DOES ART HAVE an ORIGIN and ADAPTIVE FUNCTION? Ellen Dissanayake
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Visual Arts Curriculum Guide
Visual Arts Madison Public Schools Madison, Connecticut Dear Interested Reader: The following document is the Madison Public Schools’ Visual Arts Curriculum Guide If you plan to use the whole or any parts of this document, it would be appreciated if you credit the Madison Public Schools, Madison, Connecticut for the work. Thank you in advance. Table of Contents Foreword Program Overview Program Components and Framework · Program Components and Framework · Program Philosophy · Grouping Statement · Classroom Environment Statement · Arts Goals Learner Outcomes (K - 12) Scope and Sequence · Student Outcomes and Assessments - Grades K - 4 · Student Outcomes and Assessments - Grades 5 - 8 · Student Outcomes and Assessments / Course Descriptions - Grades 9 - 12 · Program Support / Celebration Statement Program Implementation: Guidelines and Strategies · Time Allotments · Implementation Assessment Guidelines and Procedures · Evaluation Resources Materials · Resources / Materials · National Standards · State Standards Foreword The art curriculum has been developed for the Madison school system and is based on the newly published national Standards for Arts Education, which are defined as Dance, Music, Theater, and Visual Arts. The national standards for the Visual Arts were developed by the National Art Education Association Art Standard Committee to reflect a national consensus of the views of organizations and individuals representing educators, parents, artists, professional associations in education and in the arts, public and private educational institutions, philanthropic organizations, and leaders from government, labor, and business. The Visual Arts Curriculum for the Madison School System will provide assistance and support to Madison visual arts teachers and administrators in the implementation of a comprehensive K - 12 visual arts program. The material described in this guide will assist visual arts teachers in designing visual arts lesson plans that will give each student the chance to meet the content and performance, or achievement, standards in visual arts. -
Doing Justice to Traditional Aesthetic Theories: Weitz Reconsidered
TRAMES, 2002, 6(56/51), 3, 266–279 DOING JUSTICE TO TRADITIONAL AESTHETIC THEORIES: WEITZ RECONSIDERED Marek Volt University of Tartu Abstract. In the very first lines of his famous article – ‘The Role of Theory is Aesthetics’ – Morris Weitz tells us that each of the great art theories (Emotionalism, Voluntarism, Formalism, Intuitionism, Organicism) converges in a logically vain attempt to provide the defining properties of art. He tries to examine some of the aesthetic theories in order to see if they include adequate statements about the nature of art. But instead of giving us exact descriptions of these theories, he provided us with only a very scant summary. Thus, even if Weitz were correct in thinking that all theories converged in an essential definition of art, he does not provide any further arguments for his conviction. Some aestheticians (Diffey, Tilghman, Matthews, Snoeyenbos) have tried to do justice to the traditional theories by suggesting that aesthetic theories were not attempting to offer essentialist definitions of art. Unfortunately, those critics left untouched the aesthetic theories offered by Weitz. Therefore, in order to evaluate (1) Weitz’s account of aesthetic theories and (2) to see if the criticisms concerning his account strike home, it is necessary to consider just theories mentioned by Weitz. My paper confirms a view that within aesthetic theories a variety of purposes can be recognised. For instance, the explanation and re-evaluation of art, and the completion of metaphysical system. I. Weitz and his critics The famous article of Morris Weitz (1968) – ‘The Role of Theory in Aesthetics’ – has raised many objections since it was published.1 Perhaps the chief objection is that Weitz did not take into account the possibility that art can be defined in terms of non-manifest properties. -
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Ellen Dissanayake The Artification Hypothesis and Its Relevance to Cognitive Science, Evolutionary Aesthetics, and Neuroaesthetics An etiological description of mother-infant interaction suggests that it was adaptive during human evolution. From their early weeks, infants universally respond to certain affect-laden elements of maternal commu- nication that can be called "proto-aesthetic". I hypothesize that these ca- pacities and receptivities, which evolved from about 1.7 million years ago to enable mother-infant bonding, became a reservoir of affective me- chanisms that could be used subsequendy by ancestral humans when they first began to "artify" - that is, when they invented the "arts" as ve- hicles of ceremonial religious experience. The etiological, evolutionary, and cross-cultural foundations of the Artification Hypothesis challenge current influential ideas in cognitive science, evolutionary aesthetics, and neuroaesthetics about human aesthetic capacities and behavior. The hy- pothesis offers a broader and deeper view to these fields by emphasizing preverbal, presymbolic, pancultural, cross-modal, supra-modal, participa- tive, temporally organized, affective, and affinitive aspects of aesthetic cognition and behavior. It additionally proposes that artifying is an unre- cognized but vital evolved component of human nature. CORRESPONDENCE: Ellen Dissanayke. School of Music, University of Washington, Seattle, WA. EMAIL: [email protected] Introduction Since the late 1950s, a number of once distinct areas in psychology and philosophy have gradually gathered under what might be called a cognitive umbrella or canopy. After incorporating an influential newcomer, cognitive neuroscience, it is not too much to say that two thousand years of theory about what once was called epistemology have been irrevocably altered—subsumed by and re-conceptualized as "the brain" and "mind". -
The New Role of Theory in Aesthetics
RECOGNITION AND RECONCILIATION: THE NEW ROLE OF THEORY IN AESTHETICS by Kristin Amber Hrehor A thesis submitted to the Department of Philosophy In conformity with the requirements for the degree of Master of Arts Queen’s University Kingston, Ontario, Canada (September, 2007) Copyright © Kristin Amber Hrehor, 2007 Abstract George Dickie’s institutional theory of art has been subject to extensive debate over the past 30 years. It has been both revered and deplored, garnering such attention for the seemingly controversial way in which Dickie answers the question, “What is art?” In Dickie’s view, an object derives its existence as a work of art in the context of the informal institution of the “artworld,” a concept which was borrowed from Arthur Danto’s earlier work on the theoretical context surrounding works of art. Whether one finds the idea appealing or appalling, it is one that quite simply cannot be ignored, since the empirical validity of the institutional structure of art and the sorts of problems it can cause, especially in our particular time, are so remarkably clear. Another significant feature of Dickie’s institutional theory is that it provides a definition of art, a problem that philosophers of art have attempted to solve for the past few centuries. Dickie’s theory inclines one to dismiss other candidates for definitions as implausible, such as those put forth by R.G. Collingwood and Leo Tolstoy, since, as Dickie insists, an acceptable definition of art must be able to account for the many different kinds of practices that are all referred to as “art.” Both Collingwood and Tolstoy advance restricted conceptions of art that are meant to confine the use of the term “art” to a specific kind of creative activity. -
GREEN PAPER Page 1
AMERICANS FOR THE ARTS PUBLIC ART NETWORK COUNCIL: GREEN PAPER page 1 Why Public Art Matters Cities gain value through public art – cultural, social, and economic value. Public art is a distinguishing part of our public history and our evolving culture. It reflects and reveals our society, adds meaning to our cities and uniqueness to our communities. Public art humanizes the built environment and invigorates public spaces. It provides an intersection between past, present and future, between disciplines, and between ideas. Public art is freely accessible. Cultural Value and Community Identity American cities and towns aspire to be places where people want to live and want to visit. Having a particular community identity, especially in terms of what our towns look like, is becoming even more important in a world where everyplace tends to looks like everyplace else. Places with strong public art expressions break the trend of blandness and sameness, and give communities a stronger sense of place and identity. When we think about memorable places, we think about their icons – consider the St. Louis Arch, the totem poles of Vancouver, the heads at Easter Island. All of these were the work of creative people who captured the spirit and atmosphere of their cultural milieu. Absent public art, we would be absent our human identities. The Artist as Contributor to Cultural Value Public art brings artists and their creative vision into the civic decision making process. In addition the aesthetic benefits of having works of art in public places, artists can make valuable contributions when they are included in the mix of planners, engineers, designers, elected officials, and community stakeholders who are involved in planning public spaces and amenities. -
Another Darwinian Aesthetics
This is a repository copy of Another Darwinian Aesthetics. White Rose Research Online URL for this paper: https://eprints.whiterose.ac.uk/103826/ Version: Accepted Version Article: Wilson, Catherine orcid.org/0000-0002-0760-4072 (2016) Another Darwinian Aesthetics. Journal of aesthetics and art criticism. pp. 237-252. ISSN 0021-8529 https://doi.org/10.1111/jaac.12283 Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Another Darwinian Aesthetics (Last ms version). Published Version: WILSON, CATHERINE. "Another Darwinian Aesthetics." The Journal of Aesthetics and Art Criticism 74.3 (2016): 237-252. Despite the bright sun, dew was still dripping from the chrysanthemums in the garden. On the bamboo fences, and criss-cross hedges, I saw tatters of spiderwebs; and where the threads were broken the raindrops hung on them like strings of white pearls. I was greatly moved and delighted. …Later I described to people how beautiful it all was. -
10 Great Reasons to Support Public Art
Article 26 10 Great Reasons to Support Public Art 1. It’s public! Everyone has access to public art. It’s directly in the public sphere and not confined to galleries or museums. 2. It enriches our physical environments, bringing streetscapes, plazas, town buildings and schools to life. 3. It’s a great tool for civic engagement, building social capital and encouraging civil discourse. 4. It provides professional opportunities for artists and cultivates an environment in which the creative class thrives. 5. It boosts local economies. Businesses supply materials and labor; restaurants, hotels and transportation companies benefit from a site that attracts visitors. 6. It’s an investment in place making—measured by livability and quality of life—that also engenders community pride. 7. It connects citizens to their neighbors and their shared history through documentation and celebration, and makes cultural heritage a tangible community asset. 8. It enlivens places where people work, which can improve employee morale, productivity and respect. 9. It creates supportive learning environments. It opens eyes—and minds! It attracts students to environments conducive to both learning and fun. 10. It raises public awareness about important community issues, such as environmental stewardship and respect for diversity. --From the Amherst Public Art Commission and the National Assembly of State Arts Agencies. The Amherst Public Art Commission Why Public Art for Amherst? Public art adds enormous value to the cultural, aesthetic and economic vitality of a community. It is now a well-accepted principle of urban design that public art contributes to a community’s identity, fosters community pride and a sense of belonging, and enhances the quality of life for its residents and visitors. -
Past Looking: Using Arts As Historical Evidence in Teaching History
Social Studies Research and Practice www.socstrp.org Past Looking: Using Arts as Historical Evidence in Teaching History Yonghee Suh Old Dominion University This is a comparative case study of how three high school history teachers in the U.S.A. use art in their practice. The following research question was investigated: How do secondary history teachers incorporate the arts—paintings, music, poems, novels, and films—in their teaching of history and why? Data were collected from three sources: interviews, observations, and classroom materials. Grounded theory was utilized to analyze the data. Findings suggest these teachers use the arts as historical evidence roughly for three purposes: First, to teach the spirit of an age; second, to teach the history of ordinary people invisible in official historical records; and third, to teach, both with and without art, the process of writing history. Two of the three teachers, however, failed to teach historical thinking skills through art. Keywords: history, history instruction, art, interdisciplinary approach, thinking skills, primary sources. Introduction Encouraging historical thinking in students is not a new idea in history education. Since the turn of the 20th century, many historians and history educators have argued that history consists of not only facts, but also historians’ interpretation of those facts, commonly known as the process of historical thinking, or how to analyze and interpret historical evidence, make historical arguments, and engage in historical debates (Bain, 2005; Holt, 1990; VanSledright; 2002; Wineburg, 2001). Many past reform efforts in history education have shared this commitment to teach students to think historically, in part by being engaged in the process of historical inquiry (Bradley Commission on History in Schools, 1988; National Center for History in the Schools, 1995). -
Aesthetics (HSA020N207A) | University of Roehampton
09/23/21 Aesthetics (HSA020N207A) | University of Roehampton Aesthetics (HSA020N207A) View Online (Module Validation) 156 items Further Reading - additional to the weekly readings (53 items) The birth of tragedy and other writings - Friedrich Wilhelm Nietzsche, Raymond Geuss, Ronald Speirs, 1999 Book | Further Reading The Disjunctive Theory of Art: The Cluster Account Reformulated - F. Longworth, A. Scarantino, 2010-03-10 Article | Further Reading The Lyotard reader - Jean-Franc ̧ ois Lyotard, Andrew E. Benjamin, 1989 Book | Further Reading On photography - Sontag, Susan, 1979 Book | Essential Reading The principles of art - Collingwood, R. G., 1938 Book | Further Reading The century of taste: the philosophical odyssey of taste in the eighteenth century - Dickie, George, 1996 Book | Further Reading Aesthetics: a critical anthology - Dickie, George, Sclafani, R. J., Roblin, Ronald, c1989 Book | Further Reading An introduction to the philosophy of art - Richard Thomas Eldridge, 2014 Book | Further Reading Schopenhauer - Patrick Lancaster Gardiner, 1963 Book | Further Reading The Routledge companion to aesthetics - Gaut, Berys Nigel, Lopes, Dominic, 2005 Book | Further Reading Languages of art: an approach to a theory of symbols - Goodman, Nelson, 1968 Book | Further Reading Philosophy of the arts: an introduction to aesthetics - Graham, Gordon, 1997 1/11 09/23/21 Aesthetics (HSA020N207A) | University of Roehampton Book | Further Reading The sociology of art - Arnold Hauser, 2013 Book | Further Reading Emotion and the Arts - Mette Hjort, -
Line, Color, Space, Light, and Shape: What Do They Do? What Do They Evoke?
LINE, COLOR, SPACE, LIGHT, AND SHAPE: WHAT DO THEY DO? WHAT DO THEY EVOKE? Good composition is like a suspension bridge; each line adds strength and takes none away… Making lines run into each other is not composition. There must be motive for the connection. Get the art of controlling the observer—that is composition. —Robert Henri, American painter and teacher The elements and principals of art and design, and how they are used, contribute mightily to the ultimate composition of a work of art—and that can mean the difference between a masterpiece and a messterpiece. Just like a reader who studies vocabulary and sentence structure to become fluent and present within a compelling story, an art appreciator who examines line, color, space, light, and shape and their roles in a given work of art will be able to “stand with the artist” and think about how they made the artwork “work.” In this activity, students will practice looking for design elements in works of art, and learn to describe and discuss how these elements are used in artistic compositions. Grade Level Grades 4–12 Common Core Academic Standards • CCSS.ELA-Writing.CCRA.W.3 • CCSS.ELA-Speaking and Listening.CCRA.SL.1 • CCSS.ELA-Literacy.CCSL.2 • CCSS.ELA-Speaking and Listening.CCRA.SL.4 National Visual Arts Standards Still Life with a Ham and a Roemer, c. 1631–34 Willem Claesz. Heda, Dutch • Artistic Process: Responding: Understanding Oil on panel and evaluating how the arts convey meaning 23 1/4 x 32 1/2 inches (59 x 82.5 cm) John G. -
31762100154713.Pdf (2.570Mb)
Working papers : the artist as critical consciousness by Larry Eugene Shelby A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF APPLIED ARTS Approved: airman ,''Exaiftining Committee Montana State University © Copyright by Larry Eugene Shelby (1975) Abstract: I. An Inquiry into the Definition of Art and Artist. This paper inquires into the nature and relevance of ex-isting definition of "Art" and "Artist." There is an analogy between the manner which art as an institution and a dictionary definition function. If language (or art) is to remain viable, it must be open to the continual revision necessary as part of the constantly changing social environment. In the sense that a dictionary is a reference book, an "inbuilt" dictionary is part of each of our mental equipment. The inbuilt dictionary is best altered through the educational system. Lexical items which have become irrelevant to the situations which they are to describe should be restructured. II. On the De-Definition/Re-Definition of Art. This essay is a rebuttal to Harold Rosenberg's article "On The De-Definition of Art" chosen because it is typical of arguments for defining art by morphological characteristics (i.e., formalist criticism). Approaches of this type have failed to deal with questions raised by "conceptual" artists regarding the existence, function and future of art, and, by implication, the education of the artist. III. Art: An Open Textured Concept. A condensed version of Morris Weitz' essay "The Role of Theory in Aesthetics" was provided. As a theory of aesthetics it is quite sufficient but Weitz presupposes that art is always of an aesthetic nature. -
Art for Art's Sake?
Art for Art’s Sake? OVERVIEW C entre for E ducational R esearch and I nnovation Art for Art’s Sake? OVERVIEW by Ellen Winner, Thalia R. Goldstein and Stéphan Vincent-Lancrin This overview is a slightly modified version of the conclusive chapter ofArt for Art’s Sake? The Impact of Arts Education. The complete version of the report can be consulted on line at http://dx.doi. org/10.1787/9789264180789-en. The work has benefited from support from Stiftung Mercator (Germany), from the French Ministry of Education and from the OECD Secretary General’s Central Priority Fund. They are thankfully acknowledged. This work is published on the responsibility of the Secretary-General of the OECD. The opinions expressed and arguments employed herein do not necessarily reflect the official views of the Organisation or of the governments of its member countries. This document and any map included herein are without prejudice to the status of or sovereignty over any territory, to the delimitation of international frontiers and boundaries and to the name of any territory, city or area. Please cite this publication as: Winner, E., T. Goldstein and S. Vincent-Lancrin (2013), Art for Art’s Sake? Overview, OECD Publishing. The statistical data for Israel are supplied by and under the responsibility of the relevant Israeli authorities. The use of such data by the OECD is without prejudice to the status of the Golan Heights, East Jerusalem and Israeli settlements in the West Bank under the terms of international law. Photo credits: Cover © Violette Vincent. Corrigenda to OECD publications may be found on line at: www.oecd.org/publishing/corrigenda.