Enriching Arts Education through Aesthetics examines the use of aesthetic theory as the foundation to design and implement arts activities suitable for integration in school curricula in pre-school and primary school education. This book suggests teaching practices based on the connection between aesthetics and arts education and shows that this kind of integration promotes enriched learning experiences. -/- The book explores how the core ideas of four main aesthetic approaches – the representationalist, the expressionist, (...) the formalist, and the postmodernist – translate into respective ways of designing and implementing experiential aesthetics-based activities. Containing relevant examples of interventions used in classes, it analyzes the ways in which the combination of different aesthetic approaches can support varied, multifaceted, multimodal and balanced teaching situations in school. (shrink)

What good is art? What is the point of a university education? Can philosophers contribute anything to social liberation? Such questions, both ancient and urgent, are the pulse of reformational philosophy. Inspired by the vision of the Dutch religious and political leader Abraham Kuyper, reformational philosophy pursues social transformation for the common good. In this companion volume to Religion, Truth, and Social Transformation, Lambert Zuidervaart presents a socially engaged philosophy of the arts and higher education. Interacting with (...) the ideas of leading Kuyperian thinkers such as Calvin Seerveld and Nicholas Wolterstorff, Zuidervaart shows why renewal in the arts needs to coincide with political and economic transformation. He also calls for education and research that serve the common good. Deeply rooted in reformational philosophy, his book brings a fresh and inspiring voice to current discussions of religious aesthetics and Christian scholarship. Art, Education, and Cultural Renewal is a testament to the practical and intellectual richness of a unique religious tradition, compelling in its call for social solidarity and cultural critique. (shrink)

In _Expressive Arts Education and Therapy_ we see how the creative process in a dance theatre lab evolved into a Creative Process-based Research project that included the director/choreographer and participants in a collaborative sense-making project.

This article addresses Technology Arts Education in South Africa, in particular the case of the development and mutant growth of the Digital Arts department at the University of the Witwatersrand in Johannesburg from 2003 to present. The article addresses the difficulties of working in a strongly discipline-orientated university system, and the small but fascinating successes that have led to major developments in the department. The focus is on the mechanisms of collaboration that have both evolved and been (...) purposefully put in place for a trans-disciplinary education structure to be successfully run. These exist between subject divisions in the School of Arts; and further between the Faculty of Humanities (in which the Digital Arts department is housed) and the Faculty of Engineering, at the University of the Witwatersrand. We address historical collaborations and how these allowed for further developments across disciplines. Through a process of unpacking and presenting, we explore the errors and identify those aspects that we feel are still missing. These include a focus on concepts that have been passed over due to issues around course structure and discipline ownership. We conclude with a look to the future, to opportunities to develop uniquely African Digital Arts practice. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art Education and the Emergence of Radical Art Movements in Egypt: The Surrealists and the Contemporary Arts Group, 1938–1951Patrick Kane (bio)So it wasn’t the aim of the artist to just toss out a work of art. A tradition of the exhibition of the natural, and its meaning was not that it fled from life, but that it had penetrated and plunged into reality. Its meaning was not (...) a prescription or plain exercise in the taste of the sublime, or harmony of forms and charming scenes; and its meaning was not as a decoration of life; it was in its expression of what life inspires in us to give back.—Henry Moore, as quoted by Ramses Yunan, in “The Aim of the Contemporary Artist”1In these crucial days of difficulty, the artists in this country live in tall aristocratic towers.... For this peasant has an art of his own that sustains him, and it is not that art of the educated class.—Kamil Al-Tilmisani (c. 1941–1942)By 1938, as the agrarian crisis in Egypt deepened, the Depression, food shortages, low wages, expropriations of crops, and forced rents opened a polemic among Egyptian intellectuals over the role of the state and the looming threat of fascism. With the dismissal of the government of Mustafa Al-Nahas at the end of 1937, the political turbulence underscored the weakening of the Wafd Party. Opponents of the old Wafdists and supporters of the monarchy resorted to openly fascist tactics, including the establishment of youth organizations and the Blue Shirts, the fascist front of the young Wafdists who modeled themselves on Mussolini’s Black Shirts. The serial crises of agrarian struggles and parliamentary stalemates between [End Page 95] nationalists and monarchists led to increasingly militant stances by the paramilitary fascist organization Misr Al-Fattah (Young Egypt) as a counter to the Muslim Brothers. When Mahmud Khalil resigned from the Wafd and assumed the presidency of the Senate in 1938, his ascension opened a new phase of struggle in politics through culture and the arts.2 In this context, caricatures and satirical sculptures of Khalil appeared in 1939 that parodied him as the icon of a “dictatorship of art.”3 Leading intellectuals from all political stances addressed these issues directly. The cultural journals were peppered with articles on the problems of everyday life and the material crises with such representative titles as ‘Abbas al-Aqqad’s “Food for the Rich,” in which he raised the problem of food shortages and inequity as an issue for reform.4 Within the year, articles in Al-Risala and Al-Thaqafa drew comparisons with French and Italian nineteenth-century landscapes as a model for the recognition of the countryside as a subject. In journalism and the arts, suffering became a part of the recognition of the everyday, as articles appeared on Millet’s nineteenth-century paintings of French peasants.As the war in Europe encroached into the cover pages of Egypt’s cultural journals, Zaki Muhammad Hasan wrote an essay for Al-Thaqafa entitled “The Angelus,” with a reproduction of the 1859 painting by Jean Francois Millet (1814–1874).5 Hasan wrote about Millet’s interest in the “the daily labors of the peasant” as a depiction of the conditions of French peasants. Hasan’s mention of Millet’s own peasant origins, and his listing of paintings of social conditions, including Les Glaneuses (The Gleaners), reflected a broadening interest in the artistic subject of the peasant and the rise of the peasant as artist. Although in Millet’s painting there is a prayer scene of a man and a woman in the fields that is generally regarded as the evening prayer with the sun setting, an Egyptian reader could link the prayer with the issue of workers taking breaks in the fields at a time when the issue of compensation of peasant farm workers was paramount.6 Hasan introduced “The Angelus” to his readers as a Catholic prayer in southern Europe offered at dawn, noon, and sunset and compared the origins of the prayer’s stanzas from the Gospel of Luke 1:28–31 with passages from the chapter on Maryam in the Quran... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 101-107 [Access article in PDF] Art Education in Lower Secondary Schools in Japan and the United Kingdom This essay compares the system and practice of art education in Japan and the United Kingdom at the lower secondary school level. Three surveys on how art is taught form the basis of this research. I conducted the first survey in 1992, (...) distributed to 156 art teachers in Japan on their "real" curricula and compared them with syllabus samplers of nationally authorized textbooks. From 1993 to 1994, I studied in the United Kingdom the newly introduced National Curriculum and performed a survey on its impact on classroomteaching in 49 art departments in secondary schools, mostly in England. Since 1994, I have participated in a joint study project on craft education in secondary schools in Japan and Britain, in which 717 Japanese schools are cooperating via a questionnaire survey. The issues common to these surveys are how art teachers respond to the national standards in their own teaching practice, and what these responses suggest for the future development of this subject. This essay identifies survey findings in both countries, together with overviews on the systems and cultural factors affecting the state of Art and its implementation in curricula. Japan and the United Kingdom: An Overview Let us look briefly at the historical background of the national curricula in Japan and the United Kingdom. The education system in Japan was established by the central government and has maintained its unity. After World War II, a new national Course of Study was recommended but was not compulsory. But in the legislation of 1958, this Course of Study became binding and a new subject called "Technology and Home Economics" was introduced. A new term, "design" was adopted in Art, "craft" was removed, and the time allocated to Art was drastically reduced. In the 1969 revision, five main areas of Art study were established: drawing (painting), sculpture, design, craft, and art appreciation. In 1977, a recommended time allocation for each area in Art was eliminated, and the five areas were reorganized into two fields: "expression" and "appreciation." Between 1969 and 1977, lower secondary schools in Japan allotted two compulsory hours per week for Art in grades 7 and 8, one compulsory hour and one non-compulsory hour in grade 9. However, after the revisions of 1989 and 1998, the time allotted for Art has gradually decreased. [End Page 101]In the United Kingdom, different educational systems developed concurrently, and through political and ideological conflicts, the involvement of central government gradually grew until an integrated school system was established. 1 The National Curriculum, first introduced through the Education Act of 1988, clearly indicates Art as compulsory from Years 1 to 9 in state schools. 2 The Courses of Study in Japan are separated into primary, lower, and upper secondary levels, however, the consistency of Art as a subject is not as clear. 3 In England, the content is not differentiated into the areas of art, craft, and design, but is organized as a series of processes common to these areas including investigation, creation, and evaluation, based upon knowledge and understanding.The United Kingdom has no national system for authorizing textbooks, but the examination board syllabus for the General Certificate ofSecondary Education (GCSE), for example, has influenced the school curriculum. Art departments of each secondary school function as fairly independent entities, taking responsibility for curriculum and study resources. In Japan, in most cases, lower and upper secondary schools are separated, with only about one art teacher per school, which means improving the curriculum is determined by the efforts of the individual teacher in a limited environment.We also need to consider the cultural background. The United Kingdom has made a notable effort to incorporate a multicultural perspective, based upon the urgent recognition that the country has become a multi-ethnic society. There is also a growing awareness in Western societies that individual expression should be approved in relation to the culture of a given social group. In Japan, it has... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 32-41 [Access article in PDF] Does Art Education Dream of Disneyland? [Figures] Introduction What image can we present when challenged to illustrate art education in the form of a scheme? The word "illustration" literally means to build understanding through an explanatory diagram. In art education or anything [End Page 32] else, the use of a visual image to (...) understand a certain system can be interpreted as a question of human sensitivity and recognition. Translating minute nuances or peculiarities of information into a vibrant image is, however, a confusing and difficult exercise. In this essay, I attempt to portray those elements crucial to the teaching and learning process of art education using Disneyland as a structural as well as a functional metaphor. The Happiest Place on Earth? Disneyland is depicted as "a dream world" and "the happiest place on earth." As described in various incisive essays, Disneyland is a symbol of modern American culture, an ultimate form of the consumer society or the hegemony of entertainment. 1 To start with, the structural elements of this epitome of Walt Disney's vision are outlined.Walt Disney created Main Street USA (the World Bazaar) to make all visitors feel as if they are the leading character in a Disney film, walking through the main street of life. He attempted to remove the ugliness of everyday life from his dream space by eradicating the back streets of the real world. The design of the buildings along Main Street originates from Walt Disney's hometown. The sense of distance within the Disney complex is enhanced by using a smaller scale for the upper stories of buildings and a progressively narrowing street.Sleeping Beauty's Castle (or Cinderella Castle at Tokyo Disneyland) lies beyond Main Street and is modeled on Neuschwanstein Castle in Fussen,South Bayern, Germany. The road leading to the castle ascends slightly which amplifies the anticipation factor for visitors. Sleeping Beauty's Castle is the centerpiece of Disneyland and functions as the hub to guide visitors to various lands. Several attractive spaces radiate from this hub, forming a total of six areas.On the extension line from the Entrance via Sleeping Beauty's Castle lies Fantasyland where Walt Disney has reproduced the world of animation based on European legends and fables. Toontown lies beyond Fantasyland. This is a world of familiar characters, such as Mickey, Minnie, and Goofy. Traveling clockwise, Tomorrowland is next where all kinds of imaginary worlds await visitors. Adventureland, on the opposite side of Main Street, offers worlds of different cultures and spaces for adventure. Beyond Adventureland lies Westernland, designed to invite visitors to return to the Wild West.It is possible to form a hypothesis that there are three axes connecting the six lands. Those axes run through Sleeping Beauty's Castle that acts as the hub and two opposing areas on the same axis with the Castle being the point of symmetry.The first axis could be the axis of "reality." If Main Street is considered to be the "crawling approachway" from the everyday sphere to dreamland,Fantasyland, offering playful space of extraordinary imagination, is set [End Page 33] against the ordinary space for everyday life. The second axis is the axis of "relationship" which connects individual persons to society. Toontown presents a world of fraternity and is a place where people bonded by kinship or friendship can trust each other and feel at ease. Frontierland, located on the opposite side of this axis creates a solitary space where people leave family and friends for the adventure of traveling to unknown lands. The third and final axis is that of "time" from the past to the future. Tomorrowland is a future world based on fantasy and imagination where prophecies becomereality. On the opposite side of this axis lies Westernland embodying the history and traditions of the American past.It is possible to regard each area of Disneyland, structured by these different worlds, as a metaphor to reflect the basic content and structure of art education in the context of the general curriculum. In fact... (shrink)

The changing context and increasing professionalization in higher education have ushered in challenges for liberal arts education worldwide. Situated this discourse in the context of Chinese universities, this paper explores Why do we need a liberal arts education that has been accused of being elitist in the twenty first century? Should an effective or ideal liberal arts education evolve with time and context? If yes, what needs to be taken into account to conceptualize (...) a twenty first century model of liberal arts education? How is a twenty first century liberal arts education defined and featured at Chinese universities and elsewhere? Drawing on an analytical framework constructed with the German concept of Bildung and the Confucian perspective on knowledge, this paper contends that a twenty first century liberal arts education for universities in China and elsewhere needs to absorb meta changes and movements in society at home and around the world, while ideally rooted in a knowledge tradition respectively. Specifically, it should comprise three essential pillars: humanism education, cognitive education, and global education. (shrink)

This paper addresses what some view as a progressive and decades-long devaluing of the liberal arts in our educational institutions and society at large. It draws attention to symptoms of this trend and possible contributing factors, identifies benefits commonly attributed to the liberal arts, and then shows how insights from recent research on neuroplasticity provide good reason to believe that a traditional liberal education has positive effects on a person's brain. The paper supports the thesis that well-designed (...) liberal arts courses can literally transform students' minds and lives as a result of unique and synergistic brain processes activated and strengthened by the leaming experiences such courses provide. It finishes with recommendations to help reinvigorate and promote the value of liberal education. (shrink)

Established scholarship in arts education is invariably related to theories of development founded on notions of multiple intelligence and experiential learning. Yet when contemporary arts practice is retraced on a philosophical horizon, one begins to engage with other cases for learning. This state of affairs reveals art’s inherent paradox where the expectation of learning is substituted by forms of unlearning. This paper begins to approach unlearning through the tension between art and education, and more specifically through (...) the dialectical relationship between education’s dialogic agonism and art’s negative antagonism. What is here being proposed as unlearning reflects a critique of the moral-pedagogical outlooks that are imposed on art where artworks are expected to tell stories of truth through their propensity towards the beautiful and the good. In re-reading experiential anticipation as a form of anamnesis through a process of negation and contradiction, unlearning is also located in forms of mimetic scoping by which art’s assumed pedagogical trajectory turns into the opposite of recollection: as an act of willed forgetfulness. This peculiar ‘movement’ from a state of learning to that of unlearning constitutes the basis for a special kind of pedagogical aesthetics where the challenges of criticality and laterality articulate a special ‘world’ where learning may well work backwards. (shrink)

The participants in this round table have, I see, been basing their conclusions on their personal life experience. In the present situation that is perhaps the most suitable form of expression for me too.

Art Education, Its Philosophy and Psychology is a collection of essays by Thomas Munro, a pioneering figure in the field of art education. Munro's work laid the foundation for a new model of art education that emphasized creativity and self-expression. This book is an essential resource for art educators, students of art education, and anyone interested in the history and theory of art education. This work has been selected by scholars as being culturally important, and (...) is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Should arts education have a more significant place in our schools? An emphatic "Yes" comes from the editors and other contributors to this provocative volume. They build their case by drawing upon recent developments in cognitive theory and, in particular, upon contemporary thought regarding aesthetic knowing. They contend that aesthetic knowing constitutes a "special mode of cognition" and they see aesthetic learning as vital to intellectual growth and development. They argue that the arts should "constitute a foundational (...) school subject." An opening chapter reviews past practices in education in the arts, thus providing a needed historical context within which current thinking about aesthetic learning can be viewed. The following chapters elaborate on the idea and value of aesthetic knowing from various perspectives to buttress the case for its importance in education. Developmental issues are explored to deepen understanding of the nature of aesthetic growth. Studies reveal that children's art products have not changed over the years. But how has a cognitive perspective changed the way in which child art is interpreted? Can phases in general aesthetic development be identified? Or are such phases specific to each art form? What pedagogical issues arise in education in the arts? How are conceptual learnings important to the development of aesthetic understanding? Does the study of fine arts enrich the quality of life and shape human personality in positive ways. Given the long history of arts education as a peripheral matter in schools, is it now possible to envision a greater recognition of what study of the arts can accomplish by a proper focus on aesthetic knowing? These are some of the questions addressed in a volume that provides stimulating reading not only for arts educators but for all who are genuinely concerned about education. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.1 (2005) 31-47 [Access article in PDF] Holistic Integrated Design Education: Art Education in a Complex and Uncertain World Christopher Nokes Egosystem All art is the solution to an initiating design problem that must be articulated, even if the problem is this: to create something without meaning. As such, all art is a literary process, whereby the idea is articulated before (...) that idea is re-presented as an art form. And this is precisely what I attempt to do in the classroom when I assign highly challenging, universal, socio-cultural based and interpretive design problems. Both intent and solutions are implicit in the design assignments given to students. In each case the design process is emphasised, and students define the problem, research (often collaboratively), brainstorm (diving deeply into the problem for potential solutions), develop alternative solutions, use free-hand sketches and storyboarding to track the design and decision-making process, and (finally) select the best design for development and evaluation. Definition of key terms, research and storyboarding are the initial steps in the process to solving each of the design problems. Some examples of problem solving performance tasks are provided below (Table 1).Regarding the last example, in my first year of teaching I accepted a position on agreement that I teach Grade 10 (sophomore) mathematics. Even though my teaching background favored art and history, this was not a hardship because my original degree was in architecture (University of Toronto, 1978). I realized quickly that my personal romance with D.N. Perkins's Knowledge as Design demanded that I attempt to teach mathematics as a design process (much to the dismay of the department head).1 Nevertheless, imaginative mathematical works of mind were explored, based on original "design problems." As well, collaborative math tests were developed (and structured as design problems), where students divided into groups or design teams, each team having a "competent mathematician" on [End Page 31] Click for larger viewTable 1 Works of Mind; Visual Arts as a Problem-Solving Design Process [End Page 32]board. Each team worked together to solve one challenging mathematical problem, or a series of challenging mathematical design problems, under a time limit. This ensured that each student had a role to play. A key group dynamic here is that students speak to each other as peers, in a way teachers cannot: "No! You don't do it that way, silly. It's like this!" says A. "Ok! Ok! Don't yell at me," says B tenderly. "It's like this?" "Yes!" says A. "See! You really are good at math!" It was a beautiful thing to watch. The so-called "stupid-at-math" students saw how the "brainy" math students interpreted and approached mathematics, while the "brainy" students pulled those students who always believed they were "stupid at math" up to their level. In the end (to say the least), it greatly increased the weaker students' comfort level entering the classroom, and (at best) it gave weaker math students confidence by dispelling some of the mystical mystery which mathematics seems to possess — mathematics is not a mystery, it is a problem waiting to be solved as any other design problem once you know the process. Click for larger viewTable 2 Components of the Egosystem This is holistic integrated design education (or HIDE). Transforming students from the traditional, isolated receiver of information to the holistic child requires a fundamental transformation of the associative-cognitive paradigm of learning behavior and psychology, based on the child's ego development in a kind of object-filled, symbolical, self-contained world.2 In actuality, the world is complex, multi-faceted, hyper-sensitive, with many people of different socio-cultural and intellectual frames of mind interacting; and it is (thus) hardly self-contained. The world has indeed evolved that far. Somehow, like all paradigms, the ego must undergo a similar evolution, a similar transformation.3 A new version of ego must be invented, one that takes into account all the stuff of objective reality — the... (shrink)

Is education being disingenuous about arts education? When arts education is evaluated, the value of arts education is disputed. Arts education is judged to be of poor educational proof value. I believe a very different conclusion about arts education can be drawn. Pertinent to a good education in general is arts education. Why the arts are educationally troubling and how arts education can improve (...) education is examined here. A brief account of arts education is given in an attempt to explain why the arts in education are not a luxury but, instead, a genuine need. (shrink)

An active engagement with arts in general and visual arts in particular has been hypothesized to yield beneficial effects beyond arts itself. So-called cognitive and socio-emotional “transfer” effects into other domains have been claimed. However, the empirical basis of these hopes is limited. This is partly due to a lack of experimental comparisons, theory-based designs, and objective measurements in the literature on transfer effects of arts education. Therefore, the aim of the present study was to (...) design and experimentally investigate a theory-based visual-arts education program for adolescents aged between 12 and 19 years. The program was delivered in a museum context in three sessions and was expected to yield specific and objectively measurable transfer effects. To conduct a randomized field trial, three strictly parallelized and standardized art courses were developed, all of which addressed the topic of portrait drawing. The courses mainly differed regarding their instructional focus, which was either on periods of art history, on the facial expression of emotions, or on the self-perception of a person in the context of different social roles. In the first and more “traditional” course portrait drawing was used to better understand how portraits looked like in former centuries. The two other courses were designed in a way that the artistic engagement in portrait drawing was interwoven with practicing socio-emotional skills, namely empathy and emotion recognition in one course and understanding complex self-concept structures in the other. We expected positive socio-emotional transfer effects in the two “psychological” courses. We used an animated morph task to measure emotion recognition performance and a self-concept task to measure the self-complexity of participants before and after all three courses. Results indicate that an instructional focus on drawing the facial expressions of emotions yields specific improvements in emotion recognition, whereas drawing persons in different social roles yields a higher level of self-complexity in the self-concept task. In contrast, no significant effects on socio-emotional skills were found in the course focussing on art history. Therefore, our study provides causal evidence that visual-arts programs situated in an art-museum context can advance socio-emotional skills, when designed properly. (shrink)

Grammar is a word associated with the rules that govern language and its related pedagogy for articulating types of declarative knowledge. It can also refer to the organizational structure of practices and their related forms of knowledge, as described here by Ludwig Wittgenstein: “Essence is expressed in grammar.... Grammar tells us what kind of object anything is. (Theology as grammar.)”1 Wittgenstein’s remark about theology can be generalized to visual art, and, by extension, to the grammatical structure of art education. (...) The grammar of creative practices is described by George Steiner as the “articulate organisation of perception, reflection and experience, the nerve structure of consciousness when.. (shrink)

Sense of presence and extraneous cognitive load are the two psychological effects widely employed to explain the cognitive outcomes caused by high-immersive media. This study identified the concepts of both technological affordance and the psychological effects of VR learning. It investigated the mechanism by which immersion leads to better or worse communication in the context of art education. We operationalized the concept of immersion into two levels: a high-immersive VR system and a low-immersive tablet system. Through a between-subject experiment, (...) we found that higher immersion not only led to a greater sense of presence but also lowered extraneous cognitive load. Enjoyment and attention increased as a sense of presence rose but were not necessarily predicted by extraneous cognitive load. This study found that sense of presence was a more robust explanatory variable than ECL and that cognitive load could be lower in a high-immersive environment with content specifically designed for VR. (shrink)

Volume 11, Issue 1-2, January–December 2024.

. Gaining traction in the profession is the belief that the arts are not educational. The evidence for this comes from epistemological reports. Plato drew a similar conclusion but without the meta-analysis and evidence-based pedagogical research approach that we have today. Epistemological reports state that learning in the arts is ineffective. What is effective and ineffective in teaching is subject to causal proof methodological assessments. Current knowledge-based educational thinking has assessed arts education as uncertain. Presumably, facts (...) about artworks, art practices, art theories, art history, and human experiences that morphologize how arts education is taught have necessarily and accurately been taken into account when determining the arts as unproven. To be examined forthwith are the knowledge capabilities of arts education and the epistemological difficulties we seem to have in evaluating them. (shrink)

This paper is written for students of art and for teachers who are working to introduce students to art. It offers a practical answer to a practical question: how much time and attention should be directed toward a work of art that does not seem to be rewarding such an investment before deciding to give up and/or move on to an investment of time and attention in a different work of art? Reductionist tests such as “After fifteen minutes in a (...) cinema where reward seems unlikely, walk out” are clearly unsatisfactory as there are many counterexamples. The answer offered by this paper focuses on a twelve-point calculus of contextual factors: object-focused factors (artform categorization of the artwork, genre categorization of the artwork, genetics, instantiation/performance), collective subject-focused factors (recommendations, strength of venue, provenance, community consensus), and particular subject-focused factors (psychic preparation, engagement, information, interpretation). (shrink)

The philosophy of piano performance teaching, rooted in hermeneutic theory, represents a significant evolution from traditional pedagogical methods. This approach emphasizes a shift from mere knowledge transmission to a deeper, interpretative understanding of music, prioritizing the dialogic interaction between teacher and student. Such an educational framework underscores the ontological essence of music, advocating for respect for its historical and contemporary realities and elevating the interpretative role of the student within the learning process. In this context, piano performance teaching transcends conventional (...) skill-based instruction, evolving towards a model that is student-centered and rich in connotative depth. This pedagogical philosophy not only respects but also highlights students' subjectivity, recognizing their central role in interpreting and understanding musical texts. The emphasis on the ontological aspects of music encourages respect for both the past interpretations and potential future directions of musical expression. Moreover, by integrating hermeneutic principles into piano performance teaching, this approach fosters a spiritual and philosophical exploration of music, aligning with broader themes of religious art education. It encourages students to engage with music as performers and as thoughtful interpreters who consider the deeper meanings and spiritual dimensions of musical works. This philosophical shift enhances the educational experience, promoting a holistic understanding of music that connects technical proficiency with existential and spiritual inquiry. In essence, the hermeneutic-based philosophy of piano performance teaching redefines the pedagogical landscape, offering a more nuanced and spiritually enriching framework that aligns with the principles of religious art education. This approach not only challenges traditional methods but also opens new avenues for the exploration of music as a profound medium of human expression and spiritual reflection. (shrink)

In the 19th century, a gradual reform of art education began, which achieved its peak in the 1930s. This process manifested itself in the form of schools with an explicit anti-academic spirit – the Bauhaus in Europe and Black Mountain College in the United States. In this paper, I contend that such attempt at reform has never repeated again after the Black Mountain College case, where the combination of John Dewey’s educational principles, Josef Albers’ peculiar conception of art instruction, (...) and the college founders’ ideas concerning the essentiality of art for contemporary democratic societies created a unique environment for the development of an experimental form of art education. Examining this innovation with regard to the current situation of teaching art and the humanities, I argue that - despite a process of reform lasted more than a hundred years - art education still manifests residues of the old, conservative academic spirit, while art schools show features of exclusivity or even elitism. The pursuit for a wholesome social position of art, on the other hand, was the most striking endeavour of many brilliant thinkers in 19th and 20th century, something that art educators and art theoreticians of the 21st century must take this into a serious consideration. (shrink)

Liberal arts education has carried with it the tradition of a virtuous elite. The metaphysics that accompanies this elitism has its own ground in the master and slave relation of Antiquity. But a different metaphysics offers itself now for liberal arts, one which can be argued to be ‘green’, by being sustainable and renewable without the exploitation of the resources and labours of others. It might seem strange to argue that liberal arts should be the natural (...) home of such a green metaphysics, but I will argue that liberal arts has two clear advantages: one is that part of its history has been to champion the comprehensive view of the world, as opposed to one that is fragmented within the professionally demarcated borders of single academic subject disciplines. The other is that it has held close to itself the Delphic maxim ‘know thyself’, and that this remains a crucial ingredient for any green education. (shrink)