000			11805 a2200181 4500
020			_a9783319826905
082			_a745.4071 _bBRO
100			_aBrown, Neil C. M.
245			_aStudies in Philosophical realism in Art, Design and Education
260			_bSpringer _c2017
300			_axvii,299p.
440			_aLandscape : the Arts, Aesthetics and Education Ed. by Liora Bresler Vol.20 _992269
505			_aContents 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
650			_aPublic buildings _aArt--Study and teaching _aRealism in art _aPhilosophy and social sciences _aEducation--Curricula _aDesign--Study and teaching _aCurriculum planning _aEducation--Philosophy _998401
890			_aSwitzerland
891			_aFA
942			_2ddc
999			_c70529 _d70529