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