Reading+Notes

Bayles, D. & Orland, T. (2001). **Fears About Yourself** (pp. 23-47) In Art & Fear: Observations on the Perils and Rewards of Art making. Santa Cruz CA: Image Continuum Press.  ·  Fears fall into 2 families –about yourself- receptions by others  ·  Yourself o  ** Pretending ** - Weakness -excuses to quit-quit trying to understand -“what is art” - Secretly feel you deserve to lose- faking it   Wow –pg 26 “…making lots of work that isn’t good and gradually weeding out the parts….It’s the most direct route to learning about your own vision.”  ·  Worry about -**Talent** – “it is whatever you have is exactly what you need” - Talent is delusion- care about what you do  ·  ** Perfection ** -“art is human, error is human: ergo, art is error” “warts and All” - .. since to not work is to not make mistakes-pg30 - **”Imperfections are your guide to matters you need to reconsider or develop further**  ·  Annihilation-destroy ** the fear of stop making art a part of you dies. – asking your work to prove anything only invites doom. *..you have or don’t have what other artist have.. it does not matter.  ·  ** Expectations – ** Unworkable fantasies vs to do lists - place to learn about expectations is in the execution. The next piece is  - contained in the last  ·  The lessons you are meant to learn are in your work… Ask your work what it needs, not what you need. .. set aside your fears and listen…-36  ·  Others o  ** Understanding ** -..following the path of your heart, the chances not understood by others -older work is always better understood- wanting to understood is a basic need - you hand them the power to judge you. o  ** Acceptance ** – fear it will be dismissed as craft hobby, decoration, or nothing-ignored b/c does not “fit” – make it look like art –acceptance is automatic- you fail to   teach anything.  ·    **Approval -** having people like it-is a constant wear and tear on self. –you put the power in the hands of others. ** **“the only pure communication is b/n you and your work.”** Booth, E. (2001). **The Everyday Work of Art: Awakening the Extraordinary in Your Daily Life.** Lincoln Nebraska: iUniverse. [Parts I & II Only- pp. 3-144] o  Watch what you expose yourself to-pg21 o  World Making-process of organizing the truth around a personal nucleus o  World Exploring-act of empathy- exploring other things made-exp. see a play o  Reading the world-ordinary into extraordinary
 * Aesthetic Education Schedule of Required Readings **
 * To engage fully in a work of art, all you really need are the kills you already have-5
 * Accepted American view- museums only of the privileged, only masters-specialized skills – modern art-government funding
 * Basic actions of art-making things w/meaning, exploring thing made, daily life as work of art.
 * Skills-internal-mind and heart/ different body and hand
 * Yearning is alive in direct proportion to our capacity for wonder-(both scares and hard to kill )
 * Wonder-sparks- the impulse in responses- we are sick w/o it
 * Respond to promise to return-response-ability /courage to engage
 * Noticing is to experience-artists way—bring to the moment-54-
 * Learn to train noticing- back & forth, following attraction(yearn towards), Noticing Clean how to observe piece of work w/o interpretation or expectations,
 * Using expectation- anticipation starve the world of art expectation feeds it, writing and revising work, listening- when work says “stop I am done”
 * Tools-To find the gold that lies in between
 * Play –aesthetic- we step inside “as if” world
 * Jazz is serious play-life jazz-142

Greene, M. (1995). **Art and Imagination**. In releasing the imagination: Essays on education, the arts, and social change (pp. 122-133). San Francisco CA: Jossey-Bass.  ·  * “…participatory involvement with many forms of art can enable us to see… more hear.. to become conscious .. what habit and convention have suppressed.”  ·  “..we may gain a sudden sense of new beginnings, we make take an initiative in the light of possibilities”  ·  Goals 2000/no child left behind—predictable and the measurable.  ·  Dangers –dominant mood in classrooms-anger-just a number  ·  Ideas if possibilities are trapped in predictability  ·  We a producing passive apathetic person who are frivolous, a mere frill, irrelevant to learning…  ·  Aesthetic experiences require conscious participation in a work… <span style="FONT-SIZE: 8pt; FONT-FAMILY: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 10.0pt"> ·  ..to attend to what is around them “Stop and Think” <span style="FONT-SIZE: 8pt; FONT-FAMILY: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 10.0pt"> ·  Commitment to the search for alternatives possibilities-now look for easy answers-given –internet <span style="FONT-SIZE: 8pt; FONT-FAMILY: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 10.0pt"> ·  Open ended questions <span style="FONT-SIZE: 8pt; FONT-FAMILY: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 10.0pt"> ·  Teachers ..-Made aware of ourselves as questioners, as meaning makers…there is always more. <span style="FONT-SIZE: 8pt; FONT-FAMILY: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 10.0pt"> ·  Help students find there voice. Greene, M. (2001). Part I: Defining/Notes on Aesthetic Education (pp.5-28) in Variations on a Blue Guitar: The Lincoln Center Institute Lectures on Aesthetic Education. Columbia University, NY: Teachers College Press. This can be done by experiencing all forms of art, music, dance
 * Aesthetics education is an intentional undertaking designed to nurture appreciation, reflective, cultural, participatory engagements with the arts by enabling learners to notice what there is to be noticed, and to lend works of art their lives in such a way that they can achieve them as variously meaningful.
 * People will see differently, make new connections, act differently
 * Always encourage more connections

Eisner, E. (1986). **The Role of Arts in Cognition and Curriculum.** In Reimagining Schools: The selected works of Elliot W. Eisner. (pp. 76-85). NY, NY: Routledge. –**top 10 art educators** <span style="FONT-SIZE: 8pt; FONT-FAMILY: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 10.0pt"> ·  Arts are Cognitive-Knowledge-activities, guided by human intelligence, that make unique forms of meaning <span style="FONT-SIZE: 8pt; FONT-FAMILY: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 10.0pt"> ·  Time is most precious school resource-everyone – time is always involved <span style="FONT-SIZE: 8pt; FONT-FAMILY: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 10.0pt"> ·  ..cognition is the process through which the organism becomes aware of the environment <span style="FONT-SIZE: 8pt; FONT-FAMILY: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 10.0pt"> ·  What skills are employed? Business need the arts <span style="FONT-SIZE: 8pt; FONT-FAMILY: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 10.0pt"> ·  Form of Representation- -appeal to ones senses-must be picked up- treat it in some way <span style="FONT-SIZE: 8pt; FONT-FAMILY: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 10.0pt"> ·  Mimic- efforts to imitate- invention of analogies <span style="FONT-SIZE: 8pt; FONT-FAMILY: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 10.0pt"> ·  Expressive –conveyed as object, event or conception expresses not what it looks like painter vs artist yellow spot <span style="FONT-SIZE: 8pt; FONT-FAMILY: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 10.0pt"> ·  Conventional –arbitrary sign <span style="FONT-SIZE: 10pt; FONT-FAMILY: Wingdings; mso-fareast-font-family: Wingdings; mso-bidi-font-family: Wingdings"> §  Conduct of education and for educational theory <span style="FONT-SIZE: 8pt; FONT-FAMILY: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 10.0pt"> ·  1..any mental activity that is not itself rooted in sensory forms of life. Measurable tests <span style="FONT-SIZE: 8pt; FONT-FAMILY: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 10.0pt"> ·  2 ..it is not possible to represent or to know everything form one form <span style="FONT-SIZE: 8pt; FONT-FAMILY: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 10.0pt"> ·  3 .. education equity- denies opportunities <span style="FONT-SIZE: 8pt; FONT-FAMILY: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 10.0pt"> ·  4…forms of representation significantly improves student <span style="FONT-SIZE: 10pt; FONT-FAMILY: Wingdings; mso-fareast-font-family: Wingdings; mso-bidi-font-family: Wingdings"> §  Interaction of the senses enriches the meaning-essential resources Eisner, E. (2002). **What can education learn from the arts about the practice of education?** Journal of Curriculum and Supervision, 18(1), 4-16. <span style="FONT-SIZE: 10pt; FONT-FAMILY: Wingdings; mso-fareast-font-family: Wingdings; mso-bidi-font-family: Wingdings"> §  Schools are effective and efficient manufacturing plants <span style="FONT-SIZE: 10pt; FONT-FAMILY: Wingdings; mso-fareast-font-family: Wingdings; mso-bidi-font-family: Wingdings"> §  Science was considered dependable not art <span style="FONT-SIZE: 10pt; FONT-FAMILY: Wingdings; mso-fareast-font-family: Wingdings; mso-bidi-font-family: Wingdings"> §  Do more testing than any other nation <span style="FONT-SIZE: 10pt; FONT-FAMILY: Wingdings; mso-fareast-font-family: Wingdings; mso-bidi-font-family: Wingdings"> §  Bush- act no child left behind <span style="FONT-SIZE: 10pt; FONT-FAMILY: Wingdings; mso-fareast-font-family: Wingdings; mso-bidi-font-family: Wingdings"> §  Uniformity <span style="FONT-SIZE: 10pt; FONT-FAMILY: Wingdings; mso-fareast-font-family: Wingdings; mso-bidi-font-family: Wingdings"> §  The aim of education should be conceived if as the preparation of artists <span style="FONT-SIZE: 10pt; FONT-FAMILY: Wingdings; mso-fareast-font-family: Wingdings; mso-bidi-font-family: Wingdings"> §  1 compose- the rightness of fit-feels right-qualitatively intelligent <span style="FONT-SIZE: 10pt; FONT-FAMILY: Wingdings; mso-fareast-font-family: Wingdings; mso-bidi-font-family: Wingdings"> §  2 formulation of aims -goals, objectives or standards –flexible thinking-prediction and control vs exploration and discovery <span style="FONT-SIZE: 10pt; FONT-FAMILY: Wingdings; mso-fareast-font-family: Wingdings; mso-bidi-font-family: Wingdings"> §  3 form and content <span style="FONT-SIZE: 10pt; FONT-FAMILY: Wingdings; mso-fareast-font-family: Wingdings; mso-bidi-font-family: Wingdings"> §  4 not everything knowable can be articulated in propositional form. <span style="FONT-SIZE: 10pt; FONT-FAMILY: Wingdings; mso-fareast-font-family: Wingdings; mso-bidi-font-family: Wingdings"> §  5 relationship b/n thinking and the material <span style="FONT-SIZE: 10pt; FONT-FAMILY: Wingdings; mso-fareast-font-family: Wingdings; mso-bidi-font-family: Wingdings"> §  These are to make judgments in the absence of rule, frame imaginative solutions, deal with conflicting messages <span style="FONT-SIZE: 10pt; FONT-FAMILY: Wingdings; mso-fareast-font-family: Wingdings; mso-bidi-font-family: Wingdings"> §  Art keeping alive the sense of purpose

Redfern, H. B. (1991). **Developing and Checking Aesthetic Understanding**. In R. A. Smith & A. Simpson (Eds.) Aesthetics and Arts Education (pp. 264-273). Chicago, IL: University of Illinois Press. o  How do we measure aesthetic understanding o  Educator needs to move from where the student is to something more complex o  Job is to expand their horizons to beyond the common o  Teachers need to leave open-ended questions, speak without words-silence o  Problems – powers of perception are limited o  Need to build a vocabulary but respect natural responses o  Appraisal are subject to revision- respectful and welcoming attitude toward works of art o  Prepared to engage new ideas and feelings and critical reflection o  Understanding of traditions and assumptions are hurtles o  Allow students to be exposed to peers works and also great art forms o  Several accordance’s are needed to build one’s aesthetic understanding and education Smith, R.A. (2005). **Aesthetic education: Questions and issues. Arts Education Policy Review**, 106(3), 19-34. o  An overall history of Three generations of thinkers- o  Schillier- aesthetics could harmonize citizens-play-beauty to emergence of full humanity o  Read- followed Plato’s theory-laws of harmony, proportion, balance, rhythm-in all living things o  Dewey – aesthetics –learn by doing and undergoings o  ALL-Aesthetics should be an integral part of upbringing o  We need to justify aesthetics- importance to human experience o  1970-decade of aesthetics- is learning how to perceive, judge, and value o  Getty Center for ed in the arts- most influential o  Evidence-environment that is positive-sense of well being and reduce physical and social ills <span style="FONT-SIZE: 10pt; FONT-FAMILY: Wingdings; mso-fareast-font-family: Wingdings; mso-bidi-font-family: Wingdings"> §  Appreciation of the value of the world o  Umbrella concept of art and environmental o  Teaching has always been the attempt to pass of our best understanding of the present so that our students will make sense of the future.