Questions related to Art Education
- In my opinion, the location of knowledge in the head or in the brain is a postulate, that is to postulate means "to suggest or accept that to theory or idea is true as a starting point for reasoning or discussion" (Collins). But Basis for Research. To postulate is "to assume to be very or exist; Take for Granted ”(Collins). And I would add to take for granted without any proof, and in any case not demonstrable .
La plupart des théories de l'apprentissage et de l'enseignement sont basées sur le postulat que la connaissance est dans la tête ou le cerveau. Et si ce n'était pas le cas?
À mon avis, l'emplacement des connaissances dans la tête ou dans le cerveau est un postulat. Un postulat est un « Principe non démontré que l'on accepte et que l'on formule à la base d'une recherche ou d'une théorie » (CNRTL).
Dear researchers, I am writing a thesis on self-regulated learning and Al-Ghazali's views in education. Are there any similarities? What new views on education/Tarbiyah can be applied? please help books or references that support.
I am doing research in using visual aid in learning mathematics and I need a new and recent research in this area. specially the new empirical studies in this field.
The integral development of children is intimately with the game. In a bibliographic review of this area of scientific knowledge (children's game): Which authors should not be omitted?
Which scholars, pedagogues, and projects are carrying forward the legacy of arts educator Elliot Eisner (1933-2014)?
It happens that some buildings often designed in an innovative way, according to innovative concepts, which were later found to be crucial for the development of a specific era in the history of artistic development, are considered as a kind of architectural works of art. Architectural objects of this type are designed by globally known architects, they become the main objects of architecture, a kind of showpiece of a specific city, region of the country and quickly become tourist destination destinations and are covered with special protection as recognized as a significant contribution to the history of architecture and national heritage development of the country.
Do you agree with my interpretation of architectural works of art?
Edgar Wind( Berlin 1900-London 1971) was a Philosopher and Art Historian part of the Aby Warburg circle, he wrote Pagan Mysteries of the Renaissance ( Norton Books, New York 1958). He was educated at the University of Vienna ( Schloesser, Dvorak) and University of Hamburg, (Cassirer and Panowsky). I recently published the first full biography on him, ' Edgar Wind Filosofo delle Immagini, la biografia intellettuale di un discepolo di Aby Warburg ' pp.374, Mimesis Edizioni, Milano 2019. I am currently still researching and publishing on Edgar Wind trough a a PhD at the University of Kent, UK
What distinguishes fine art from narrative art? Is this distinction (Bourdieu) important to maintain? For whom? Why? All of these issues in Art History are heating up due to recent shows of van Gogh's painting that cite letters to his mother and sister (primarily) in which he explains why he painted Bedroom in the Yellow House at Arles as one prominent example. van Gogh states the painting was inspired by his reading of George Eliot's Felix Holt the Radical and was vG's attempt to recreate these spartan surroundings of the novel's protagonist Felix Holt, yet to do so in bright colors.
Why have traveling shows often omitted van Gogh's Le Borinage paintings, esp. shows coming to the US? And another mystery, why is the work of Vincent van Gogh with the miners sometimes referred to as an unhappy early period that van Gogh more happily grew out of when he learned to paint better. What subjectivity holds these views and why are they the foregrounded view, at least in English-language studies of van Gogh at this time.
Will rhetorical analysis added to the standard formal approaches to painting aid in gaining a more parallax view of this painter and of art history in general?
Your comments are most welcome.
I had recently come across the new science (to me) known as collapsology. Promoted by a group of scientists and people who beleive on the soon coming of the end of the world- just as beleived by the religious believers- which they call the fall down of industrialization. They are already forming networks and strategies to cope and be prepared for the event. Are they confirming what the religious have been preaching long ago?
Please, your views on this is highly solicited, can you share.
Yes, the 21st century can be called the age of photography, graphics, image, etc. because this form of transmission begins to dominate the Internet. In addition, photography can be cultivated and developed professionally or as a hobby, as art, i.e. artistically.
In my opinion, photography can be an art if it is practiced with passion etc. Sometimes a photo that qualifies for the artistic picture of the year is created by chance, like a unique impression captured in light photography.
Impression captured in a complete photograph, accidentally and unchangeable.
Another time, such an exceptional artistic picture arises after many weeks or months of preparation, after many rehearsals, in a unique place, which is not easy to reach and is a big undertaking.
It seems to me that it is similar to many other fields of art.
In view of the above, the current question is: Do you think photography can be art?
Please, answer, comments. I invite you to the discussion.
There are many essays and blogs supporting the idea that art education and involvement of children would generate a wide variaty of benefits for them. And , intuitively, this outcome is obvious. Nevertheless, I have not found academic studies documenting this phenomenon. Do you know any?
Works of art are an important element of culture in the social and cultural heritage. The achievements of culture, including works of art, should be cherished for future generations, they can not be allowed to be forgotten, and unfortunately it often happens that in the era of current informational technological revolution, the development of new media, in the pursuit of modernity specific aspects of culture, tradition and art they are often interpreted only in the historical dimension.
On the other hand, new information technologies, new online media should be used to promote traditional values of culture and art. For example, websites have been created for many art and culture. Many works of art, entire collections of many museums are digitized in the form of a digital record of reproduction of works of art so as to increase the accessibility of citizens to cultural and cultural heritage.
Does this type of propagation of culture and art on the Internet should be developed?
I think so.
Do you agree with me?
Please, answer, comments.
I invite you to the discussion.
Teach only what the student is able to learn. Or better, teach only the most of what your can actively share with your student.
Some eventual arguments:
1. Knowledge is not transmittable.
2. The meaning of knowledge can’t be the same within deep experience or within poor experience.
3. The locus of knowledge to be learned is in between, let’s say, the master of dance and the student, both in action. The beginner dancer dances better because of the help of the master.
In this example, the new knowledge seems to be "in between" (master vs learner). It is not completely the deep knowledge of the Master since he reduces his possibilities to adapt them to the beginner, and it is neither the actual possibilities of the beginner since he dances better only because he is helped by the master. So there is some knowledge enacted "in between" by both of them. What is then the nature of this knowledge that is short of what the teacher knows and beyond what the beginner already knows?
Comment: The term expert is used here in a very wide sense: it just means that the teacher knows better and more than the student. For example, one doesn't need to be an expert mathematician to teach math at the primary level. At the university level, at least, you would need to be an expert to teach math.
Very often we see that the educated people do crimes in their everyday lives. Societies are different. Crimes are also different in terms of intensity. The questions arise: Does the formal education system help our students become good citizens? Is not it expected that educated people will act with better morality than others? Is this true that the moral sense in human is connected to formal education?
Please share your views, opinions, comments and questions.
Anyone could help me with bibliography on multiple inteligence assesment in foreign language education? I am wirting my dissertation and I don´t seem to be able to find much information about it. Thanks a lot.
Objects, people, abstract forms are often used in paintings to portray ideas. What types of objects, forms, or figurative representations change the psychology of the human ideals of truth? These are things that may shape thoughts and everyday decisions.
Sometimes adults try to impose their ideas of art making. Canvas and brush seem to be "the top" of art (maybe because it can be exhibit), but: is it a solution for early learners (1-2 years old) ? Their motor skills and references are very limited, so why not another kind of artworks?
Today, every educational field or domain contains several branches. You first choose one branch of your field to prepare your Master and Ph.D degrees. What is preferable system for you:
1- study the same branch at both Master and Ph.D degrees
2-study different branch at Ph.D degrees from Master degree
I took Art Eductaion class years ago and the professor cited studies in childhood development that found that children's art participation dramatically lessens after puberty.
Can you point me to the studies?
How does drawing what we see relate to writing what we experience? Are we as self-conscious? (See below.) In a question I posed here called "Why can't we draw what we see" I asked why Piaget and other developmental psychologists noted a falling off of attempts to draw at the age of puberty. Also self reporting of how it felt to draw register more dissatisfaction with one's one efforts at this age and on. In college writing classes I would start with this "ice breaker" to get students acquainted: DRAW A FISH. Just a cartoon fish or whatever. Would they draw a big fish or a tiny one and would they include context (background.) No grades. They would look at partner's fish and see what it told about the partner. Several students usually protested that they couldn't draw and showed evident drawing anxiety. They alluded to experiences outside class of not being able to draw. In writing what we experience are similar self-doubts inhibiting writing? Are the two activities connected cognitively in close ways? I wish I could have tracked whether the same people who said they couldn't draw also showed writing anxiety.
Journal of Projective Techniques and Personality Assessment 25.3
Handler, Leonard and Joseph Reyher. “Figure Drawing Anxiety Indexes: A Review of the Literature.” Journal of Projective Techniques and Personality Assessment 25.3 (1963): 305-313.
I started videoblog about culture and science recently on YouTube (https://www.youtube.com/watch?v=Oqrctt4zh3A&t=10s). Would you like to share with me your experience on vlogs and how to improve transmission of knowledge through YT?
learning design is not for the sake of finishing the semester but to master each of the design aspect introduced by the lecturer. The transition from secondary education to tertiary education sometimes can be a culture shock for students, the placement of lecturers to teach in the first semester must be done based from specific criteria that will lead to successful delivery. Any other idea?
A small circular rubber stamp appears on the back of four of the panels surveyed. Although smudged, the stamp appears to read ZOLI / I-5. See illustrations. It resembles a customs stamp although this is unlikely to be the source. Do you know the origin of this stamp?
Please note that although the main article deals with a number of forgeries, these particular stamps are genuine.
I want to find research both qualitative and quantitative based on the subject of Art education enabling students for social transformation or social responsibility.
I am looking for some review literature that relate Graphic Design with the advent of Digital Revolution. It is for research project, and I am having some difficulties in finding specific bibliography. Thank you in advance!
For several years I am observing diverse views toward how should one culture preserve and keep its traditional or folk music alive. I met a number of modern conservatories having courses on teaching this kind of music. Even though, such music conventionally were being taught orally for thousands of years. Do you think teaching traditional and folk music through modern system will eventually harm the nature of this kind of heritage or it is they only way to keep it alive in our time.
I personally have written a short article in case of Iranian traditional music a while ago in which I wrote some of my suggestions. However, I recently had a chance to visit Beijing central conservatory and listened to the outcome of teaching traditional music there and that visit made me think more about this issue.
What do you think about the emplementations of Mythologies to sustain and enhance learning through roots and ancient vocabularies and variables?
Is it possible to employ mythology for learning?
I am looking at actors' experience of presenting lost, obscure, or forgotten plays. I am following some suggestions of Clark Moustakas in his Heuristic Research and have done considerable reflection on my own experiences. The qualitative research I intend to undertake with theatre artists needs to be accompanied by a survey of relevant readings. Phenomenology, performance philosophy, and creative writing are all on my horizon. Does anyone have any suggestions for by bibliography? Interviews will be my main resource but the lived experience of my subjects needs to be connected to relevant contexts.
Hello. Good day!
I wanted to ask you what is the minimum basis for the course and what things will be taught. I was a student of physical engineering at the University of Santiago de Chile, USACH. I am currently doing my masters degree at the University of Chile in cyber-physical systems on wind energy. If you have useful information about what they will discuss the topics you tell me and I will let you know.
I am interested in whether and how artistic genres and styles will impact on children's perception and understanding of the story. When drawing illustrations for a story, how does the artist decide which style to choose? Are they aware of the affordances and constraints of each style?
Art is often displayed as a status symbol
Galeries and critique care - and are exclusive - about art
For example by preventing artworks to fall in the hands of auctions.
How exclusive is art?
And in what way art is linked with status?
An "atomic curriculum" for art school means:
The teacher follows the student's project and not the other way around.
Each student discovers his or her way in art school.
(Old school did the opposite: had a general curriculum - taught drawing from nature previous to painting class etc.)
But what about "the school style" - an atomic curriculum in the end - only can show differences if it succeeds - no general line here?
Should an art school only train art practice and project content-
or does she also ought to prepare the students how to adopt an attitude towards the dynamics of the art market?
Art is the purpose of an art school - Is she in need of a general art definition?
Students have specific needs:
They need to discover there own way - make their own choices, create their own style, there own idiom, their own signature.
Has the school to lead the students - or to follow them?
Has an art school to be a focus - or a rainbow?
I'm looking to conduct a qualitative study involving art instruction in a school located within a community with high populations of migrant farmworkers.
There is controversy as to whether creativity is an innate or acquired ability. If it is an acquired ability, what can teachers do to enhance the creativity of their students?
I'm working on an Art syllabus for an international school and I'm looking for help regarding which directions to take. My aim is to focus on skills and creativity rather than art knowledge.
With the new literacy, diverse game mechanics are applied in the class room to enhance performance in students. The scoreboard as a game mechanic is a social selection procedure and as such seems to be mutual exclusive with the much praised 'autonomy' art students are expected to strive for.
I am seeking for other performance assessment models rather than numeric, in professional actor training in Universities or Conservatories.
Thanks for your help.
I'm looking at the impact of teaching art and art history/appreciation to older people (50+) and it seems to me that Mirror Neuron research has an important role in this area - I've got the ones that come up on google but there may be something more specific from this community.
I am currently completing a master's thesis about interpretation of Angklung, traditional music in Indonesia that uses bamboo. I am looking for studies on the subject that relates bamboo usage and ecotourism.
Working with teaching art with students from elementary school and high school, and I wonder about the existence of other research that addresses the reading of images and works of art in the classroom. What methodologies and themes are used for the production of knowledge in art education.
Is there any reason to use vocabulary like syntax to get at how we use art vocabulary in teaching and learning in the classroom? Is it useful to delineate 'language demands' with language function, syntax, discourse with visual arts education students?
Since mental imagery is important in design and experts use this skill, so it is important to improve it in design courses and students should learn how to use mental imagery in design process. But the important think is how this skill can be improved in students (specially with different learning styles)
Cynscribe Directory http://www.cynscribe.com/ is the most comprehensive online resource for calligraphy. However, many of the links in the section online videos/courses are broken and it is not easy for a beginner to know which of the individual calligraphers' sites are reliable. I guess it is a matter of subjective judgement but I would appreciate any opinion or review. I am particularly interested in guides that teach the basics. Have you read any of the books included in the bibliography by the magazine Beyond Calligraphy:
Beyond Calligraphy has also set up a shodopedia, or a shodo web encyclopedia explaining Chinese and Japanese calligraphy terminology: http://www.shodopedia.com/
Another bibliography on calligraphy which includes various styles and articles and books on the history of writing has been compiled by the Italian typographer Alessandro Segalini: http://www.as8.it/edu/calligraphy.html
I know that there are not many people on RG following the topics ''calligraphy'' or "Japanese arts" or arts education but I hope to gather views and experience on the following questions:
Can you recommend any online courses/guides incl. videos (preferably free) or print books (e.g. available through Amazon) on Japanese calligraphy? Are you a member of a calligraphy professional society or would you recommend any based on your personal experience? Are you aware of an online directory/resource similar to Cynscribe? Are there academic programs or arts libraries with good websites where similar information/resources or some reviews could be found? Are there any forums or groups on social media?
Many thanks in advance
I'm looking for any references/ researches/ books using colours as assessment tools or techniques in assessing/evaluating students performances/ learning outcomes in any education siting in any disciplines specially at higher art education. Any recommendations,, please.
I am developing a research project and I am working on this theme. I wonder if there are scientific papers on this subject, to help me complete the literature review.
By "know", I mean being a friend, collaborator or any other relationship where Georges Braque interacted with them for all or part of the above period.
What images are suitable for Visual coaching with young people? I am a lecturer in fine arts who also want to coach pupils by means of images (photos) which topics are discussed during pupil guidance! is there picture research by and for young people?
M Leuven (Belgium) is planning a new pseudo-permanent presentation of its collections. We are thinking of a 5-year research project in order to use our presentations as a lab to measure the interaction between public and visual works of art (old masters! What are the possibilities and pitfalls? What can be interesting (see: with practical museological results) research topics?
I am currently reading recent publications in neuroaesthetics and related fields in preparation for designing and implementing a theoretical course for advanced undergraduate and graduate students, and am interested in hearing about how neuroscientific research has been applied in projects involving artistic creation and production.
Since there are no topics that address Visual Literacy I thought it was overdue. So how do you define these literacies and what goals should we set at each level of development to educate students on the consumption and production of images?
How can we help develop/ instill a critical approach to visual culture where students thoughtfully question the motivations and sites of production of the imagery they encounter on a daily basis?
Looking at the recent release of National Core Arts Standards (in the US) http://www.nationalartsstandards.org/ does it do enough to address visual and media literacies? What competencies or components might you add?
Should the teaching of such literacies be restricted to the arts? What other subjects areas do you see these literacies playing an important role in?
I'm having a hard time finding any data on the assessment of student motivation in art class in particular. From experience, I know that the different levels of mastery, the variety of the projects, etc. have an impact on the interest a student will have in participating fully in the activities of the class. However, I need scientific information on this problem for my research. My study is at high school level (12-14 years old) but data at any school level would be helpful.
So far, this is the only relevant study I could find:
Potter, E. F., & Edens, K. M. (2001). Children's Motivational Beliefs about Art: Exploring Age Differences and Relation to Drawing Behavior.
Along with my colleague Jessica Schwarzenbach, I am engaged in research into the so called terminal degrees in fine art. Art education has always been somewhat controversial as evidenced in the UK where, some 40 years ago, there was much debate about the initiation of the bachelors degree and later the masters in fine art. At present in the UK, what in the US would be called the terminal degree in fine art is the PhD in fine art which incorporates a significant studio component and the dissertation methodology is the art practice itself. In the US however, the terminal degree is the MFA with PhDs being restricted to art historians and art theoreticians. As well as existing in the UK the fine art PhD can be undertaken across the globe. Over the past decade or so there have been some moves to establish the studio based PhD in fine art in colleges in the UD.
What do you think should be the terminal degree in fine art and why? Do you think this degree should be available in the US?
A recent post by Science Writers directed my attention to some very interesting guides and resources in the field of journalism as well as art/cultural mobility, that is mobility of artists, professionals and journalists in various cultural domains.
As you can see, the post http://www.nasw.org/online-data-journalism-webinar
is about a forthcoming free online course in data journalism (basic understanding of data such as spreadsheets, stats, graphs and how to incorporate data in storytelling) which is due to start in May 2014 and is open to anyone.
Data Driven Journalism is behind the freely available Data Journalism Handbook which can be found here http://datajournalismhandbook.org/1.0/en/index.html
Journalists and (freelance) writers and researchers may also find useful some of the resources shared by the International Journalists Network, such as those on emerging online platforms http://ijnet.org/stories/five-platforms-could-jump-start-your-freelance-career-2014 and social media tools http://ijnet.org/blog/2013s-top-social-media-tools-journalists
A recent online project targeting science journalists in Australia could also benefit writers, researchers and all people interested in science writing. SCIJOURNO is comprised of 6 modules - a mix of video and article-based content packed with useful links incl. case studies, media tools, organizations and relevant online guides: http://scijourno.com.au/
Generally, funding for cultural journalists is not easy to find but recently a guide of funding opportunities in Europe has been compiled by On the Move - an international association aimed at supporting and facilitating mobility of culture professionals and artists: http://on-the-move.org/files/final%20UTA%20guide.pdf
The association has published as well a number of funding guides addressed to the inbound and outbound mobility of artists and culture professionals in
What are the best techniques to get the balance right when you are teaching a first year class that is mainly computing students, but a minority of arts-based students and keep all in engaged (as far as possible)?
In recent years, massive open online courses (MOOCs) brought about a newfound interest in online education. However, it seems to me the adoption of e-learning by educational agents is greatest when the teaching is about hard science, technology and engineering subjects. Do the particularities of arts education - especially when the learning of a craft is involved - mean higher education institutions dedicated to the Arts are safe from 'disruption'?
I am just starting my PhD and would really appreciate some pointers.