Artist-Teacher Practice and the Expectation of an Aesthetic Life

Wild, Carol

doi:10.4324/9781003285755

Cited by 7 publications

(10 citation statements)

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“…Derry has drawn on inferential role semantics to show how subject specific‐concepts and knowledge depend on distinctively human practices of reasoning (Derry 2020). By contrast, within writing that is directly about art education, discussion of knowledge has long been framed in ambivalent, and often negative, terms, as reductive, as entailing the imposition of rigid subject content, as antithetical to art (Eisner 1996, 34; Atkinson 2018, 2; Wild 2022: 31). In what follows, I make a case for the centrality of knowledge and reasoning within the art and design curriculum, more specifically of art historical knowledge.…”

Section: Figurementioning

confidence: 99%

“…It has been argued that what is important about and defining of the arts is their sensory and affective character (Eisner 1996, 22; Wild 2022, 31), and that the arts, therefore, provide a vital counterbalance to the dominant focus in education on a narrow conception of knowledge and understanding, an overly rational and discursive way of thinking that has long been privileged in schools. Eisner, for instance, places great emphasis on the richness of direct sensory experience that is only ever partially captured by concepts in language.…”

Section: Figurementioning

confidence: 99%

“…On this way of thinking, it makes sense to teach art by providing learners with direct experiences of the unconstrained perceptual and material elements of art, to facilitate situations in which learners can experiment and discover unanticipated possibilities for expression and meaning making, prior to the application of particular rules and conventions. An array of discovery and creativity emphasising pedagogies can arise out of this constellation of ideas, notably formalist and new materialist varieties (Leslie 2021; Wild 2022). There are strengths and problems with each of these and they may not be consonant with each other, but I will not elaborate that comparison here.…”

Section: Figurementioning

confidence: 99%

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Making Art Explicit: Knowledge, Reason and Art History in the Art and Design Curriculum

Walton

2023

Int J Art Design Ed

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Different and competing conceptions of knowledge have recently been the focus of debate in education, especially art education. The cognitive science conception of knowledge as information processing and storage in long‐term memory is especially prominent in educational policy. By contrast, within writing that is directly about art education, discussion of knowledge has often been framed in negative, terms, as reductive, as entailing the imposition of rigid subject content and as antithetical to art. Taking issue with both these contrasting views, and using a non‐empirical, philosophical approach, this article puts forward a case for the centrality of knowledge and reasoning within the art and design curriculum. Specifically, the article draws on inferentialism, a theory that has not previously been applied to art education. The argument presented understands art as discursive and rational, as concept using and reason sensitive, as essentially a disjunctive set of historical‐social practices. Art education is then best thought of as a rational‐critical introduction to knowing those practices, as making explicit their proprieties, entailments and contradictions and the choices that are thereby made possible. This view emphasises learning in art and design as developing increasing levels of responsibility and commitment by integrating concepts in practice and theory.

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Section: Figurementioning

confidence: 99%

Section: Figurementioning

confidence: 99%

Section: Figurementioning

confidence: 99%

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Making Art Explicit: Knowledge, Reason and Art History in the Art and Design Curriculum

Walton

2023

Int J Art Design Ed

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“…The research starts with questions, problems, and challenges shaped by identifying practical needs in the academic space. The research strategy is carried out through practice using methodologies familiar to practitioners or academics [14]. Academic researchers have always insisted on the superiority of texts as scientific data until other practitioners and theoretical researchers have tried to build an epistemology of practice that can improve practice.…”

Section: Form Practice-led Research Practice In the Filmmaking Processmentioning

confidence: 99%

(De)Colonialise Pendagogical on Creating Indonesian Intellectual Cinema

Pauhrizi,

Nafsika,

Undiana

et al. 2023

Advances in Social Science, Education and Humanities Research

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In almost all ex-colonial countries, signs of colonialization are still visible on all sides, and cinema as popular culture is used by American and European as part of the extension of globalization in creating business relationships that justify or continue colonialism relations. It is no longer a space for physical violence but more for mental attacks and thoughts. This study aims to understand and reinterpret the design of cinema inherited from colonialism in the academic area by using the power of the principles of decolonial screen language to find intellectual cinema built from the rich history of indigenous peoples, speech traditions, and awareness of the Indonesian nation. This research is analyzed using Practice-led Research as part of an aesthetic study of third cinema, which is based on research or triggers an investigation by using works as scientific data to create works in the scientific research. An effort to increase awareness through the creative process and contribute to the development of motion picture art and science built from cultural roots and self-awareness, cinema aesthetics without hidden signs or hidden from modern colonialism, one of which is through cinema as popular culture. This research hypothesis asks whether an academic filmmaker in the Film and Television Study Program, Faculty of Art and Design Education, Universitas Pendidikan Indonesia, has the freedom of expression and work when creating art, especially in constructing a moving image. This research found that this creation process is more accessible than the conventional approach, helping film students be self-dependent on creating cinema.

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“…Bill Readings [2] comprehends the internal evolutions of the modern university, its being in the role of a "national university", the movement "within the boundaries of reason", and even the transition to a "post-historical university". Carol Wild [3] ultimately comes to the analysis of the activity of the teacher in the neoliberal space of education as an artist who "sells" his ability to aestheticize the educational process in the "neoliberal audience". Mitja Sardo [4] addresses such an obvious aspect as neoliberal discourse and language in education, with particular attention to the "rhetoric of equality, justice and welfare".…”

Section: випуск 27mentioning

confidence: 99%

Education as a commodity? (a sketch of sociological expertise)

Golikov

2022

Ukrainian Sociological Journal

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The article reveals the problematic aspects of the transformation processes of education into a commodity. Education is understood as a social practice and as a social institution. Carrying out a systematic analysis of these processes, the author demonstrates both systemic social, societal threats and (often underestimated) "pitfalls" generated by these processes, as well as possible limitations and even limits of their actualization and deployment. This analysis and demonstration is carried out in the technique of theoretical sociological expertise. The problem of sociology's partial disregard for the commodification of education and the probable prospects and problems arising from this are analyzed. It is emphasized that the uncritical perception of the processes of commodification of education by sociology, especially on the periphery of global neoliberal capitalism, is in itself a threat to education, in particular in the form of a change in the very nature of education as a phenomenon, its evolution from a phenomenon, first of all, a sociocultural phenomenon into a phenomenon primarily economic. Various arguments are given and analyzed in relation to the processes of commodification of education, each of which is named in the article by the name of a sociologist whose analysis is closest to the argument put forward. “Five big” arguments and “seven small” ones are formulated. In their presentation the “dark sides” of the processes of commodification and neoliberalization of education are analyzed in detail. Attention is focused on the analysis of how education is involved in interaction with other social institutions and phenomena, as well as on what effects and post-effects can be generated as a result of education commodification processes. It is emphasized that in this context, the most important plot is the connection between education as a phenomenon and freedom as a social construct – at the micro level, as well as with the social order – at the macro level. A number of conclusions are formulated about such a property of education as autonomy, about its socio-cultural characteristics and about the threats of the market.

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Artist-Teacher Practice and the Expectation of an Aesthetic Life

Cited by 7 publications

References 0 publications

Making Art Explicit: Knowledge, Reason and Art History in the Art and Design Curriculum

Making Art Explicit: Knowledge, Reason and Art History in the Art and Design Curriculum

(De)Colonialise Pendagogical on Creating Indonesian Intellectual Cinema

Education as a commodity? (a sketch of sociological expertise)

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