which senses they use, when interacting with museum collections. Examining aesthetic meanings across different kinds of museums reveals these institutions’ differing local cultures and how such cultures affect visitor experience. In particular, aesthetic practices across museums facilitate varying opportunities for perception, and interactions that may privilege particular embodied capacities.Key words: art museums; botanical gardens; aesthetics; senses; disability

scholarly journals The performative turn at Inhotim: installation art and Baudelairean modernity

2013 ◽  
Vol 23 (3) ◽  
pp. 13-30
Author(s):  
Lauren S. Weingarden
Keyword(s):  
Aesthetic Experience ◽  
Installation Art ◽  
Charles Baudelaire ◽  
Art Museum ◽  
Transformative Experience ◽  
Work Of Art ◽  
Botanical Gardens ◽  
The Spectator ◽  
The Aesthetic ◽  
The Individual

This article explores the participatory turn in installation art as part of a trajectory from Baudelairean modernity to twentyfirst-century postmodernity, as represented at Inhotim, the outdoor contemporary art museum and botanical gardens in Brumadinho, MG. In his 1862 essay “The Painter of Modern Life,” Charles Baudelaire defined modernity as fleeting, transitory and fragmentary. Baudelairean modernity initiated a breakdown of boundaries between art and life and between high art aesthetics and popular culture, which continues in the work of installation artists. In the sites of installation art, the spectator is compelled to extend – rather than complete – the work of art in his/her own time, prior experiential encounters and transformative afterthoughts. The shift from the isolated work of art to the experiential one not only complicates how and where works of art are viewed, but also radicalizes the materials that constitute the work of art – whether those materials are extracted from the quotidian sphere or complex technologies, each undergoes a process of defamiliarization and reactivation to produce the transformative aesthetic experience. The individual installations in Inhotim’s “outdoor museum” engage the spectator in a dynamic/participatory experience with spatial, temporal and material relationships that define the very essence of art’s reciprocity, or contrast with the natural and man-made worlds. It is the rarefied setting of Inhotim’s botanical gardens that makes the participatory and transformative experience central to the aesthetic encounter with installation art.

scholarly journals Aesthetic Experience in Virtual Museums: A Postphenomenological Perspective

2018 ◽  
Vol 2 (1) ◽  
pp. 68-79
Author(s):  
Bart G. Moens
Keyword(s):  
Digital Media ◽  
Aesthetic Experience ◽  
Philosophy Of Technology ◽  
Point Of View ◽  
Hybrid Form ◽  
Virtual Museums ◽  
Positive Effects ◽  
Starting Point ◽  
The Aesthetic ◽  
The Impact

This article explores the impact of the digitization of traditional works of art on the aesthetic experience from a philosophical point of view. Presenting and making use of a recent approach in the philosophy of technology, initiated by the American philosopher Don Ihde, called postphenomenology. This hybrid form of phenomenology builds on traditional phenomenology and combines it with a pragmatic approach in order to focus on the mediating roles of technology. Concrete technologies and applications such as screens and virtual museums are the starting point for our examination of the specific character of these digital media, which are then compared with their physical referents. Following Ihde’s arguments, we show that digital image technologies, and digital images themselves, are not merely functional, but shape perceptions and experiences. Although currently the positive effects and opportunities of these new applications are emphasized in the field – for collection management, the democratization and accessibility of art, possibilities to interact and intervene in the image, efficient marketing, etc. – they do have a significant impact on the way in which art is experienced.

scholarly journals Electronic resources as a means of constructing the learning environment of a children's art school

2021 ◽  
Vol 109 ◽  
pp. 01030
Author(s):  
Olga Popova ◽  
Anzhela Danilenko ◽  
Nadezhda Kosenko ◽  
Svetlana Chernikova
Keyword(s):  
Information And Communication Technologies ◽  
Goal Setting ◽  
Fine Arts ◽  
Communication Technologies ◽  
Educational Goals ◽  
Children's Art ◽  
Quality Feedback ◽  
Personalized Education ◽  
Information And Communication ◽  
Additional Education

The article presents a model of personalized mixed learning for the implementation of programs of general additional education in the field of fine arts. This model is presented through the metaphor of the “space of opportunities”, in which the student can choose their own educational trajectory and ways to achieve educational goals. The structure of the personalized educational space is slated, the role and place of information and communication technologies in the implementation of personalized education are considered. The key elements of the model presented by us were goal-setting, criteria-based evaluation of the results of educational activities and the use of information and communication technologies. Within the framework of the proposed approach to goal-setting, the transition from simple knowledge and skills to more complex ones is carried out, as well as the synthesis of mental operations with a specific application and creative rethinking of the acquired knowledge. Criteria-based evaluation is intended to provide high-quality feedback. It is carried out on the principles of equality; personalization; clarity of criteria; evaluation of the result, not the activity of the child in the lesson; continuity. The main characteristics of the presented model are: level-based, result-oriented, interactive, and variable.

scholarly journals ESTETIKA (DALAM) DESAIN

DeKaVe ◽  
2012 ◽  
Vol 1 (3) ◽  
Author(s):  
FX Widyatmoko
Keyword(s):  
Visual Communication ◽  
Aesthetic Experience ◽  
Fine Arts ◽  
Academic Research ◽  
Great Distance ◽  
Concept Design ◽  
Design Work ◽  
Visual Communication Design ◽  
Communication Design ◽  
The Aesthetic

Aesthetics is a word that is often present in the areas of art, including fine art. However, in thearea of visual communication design aesthetic rarely spoken words compared with the area of fine arts(fine arts). Not that there are no problems in the design aesthetic. Aesthetic issue still exists, but it is rarelyused as a design concept design. Even the design of the study area, there are aesthetic studies. However,the study could have imagined aesthetic has a great distance to the aesthetics of everyday design. There isalso an effort to facilitate the understanding of aesthetics is to provide the name of a visual strategy(Andry Masri, Jalasutra, 2010). However, the strategy also has not explained the visual aesthetic studiesare very diverse. The phrase is intended to facilitate common aesthetic learned, particularly for the needsof design planning (especially product design).This paper aims to offer a way to understand the aesthetic rather than through understanding, butto find the position of each design aesthetic in visual communication design. The objects that wereexamined in the two final ISI Visual Communication Design (one object assessment, the object creation),as well as a book cover design. The goal is clear, to give an overview of the aesthetic. Hopefully, thegrowing diversity of aesthetic closer to the day-to-day. In short, bringing together academic research,design work, the aesthetic experience everyday.

scholarly journals Patung Dewa Ruci Dalam Perspektif Budaya Bali

2021 ◽  
Vol 20 (1) ◽  
Author(s):  
I Nyoman Linggih
Keyword(s):  
Aesthetic Experience ◽  
Human Life ◽  
Fine Arts ◽  
Point Of View ◽  
Three Dimension ◽  
True Self ◽  
The Real ◽  
Aesthetic Appearance ◽  
Real Phenomenon ◽  
The Aesthetic

Statue is one form of fine arts which is known as the aesthetic experience which come out from the forms of three dimension. Ruci /Nawa Ruci is the form of God or Ida Shang Hyang Widhi in a form of one and only. The Ruci statue has an aesthetic appearance physically. The Ruci statue is a complete group, the united of one figure to another figure from point of view form structure and the existence of statue composition. The Ruci statue has functions: sacred function, ritual/ceremony function, religious aesthetic function. The Ruci statue is symbolize as a snake or dragon in the ocean wave which describe all commitment of human life in the real world which always bring the flows of human life uncertain. Bhima who is known as a micro cosmos figure or as a human being who looking for his true self and wants to find himself. Ruci/ Acintya represent in the statue is presented the sense of “Me” belong to every human life. So that the real phenomenon of Ruci statue is about dialog between soul (atma) with the highest soul (paramatma)in order to find out the real meaning.

A Field Pioneered by Amateurs: The Collecting and Display of Islamic Art in Early Twentieth-Century Boston

2014 ◽  
Vol 30 (1) ◽  
pp. 13-33 ◽  
Author(s):  
Benedict Cuddon
Keyword(s):  
Twentieth Century ◽  
Middle East ◽  
Fine Arts ◽  
Art Museum ◽  
Political Context ◽  
Islamic Art ◽  
Aesthetic Movement ◽  
The Social ◽  
American Hegemony ◽  
The Aesthetic

This article examines the formation and display of collections of Islamic art in Boston-area museums over the first half of the twentieth century. It focuses on the holdings of three main institutions: the Museum of Fine Arts, the Fogg Art Museum, and the Isabella Stewart Gardner Museum. It explores some of the key personalities involved in the formation of collections, such as Denman Waldo Ross, Hervey Wetzel, Joseph McMullan, and Stuart Cary Welch. It also looks at early curators of the collections, in this era a largely amateur pursuit. Through these considerations it traces changing approaches to the study of Islamic art and discusses the various local and international forces (including the Aesthetic Movement, emerging nationalist discourses and ethno-racialist interpretations of art, and the growing American hegemony in the Middle East) that shaped the social and political context in which Islamic art was received and interpreted in this period.

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