Studies in Philosophical realism in Art, Design and Education (Record no. 70529)
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| 000 -LEADER | |
|---|---|
| fixed length control field | 11805 a2200181 4500 |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER | |
| International Standard Book Number | 9783319826905 |
| 082 ## - DEWEY DECIMAL CLASSIFICATION NUMBER | |
| Classification number | 745.4071 |
| Item number | BRO |
| 100 ## - MAIN ENTRY--PERSONAL NAME | |
| Personal name | Brown, Neil C. M. |
| 245 ## - TITLE STATEMENT | |
| Title | Studies in Philosophical realism in Art, Design and Education |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. (IMPRINT) | |
| Name of publisher, distributor, etc | Springer |
| Date of publication, distribution, etc | 2017 |
| 300 ## - PHYSICAL DESCRIPTION | |
| Extent | xvii,299p. |
| 440 ## - SERIES STATEMENT/ADDED ENTRY--TITLE | |
| Title | Landscape : the Arts, Aesthetics and Education Ed. by Liora Bresler Vol.20 |
| 9 (RLIN) | 92269 |
| 505 ## - FORMATTED CONTENTS NOTE | |
| Formatted contents note | Contents<br/>Part I The Development of Philosophical Realism in Art, Design and Education<br/>1 Introduction to Studies in Philosophical Realism in Art, Design and Education 3<br/>1.1 Purpose of This Book 3<br/>1.2 Philosophical Realism in Art Education 4<br/>1.3 The Threat of Philosophical Revisionism and the Corrosive Effects of Pluralism 4<br/>1.4 The Contribution of the Occasional Seminars in An Education Series in the Development Philosophical Realism 5<br/>1.5 Collaboration with the NSW Board of Studies in the Use of Philosophical Realism in Visual Arts Curriculum Development 6<br/>1.6 The Chapters in This Book 9<br/>1.6.1 Part I: The Development of Philosophical Realism in Art, Design and Education 9<br/>1.6.2 Part II: The Critical Application of Philosophical Realism to Concerns in Art, Design and Education 10<br/>1.6.3 Part III: Philosophical Realism and Its Implications for Practice in Art, Design and Education 13<br/>1.7 Omissions from This Book 14<br/>References 14<br/>2 Constraints on Art in Education: Realism and Art Education 17<br/>2.1 Background 17<br/>2.2 A Framework of Constraints in Art Education 18<br/>2.3 The Wider Relevance of Art Education 19<br/>2.4 Realism and Art Education 19<br/>2.5 Paradoxical Constraints on Artistic Content 21<br/>2.6 Constraints of Artistic Identity 21<br/>2.7 Mapping the Constraints on Artistic Content 22<br/>References 23<br/>3 Making Art a Real Thing 25<br/>3.1 Introduction 25<br/>3.2 Meta-explanation in the Visual Arts 27<br/>3.3 Constraints of Understanding on the Identification of Meaning in Artworks 29<br/>3.3.1 Example 1 29<br/>3.3 .2 Example 2 29<br/>3.3.3 Example 3 30<br/>3.3.4 Example 4 30<br/>3.4 Art as Visual Thought 32<br/>3.5 Determinate Meaning Versus Explanatory Meaning 33<br/>3.6 Language and Realism in the Visual Arts 35<br/>3.7 The Visual Arts, Language and Davidson's Event Ontology 37<br/>3.8 Conclusion 40<br/>References 40<br/>4 Aesthetic Description, Realism and Art Education 43<br/>4.1 Kinds of Aesthetic Description 43<br/>4.2 Existence, Realism and Description in Art 47<br/>4.3 Aesthetic Character as Real Properties 49<br/>4.4 Realism and the Reliability of Aesthetic Description 51<br/>4.5 Wiggins' Concept of Authentic Effect 52<br/>4.6 Petit's Theory of Rectification and Positioning 53<br/>4.7 Summary 55<br/>References 56<br/>5 Theoretical Perspectives: Research into Children's Cognition and Knowledge in the Visual Arts 57<br/>References 63<br/>6 Aesthetic Fallacies in Perspective 65<br/>6.1 Introduction 65<br/>6.2 Representation and Meta-representation of Meaning in Art 66<br/>6.3 Beardsley's Three Aesthetic Fallacies as Representational Constraints 69<br/>6.3.1 The Genetic Fallacy 70<br/>6.3.2 The Affective Fallacy 72<br/>6.3.3 The Intentional Fallacy 73<br/>6.4 Summary 74<br/>References 75<br/>Part II The Critical Application of Philosophical Realism to Concerns in Art, Design and Education <br/>7 Art Education Curriculum Praxis: A Time for Collaboration 79<br/>7 .1 Dialectical Collaboration 80<br/>7.2 Autonomous Collaboration 82<br/>7.3 Consultative Collaboration 85<br/>7.3.1 The "Frames" as an Example of Collaborative Innovation in the Visual Art Syllabus of New South Wales 87<br/>7.3.2 The Function of the Frames in the Visual Arts Syllabus 88 <br/>7.4 Summary 92<br/>References 92<br/>8 Coming to Terms with Visuality in the Content of Art Education 95<br/>8.1 Introduction 95<br/>8.2 The Arts and Visual Education 96<br/>8.2.1 Historical Contexts 96<br/>8.2.2 Visual Education and the Emergence of 'the Arts' as a Field 97<br/>8.3 The Emergence of Content in Art Education 98<br/>8.3.1 Table 8.1 Columns 101<br/>8.3.2 Table 8.1 Rows 101<br/>8.4 Narratives of Visuality in Art Education 102<br/>8.4.1 Psychology of Perception, Neurophysiology, Pathology and Visual Education 102<br/>8.4.2 The Arts, Digital Culture and Visual Education 104<br/>8.5 A Summary of the Narrative Purposes of the Visual in Art Education 108<br/>References 110<br/>9 The Spectacle of the Artist in Art Education 115<br/>9.1 Introduction 115<br/>9.2 The Myth of the Myths of Art Education 116<br/>9.3 The Appearance of Reality and the Reality of Appearance 117<br/>9.4 The Reproduction of Practice as the Production of Appearances 119<br/>9.5 The Spectacle 120<br/>9.6 A Narrative of the Spectacle 121<br/>9.7 The Spectacle as an Agent of Change 122 <br/>9.8 Change in the Society of the Spectacle 123<br/>9.9 Three Spectacles of the Artist 125<br/>9.9.1 The Spectacle of the Artist as Modular Giftedness 126<br/>9.9.2 The Spectacle of the Artist as Sophisticated Knower 129<br/>9.9.3 The Anthropological Spectacle of the Artist 131<br/>9.10 Conclusion 134<br/>References 134<br/>10 The Frames and Relational Aesthetics 137<br/>10.1 Natural Kinds and Artefactual Kinds 138<br/>10.2 What Is the 'Nature' of Art? 138<br/>10.3 The Role of the Frames 140<br/>10.4 The Frames as Navigational Tools 141<br/>10.5 Revisiting the Current Frames 143<br/>10.6 Relational Aesthetics 144<br/>10.7 Relational Aesthetics and the Frames 145<br/>References 146<br/>11 The Meta-representation of Standards, Outcomes and Profiles in Visual Arts Education 147<br/>11.1 Outcomes as Representational Artefacts 149<br/>11.2 Definitions and the Mis-representation of Outcomes 150<br/>11.3 The Ontology of Outcomes 152<br/>11.4 Meta-narratives and Outcomes 152<br/>11 .5 Predicting the Referents of Outcomes Within Educational Meta-narratives 153<br/>11.5.1 Concerns About Answer 5 158<br/>11.6 A Preferred or Plural Narrative? 159<br/>References 160<br/>12 Bodies of Work and the Practice of Art Making 163<br/>12.1 Process as the Incubation of Artistic Ideas 163<br/>12.2 The Nature of Process 164<br/>12.3 Assessment and the Representational Duality of Art 164<br/>12.4 The Need for the Body of Work 165<br/>12.4.1 Challenges to the Validity of a Single Work 165<br/>12.4.2 The "Three Unit Anomaly" 166<br/>12.4.3 ARTEXPRESS 167<br/>12.4.4 The Facade of the Single Artwork 168<br/>12.5 The Concept of the Body of Work 168<br/>12.5.1 Working Documents 168<br/>12.5.2 The Body of Work, the Portfolio and Artistic Ability 169<br/>12.5.3 The Body of Work, the Artist's Diary and Artistic Ability 169<br/>12.5.4 The Body of Work, the Heuristic, and Artistic Ability 170<br/>12.5.5 Documenting Works 170<br/>12.5.6 The Counter-Intuitive Way in Which Art Works 'Make' Students 171<br/>12.6 Reassessing the Functional Shape of the Body of Work 172<br/>12.6.1 The Functional Relation Between the 'Teacher' and the 'Student' in the Body of Work 172<br/>12. 7 Assessing a Body of Work 173<br/>12. 7 .1 The Epistemic Properties of the Body of Work 173<br/>12. 7 .2 Psychological Properties of the Body of Work 175<br/>12.8 Summary 176<br/>References 177<br/>13 Distinguishing Artistic from Vernacular Performances in the Visual Arts: A Classroom Perspective 179<br/>13.1 Actions as Ends 180<br/>13.2 Ends as Artistic Value 182<br/>13.3 Conclusion 187<br/>References 187<br/>14 Similarities Between Creativity and Politics as Forms of Praxis 189<br/>14.1 Some Similarities Between the Politic and the Creative 189<br/>14.2 Comments on Creativity as Practical Judgment 193<br/>References 196<br/>15 Creativity as Collective Misrecognition in the Relationships Between Art Students and Their Teachers 197<br/>15.1 Background to the Study 197<br/>15.2 Creative Kinds of Performance 198<br/>15.13 The Creative Disposition 198<br/>15.4 Discriminating Creative Dispositions 198<br/>15.5 A Developmental Critique of the Creative Disposition 199<br/>15.6 The Agency of the Teacher Within the Creative Performances of the Student 200<br/>15.7 Theoretical Framework of the Study 200<br/>15.7.1 The Exchange of Symbolic Capital 201<br/>15.7.2 The Asymmetry of Social Reasoning 201<br/>15.8 Creativity as Misrecognition Within the Practice of Art Education 202<br/>15.9 Hypotheses of the Study 203<br/>15.10 The Pilot Study 203<br/>15.10.l Methodology 203<br/>15.10.2 Instructions 204<br/>15.10.3 Respondents 204<br/>15.11 Results 205<br/>15.12 Interpretation and Discussion of the Results 205<br/>References 207<br/>16 The Meaning of Transfer in the Practices of Arts Education 209<br/>16.1 Educational Practice in the Arts 210<br/>16.2 Three Claims of Value for the Arts in Education 210<br/>16.2.1 Claims oflnherent Value in the Arts 210<br/>16.2.2 Claims of Instrumental Value in the Arts 211<br/>16.2.3 Unified Knowledge in the Arts 211<br/>16.3 The Transfer of Knowledge within the Arts and Education 212<br/>16.4 Three Perspectives on Transfer 214<br/>16.5 Cognitive Reconstruction 215<br/>16.6 Cognitive Reconstruction in the Arts 215<br/>16.7 Metacognitive Transfer 216<br/>16.8 Constraints on Metacognitive Transfer 217<br/>16.9 The Design and Analysis of Studies into Transfer in the Arts 217<br/>16.10 Generic Concepts of the Arts and Postmodernity 222<br/>16.11 The Practices of Cognitive Transfer in Arts Educational Policy 224<br/>16.11.1 Misrepresentation of the Facts in Social Reasoning 224<br/>16.12 Inherentist Policy on Transfer 224<br/>16.13 Instrumentalist Policy on Transfer 225<br/>16.14 Genericist Policy on Transfer 225<br/>16.15 Conclusion 226<br/>References 226<br/>Part III Philosophical Realism and Its Implications for Practice in Art, Design and Education<br/>17 Pragmatism and Privilege in the Practical Arts 233<br/>References 242<br/>18 The Relation Between Evidence and Action in the Assessment of Practice 243<br/>18.1 Searle on Practical Reasoning 245<br/>18.2 Deceit and Ambiguity in Action 247<br/>18.3 Intentionality and Conflicting Desires 248<br/>18.4 Protocols, Evidence, Desire and the Commitment to Act 249<br/>18.5 The Creation of Reasons to Act 250<br/>18.5.1 Navigational Reasoning 251<br/>18.5.2 Pictorial Reasoning 253<br/>18.5.3 Forensic Reasoning 256<br/>18.6 Concluding Comments 258<br/>References 259<br/>19 The Representation of Practice 261<br/>19.1 On the Reality of Practice as an Object of Investigation 262<br/>19.1.1. The Legitimation of Design Research and the Reality of Practice 262<br/>19.1.2 The Reality of Practice and the Autonomy of the Designer 263<br/>19.2 Key Narratives in the Reality of Practice (the Limits of Truth) 264<br/>19.2.1 Bourdieu 265<br/>19.2.2 Deleuze 265<br/>19.2.3 Baudrillard 266<br/>19.2.4 Boyd 267<br/>19.2.5 Searle 267<br/>19.2.6 The Reality oflnstitutional Practice 268<br/>19.3 Two Conceptions of the Designer as a Function Within Design Research 269<br/>19.3.1 The Intentional Designer 270<br/>19.3.2 The Designer as a System of Objects 271<br/>19.4 Conclusion 273<br/>References 273<br/>20 Paradox and Imputation in the Explanation of Practical Innovation in Design 275<br/>20.1 Outline of the Paper 275<br/>20.2 The Relation Between Research and Practice in Design 275<br/>20.2.1 The Legacy of Pragmatism in the Philosophy of Design 276<br/>20.2.2 Art and Design as Research 277<br/>20.3 Origination: Innovation and Creativity 278<br/>20.3.1 Original Kinds of Performance 278<br/>20.3.2 Original Kinds of Artefacts 279<br/>20.3.3 A Vygotskyan Critique of the 'Creative Process' 280<br/>20.4 Ontology of Innovative Practice in Design 281<br/>20.4.1 The Relation Between Works and Practice in Design 281<br/>20.4.2 Realism 282<br/>20.5 A Cognitive Framework of Research 283<br/>20.5.1 A Functional Concept of Research into Practice 284<br/>20.5.2 A Functional Schema of Research 285<br/>20.5.3 An Intentional Net 286<br/>20.5.4 Using the Functional Net in Determining Causality 287<br/>20.5.5 Experimental Departures Using the Explanatory Power of the Net 288<br/>20.6 Conclusion 289<br/>References 290<br/>Index 293 |
| 650 ## - SUBJECT ADDED ENTRY--TOPICAL TERM | |
| Topical term or geographic name as entry element | Public buildings |
| -- | Art--Study and teaching |
| -- | Realism in art |
| -- | Philosophy and social sciences |
| -- | Education--Curricula |
| -- | Design--Study and teaching |
| -- | Curriculum planning |
| -- | Education--Philosophy |
| 9 (RLIN) | 98401 |
| 890 ## - Country | |
| Country | Switzerland |
| 891 ## - Topic | |
| Topic | FA |
| 942 ## - ADDED ENTRY ELEMENTS (KOHA) | |
| Source of classification or shelving scheme | Dewey Decimal Classification |
| Withdrawn status | Lost status | Source of classification or shelving scheme | Damaged status | Not for loan | Collection code | Withdrawn status | Home library | Current library | Date acquired | Source of acquisition | Cost, normal purchase price | Total Checkouts | Full call number | Barcode | Date last seen | Date last borrowed | Cost, replacement price | Price effective from | Koha item type |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Dewey Decimal Classification | Faculty of Architecture | CEPT Library | CEPT Library | 19/02/2023 | amazon.in | 6607.00 | 2 | 745.4071 BRO | 024592 | 20/03/2023 | 04/03/2023 | 6607.00 | 19/02/2023 | Book |