Your search found 10658 results.

Descriptors:
Experiential Learning; Art Education; Multiple Intelligences; Criticism; Moral Values; Teaching Methods; Art Products; Aesthetics; Learning Processes; Educational Philosophy

Abstract:
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" (recollection) 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." Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract

Related Items: Show Related Items

Full-Text Availability Options:

More Info:
Help | Tutorial Help Finding Full Text |  More Info:
Help Find in a Library |  Publisher's website

Descriptors:
Educational Change; Art Education; Educational Policy; Advocacy; Neurosciences; Creativity; Alternative Teacher Certification; Student Evaluation; Teacher Evaluation; Charter Schools; Economic Climate; Technological Advancement; Educational Research; National Competency Tests; Academic Standards; State Standards; Skills; Federal Legislation; Educational Legislation; At Risk Students; Preservice Teacher Education; Curriculum Development; Faculty Development

Abstract:
The field of education in the United States is in a period of unprecedented change. Educators in all disciplines are challenged to understand and respond to the waves of reform sweeping over the national education landscape. Linking these reforms to meaningful outcomes that will produce more rigorous and effective measures of quality and performance in our schools is an ongoing goal for all educators as they work to respond to calls for educational reform. Changes in the general field of education have direct implications for arts education policy and practice. Arts educators find themselves in the position of making sense of these landmark reforms and changes in the context of arts education and determining what courses of action and responses they should pursue on the road to meaningful reform. This report provides an overview of a selected number of contemporary developments in the general field of education, brief summaries of consequential studies and education-related reports, and an examination of some policy issues these developments and reports raise for arts educators as they work to shape the future landscape of arts education. Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract

Related Items: Show Related Items

Full-Text Availability Options:

More Info:
Help | Tutorial Help Finding Full Text |  More Info:
Help Find in a Library |  Publisher's website

Descriptors:
Art Education; Advocacy; Educational Resources; Influences; Elementary Secondary Education; School Surveys; Principals; Regression (Statistics); Community Support; Educational Environment; Leadership; Financial Support; Time on Task; Art Teachers; Art Activities; Student Interests; Predictor Variables

Abstract:
The purpose of this study was to investigate advocacy influences that may impact school arts programs using data from the 2009-10 National Center for Education Statistics elementary and secondary school surveys on arts education. Regression models were employed to assess the relative effectiveness of variables representing community support, administrators' support, having arts educators in leadership roles, and school climate more generally as predictors of principals' reports of the adequacy of funding, instructional time, and number of arts specialists for arts education. Additional models were examined to determine whether these effects would remain after controlling for minority status, poverty status, and school community type. Parent/community support, including the presence of arts specialists in school leadership roles and having an arts curriculum specialist/program coordinator, had the most pronounced effects on the reported adequacy of resources. Student interest in and demand for arts education, the inclusion of arts course grades in secondary students' GPA, and the number of arts events elementary school principals attended also showed significant effects. (Contains 5 tables.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract

Related Items: Show Related Items

Full-Text Availability Options:

More Info:
Help | Tutorial Help Finding Full Text |  More Info:
Help Find in a Library |  Publisher's website

Descriptors:
Artists; Studio Art; Information Technology; Autobiographies; Case Studies; Art Products; Art Education; Youth Programs

Abstract:
In this article I bring artistic production into the learning sciences conversation by using the production of representations as a bridging concept between art making and the new literacies. Through case studies with 4 youth media arts organizations across the United States I ask how organizations structure the process of producing autobiographical digital art through a focus on representational tasks and how learning can be traced by examining youth artists' representations over time. Using a distributed cognition framework I analyze data on the process of making digital art in terms of the macro and micro tasks performed in order to identify occasions for external representation construction and use across organizations. I then examine how individual youth engage in these macro and micro tasks by producing representations that demonstrate their understanding. These analyses show that youth media arts organization production processes engage young artists in a "representational trajectory" that begins with developing a story about the self, moves toward a focus on how the tools of the medium afford representation of that story, and culminates in digital representations that reflect an understanding of the relationship between story and tools. (Contains 6 tables, 8 figures, and 3 footnotes.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract

Related Items: Show Related Items

Full-Text Availability Options:

More Info:
Help | Tutorial Help Finding Full Text |  More Info:
Help Find in a Library |  Publisher's website

Descriptors:
Artists; Acoustics; Art Products; Exhibits; Art Education; College Instruction; Cooperation

Abstract:
Stephen Vitiello is a world-renowned contemporary sound artist whom the author has known as a colleague for several years. This article presents an interview about the overall body of Vitiello's work to date, and his thoughts on teaching at Virginia Commonwealth University. The interview explores the creative and noncreative tensions between teaching and artistic practice.

Related Items: Show Related Items

Full-Text Availability Options:

More Info:
Help | Tutorial Help Finding Full Text |  More Info:
Help Find in a Library |  Publisher's website

Descriptors:
Music; Asian Culture; Photography; Artists; Musicians; Art Teachers; Music Teachers; Teaching Methods; Music Education; Art Education

Abstract:
The author is pleased to introduce a new section in "TAJ," Four Questions. The structure is simple: four questions are asked to teaching artists working in various media and locations. The questions are always the same, but because each teaching artist's approach is unique, their answers will provide an insight into particular methodologies that work, and projects one can learn from. The first two artists presented in this section--Nirmala Rajasekar and Kate Bowen--have very different practices as both artists and teaching artists. Nirmala brings Indian culture and traditional musical practice into classrooms around the United States. Kate is working with Chicago youth to help them bring their own unique voices as photographers into the larger culture. Each of these two teaching artists embodies a particular and considered approach to the work. The four questions asked to them are the following: (1) What do you teach?; (2) How do you teach it?; (3) How do you know if your teaching is "working"?; and (4) Why do you teach? (Contains 4 images.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract

Related Items: Show Related Items

Full-Text Availability Options:

More Info:
Help | Tutorial Help Finding Full Text |  More Info:
Help Find in a Library |  Publisher's website

Descriptors:
Design; Design Requirements; Layout (Publications); Literature Reviews; Art Education; Discourse Analysis; Pretests Posttests; Surveys; Visual Arts; Design Preferences

Abstract:
Many books, designers, and design educators talk about visual design principles such as balance, contrast, and alignment, but with little consistency. This study uses empirical methods to explore the lore surrounding design principles. The study took the form of two stages: a quantitative literature review to determine what design principles are mentioned most often in discourse on design, and a card sorting exercise to explore the relationships designers, design educators, and design students saw among the most common design principles. Along with the card sorting exercise, I used pre- and post-exercise surveys to gauge how participants felt and thought about design principles and their use in design practice. Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract

Related Items: Show Related Items

Full-Text Availability Options:

More Info:
Help | Tutorial Help Finding Full Text |  More Info:
Help Find in a Library |  Publisher's website

Descriptors:
Art Education; Written Language; Grade 1; Elementary School Students; Picture Books; Reading Instruction; Art Activities; Teaching Methods; Learning Modalities; Multisensory Learning

Abstract:
This article shares the authors' work with first graders and how, through various reading, writing, and art experiences around picturebooks, the children learned to read and communicate through art along with written language. The work is grounded in multimodality theory and the belief that all modes (particularly art for the purposes of this article) are equally valid and significant ways of communicating meaning. The article provides examples of experiences with the picturebooks I Love My New Toy and Guji Guji of how the children came to understand the language of art. Insights from this work that are discussed include that young children can and do think and read multimodally, that understanding art as an equally valid mode of communication, along with written language, provides children with additional pathways through which to construct meaning, and that art is a valid language that needs to be valued and taught. (Contains 3 figures and 1 table.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract

Related Items: Show Related Items

Full-Text Availability Options:

More Info:
Help | Tutorial Help Finding Full Text |  More Info:
Help Find in a Library |  Publisher's website

Descriptors:
Females; Womens Education; Commercial Art; Art Education; Music; Musicians; Educational History; Historians; Music Education; Music Teachers; Art Teachers; Universities; Artists; Careers

Abstract:
"The value of the Art Education becomes more and more apparent as a means of honorable support and of high culture and enjoyment," stated the catalog of Ingham University in western New York State in 1863. The Art Department there would prepare "pupils for Teachers and Practical Artists." This statement reveals some of the vocational options for women that were concomitant with the increased popularity of music and art education in the middle decades of the nineteenth century in the United States. Practical vocational concerns, along with notions of refinement and respectable entertainment, all were aspects of the impetus for music and art education. Preparing young women for occupations, whether as teachers of art and music or as commercial artists or musicians, was a particularly prominent component of education for women in the mid-nineteenth-century United States. In this article, the author argues that in a world in which limited occupations were open to women, skill in music and art expanded women's options and, for some, made independence possible. Often relegated by historians to a trivial dimension of women's education, or spoken of as a means of reproducing a social elite status, the so-called "ornamentals" are due for reassessment. In what follows, the author engages the literature on the "ornamentals," showing that the term held varied rather than static meaning and significance. In fact, one important aspect of the fine arts was their potential to provide women with remunerative employment. The author next discusses the rise of music and art education in public schools, and then demonstrates how the heightened social interest in music and art affected women's occupational options during these middle decades of the nineteenth century. (Contains 66 endnotes.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract

Related Items: Show Related Items

Full-Text Availability Options:

More Info:
Help | Tutorial Help Finding Full Text |  More Info:
Help Find in a Library |  Publisher's website

Descriptors:
College Faculty; Feedback (Response); Graduate Students; Costs; Doctoral Degrees; Occupational Aspiration; Employment; Intellectual Disciplines; Job Applicants; Conferences (Gatherings); Art Education; Fees; Private Sector; Portfolios (Background Materials); Internet; Information Storage

Abstract:
Ph.D.'s are used to shelling out tens of thousands of dollars in the name of education. But earning the top graduate degree doesn't mean their spending has come to an end. An industry designed to help aspiring academics manage the job-application process and land tenure-track jobs is growing, and reaping the benefits of a tight market in many disciplines. New Ph.D.'s have long had to set aside money to mail applications and travel to scholarly conferences. But now their job-hunting tabs also include the cost of new services, like digital storage for recommendation letters, research statements, and other documents. Graduates' costs are growing, too, as they stay on the market longer. Old costs, like those for conferences, are compounding, while the costs of new products, services, and fees are adding up. In the 2012 hiring season, applicants for faculty positions at some art programs, like Colorado State's and Temple University's Tyler School of Art, were charged fees of $10 to $15 to transmit digital files of their creative materials through SlideRoom, a virtual art portal that the institutions insisted candidates use. The escalating number of job applications submitted by many Ph.D.'s is making it difficult for advisers to keep up with writing reference letters. Advisers and students are increasingly turning to private companies to help them manage the growing volume of documents. Interfolio, which is now commonly used, charges $19 for a one-year plan, or up to $57 for five years, to upload and store application documents, like CVs, cover letters, teaching statements, and reference letters. Applicants then pay the company a fee to deliver each document they need. The costs vary, from as low as $6 per application for delivery by e-mail or domestic mail and up to $45 for delivery by international mail. Graduate students and new Ph.D.'s are also paying money for job-seeking advice and for personally tailored feedback beyond what they get as part of their graduate programs or from their advisers. Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract

Related Items: Show Related Items

Full-Text Availability Options:

More Info:
Help | Tutorial Help Finding Full Text |  More Info:
Help Find in a Library |  Publisher's website