在視覺文化中的藝術(shù)哲學教育：對于藝術(shù)教師的美術(shù)理論

1、JournalofPhilosophyofEducation,Vol.43,No.1,2009PhilosophyofArtEducationintheVisualCulture:AestheticsforArtTeachersDORITBARCHANA-LORANDANDEFRATGALNOORThispaperdescribesanexperimentalcourseinthepreparationofartteachers.Thegoalofthecoursewastoengagenal-yearartstudentsinthinkingaboutthefundamentalquesti

2、onsinaestheticeducationandinconsideringvariousviewsoftheirrolesasteachersofart.Theclassespresentedadialoguebetweentwoteachers:aphilosopherofartandanartist.Wediscussedthesocialjusticationofart,theplaceofartineducationandmoregenerallytheportrayalofvisualcultureinphilosophicalthought.Thebibliographyfor

3、thecoursecomprisedalistofbasictextsinaestheticeducation,fromFriedrichSchillertoNelsonGoodman.Inclasswelinkedtherangeofphilosophicalviewsexaminedtotheartisticexplorationofthemes(mainlyincontemporaryandlocalart).Thecoursealsoincorporatedguestspeakerswhopresentedtheirownprojectsrelatingtodifferentmeeti

4、ngpointsofartandeducation,includingsocial-activistartists,curators,philosophersofeducationandschoolarchitects.Thearticlepresentstherationaleforthecourse,itsmethodandasampleofitscontent.Therearedifferentwaysoftacklingaestheticswhenteachingfutureartteachers.Wecould,forinstance,introducethemtoafewselec

5、tedtopicsinaestheticsthattheyinturnwillteachtheirpupils,orwemightaspiretoprovidethemwithawideracquaintancewiththeeldinordertoenabler2009TheAuthorJournalcompilationr2009JournalofthePhilosophyofEducationSocietyofGreatBritain.PublishedbyBlackwellPublishing,9600GarsingtonRoad,OxfordOX42DQ,UKand350MainSt

6、reet,Malden,MA02148,USA.134D.Barchana-LorandandE.GalnoorJournalcompilationr2009JournalofthePhilosophyofEducationSocietyofGreatBritainPhilosophyofArtEducationintheVisualCulture135growingcorpusofresearchinaestheticeducation.Moreimportantly,sincetheplaceofaestheticsinteachertrainingremainsalmostamyster

7、y,ourcourseexempliesarationaleintheunderstandingoftheroleofaestheticsinthepreparationofteachersofart.Inthefollowingwepresenttherationaleofthecourseanditspreparation,thesyllabusandotherdata,andadetailedexampleofonedivisionofthecourse.1THERATIONALEANDPREPARATIONOFTHECOURSEJournalcompilationr2009Journa

8、lofthePhilosophyofEducationSocietyofGreatBritain136D.Barchana-LorandandE.GalnoorJournalcompilationr2009JournalofthePhilosophyofEducationSocietyofGreatBritainPhilosophyofArtEducationintheVisualCulture137Journalcompilationr2009JournalofthePhilosophyofEducationSocietyofGreatBritain138D.Barchana-Loranda

9、ndE.Galnoor2DETAILSOFADIVISION:SCHILLERInthispartofthepaper,inreviewingasectionofthecoursethatdealswithSchiller,wewishtoillustratethepedagogicalapproachofthecourseasawhole.Herewewillsurveysomeofthethemeswediscussedinclass,introducephotographerOsnatBar-Or,whowastheguestspeakerduringthisdivision,andpr

10、esentthetaskwesettheclassattheendofthedivision.12A.TheClassesThediscussionofSchillerstheoryofaestheticeducationwasthecentre-pieceoftherstdivisionofthecourse.ThersttwoclassesofthecourseintroducedKantstheoryasanintroductiontoaestheticsingeneralandtoSchillersaestheticsinparticular.Kantwasnotaformalpart

11、ofthesyllabus,andwedidnotaskthestudentstowriteaboutKantinanyoftheirassignments.Thepurposeherewastoeasethestudentsintothecomplexmethodofthecourse,aswellastoensurethattheyenteredthediscussionofaestheticeducationwithafreshmemoryofwhatphilosophyofartwasgenerallyabout.InhisOntheAestheticEducationofManina

12、SeriesofLetters(hereafterOAE),SchillerseekstogroundhisdiscussionintheCritiqueofJudgment.SchillerholdsKantsnotionofthefreeplayofthefaculties,enabledbythejudgmentoftaste,tobethekeytosocialrevolution.AccordingtoSchiller,societyistornbetweentwoextremes:impotentrationalplanningandblindemotionalaction.Ino

13、rdertoallowtheboldnessofemotiontoexecutereasonsplan,societyhastobefreefromtherigidityofreasonaswellasfromtheuidityofemotion.Societyneedsr2009TheAuthorJournalcompilationr2009JournalofthePhilosophyofEducationSocietyofGreatBritainPhilosophyofArtEducationintheVisualCulture139aneducatortoteachithowtogain

14、suchfreedom.Theartististhepersontoleadthisliberatingtransitionbecausetheartistcancreateobjectsworksofartthatallowforfreedomofplaybetweenourcognitiveforces.Reasonandemotion,atrstpresentedastypesofpersonality(thesavageandthebarbarian),13arelaterpresentedastwoessentialaspectsofhumanbehaviour:thesensuou

15、sdriveandtheformaldrive.14Theexperienceofbeautyleadstoafreedomofplayofthefaculties,atoncereleasingthesubjectfromthetyrannyofeitherextreme,andharmonisingthetwocontrastingforcesintooneforce,whichSchillertermsplay-drive(derSpieltrieb)inKantianfashion.15Themanofculture16istheresultoftheunifyingactionoft

16、heplay-drive.ThusSchillersecurestheroleoftheartistwithinthepoliticalarena:theartistenablesthereconstructionofthepsychological-socialmechanism.Aestheticeducation,forSchiller,isprimarilyapoliticaltask,inthesensethatpoliticalchangesdependupontheaestheticeducationofsocietybytheartist.Byaestheticeducatio

17、nSchillerreferstothedirectexperienceofartitself.Thustheartististheeducatorofsociety,andartishistoolforsocialchange.Keepinginmindthatthepurposeofthecoursewastoraisequestionsconcerningmajorissuesinarteducation,weusedSchillerstextbothtoillustratethedifcultiesinarguingforthesocialimportanceofartaswellin

18、reectingonthesolutionsthistextoffers.WedecidedtofocusonthreemainissuesinOAE:Schillersconceptionofthetwo-into-onestructureofthepersonality;therelationbetweenartandbeauty;andthepedagogicartist.Journalcompilationr2009JournalofthePhilosophyofEducationSocietyofGreatBritain140D.Barchana-LorandandE.Galnoor

19、Journalcompilationr2009JournalofthePhilosophyofEducationSocietyofGreatBritainPhilosophyofArtEducationintheVisualCulture141TheworksofWeinsteinandothercontemporaryIsraeliartistsengageinvisualtemptation,andtheyhaveoftenprovokedhostility.Criticsviewthemasforeign,asiftheydealwithsomethingthatisnotours.Re

20、sistancetobeautycanbetracedfurtherbackinthehistoryofart,outsidetheIsraeli-Jewishtradition.Itisarecurrentself-referentialthemeinart.Wewentbacktothe17thcenturyEuropeantraditionoftheVanitas,whichdealswithsimilarthemes.Thisgenreconsistsofverydetailed,realisticpaintingsofstilllifethat,ontheonehand,symbol

21、isethewealthandvarietyofthegoodsimportedintonorthernEuropeatthattime,butalsoontheother,presentwarnings(adecayingower,arottenfruit,bugsandpests,anhourglass,etc.)totheviewernottobefooledbythevanityofbeauty,becauseitisshort-lived(seeAlpers,1983).WorksbyartistsWillemKalfandWillemClaeszHedaprovidegoodexa

22、mples.Visualtemptationingeneralisoften,throughoutthehistoryofart,linkedwithfemininetemptations.PaintingsbyTitian(AllegoryofVanity,c.1515)andBaldung(TheThreeAgesandDeath,c.150910)exhibitwomenlookingatamirrorasasymbolforpreoccupationwithvanity,asamoralisticwarningtotheviewertokeepawayfromthispath.Thea

23、ctofpainting,aspiringtobeautyandeternity,sinsinexactlythesamewayasthewomanitportrays,becauseitseemstodefynatureandGod.Inthisrespect,thegazeoftheartistandthegazeofthewomanlookingintothemirroraresimilar.Bycreatingamementomori,thepaintingattemptstoraiseanawarenessofthisfailure.Journalcompilationr2009Jo

24、urnalofthePhilosophyofEducationSocietyofGreatBritain142D.Barchana-LorandandE.GalnoorJournalcompilationr2009JournalofthePhilosophyofEducationSocietyofGreatBritainPhilosophyofArtEducationintheVisualCulture143B.TheGuestLectureThelecturesaimtoexposethestudentstovariousmodesofrelationshipbetweenvisualcul

25、tureandsocietyaswellastodifferentinterpretationsofr2009TheAuthorJournalcompilationr2009JournalofthePhilosophyofEducationSocietyofGreatBritain144D.Barchana-LorandandE.GalnoorC.AnAssignmentApartfrommeasuringtheirknowledgeofthetextstaught,theassignmentsinthecourseaimedatassistingstudentsinthereadingoft

26、hephilosophicaltexts.Wedesignedthetaskstoallowstudentsbothagreatdealofr2009TheAuthorJournalcompilationr2009JournalofthePhilosophyofEducationSocietyofGreatBritainPhilosophyofArtEducationintheVisualCulture145choiceaccordingtotheirinterestandtohelpthemassimilatethetextsbyrelatingthemtotheirexistingknow

27、ledgeofartandpedagogy.Tosucceedinthesetasks,thestudentsmustnotonlyreadandunderstandthetextsbutrespondtothemmeaningfullyandapplythemtoissuesinartandsociety.24TheassignmentforthedivisiononSchillerbeganwithaquotationfromOAEconcerningbeautysinherentresistancetoutility.Schillerclaimsthatbycreatingarealmt

28、hatisentirelyfreefrominstrumentalconcerns,artmakesfreedompossible(OAE,Letter21,p.147).Studentswereaskedtodiscussfreedomfromoldpatternsofthinkingasacharacteristicofthehistoryofart.Inparticulartheywereaskedtoidentifyatransformationorchangeinthehistoryofart,andtoanalysethewaysinwhichthetransformationpe

29、rtainedtoquestionsofcontent.Thus,wehopedtoinspirestudentstore-examinethenotionoffreedominart:shouldartbefreeofallconstraints?Whatisthevalueofnormsinart?25Thestudentspapersusuallypresentedunderstandingofthetextsconsideredandcreativeapplicationofthesetoworksofart.Mostofthenalessaysdisplayedmeaningfulc

30、onnectionsbetweenthephilosophicaltheoriesandworksofart.CONCLUDINGREMARKSr2009TheAuthorJournalcompilationr2009JournalofthePhilosophyofEducationSocietyofGreatBritain146D.Barchana-LorandandE.GalnoorNOTES1.EfratGalnoorgraduatedfromBeitBerlCollegeSchoolofArtin1996.ShepractisesartandAlthoughfromHegelthrou

31、ghNietzsche,toHeidegger,Gadamerandothercontemporarycontinentalphilosophersonwards,theidenticationofaestheticswithphilosophyofarthasbeenquestionedincrucialways,inthefollowingdiscussionreferencestoaestheticsaretobeunderstoodasitis(perhapsinformally)viewedingeneralbytheInternationalOrganisationofAesthe

32、ticsaswellasbytheAmericanandBritishSocietiesforAesthetics.Aesthetics,onthisreading,includesthephilosophyofbeautyandart,andisalternativelyreferredtoasphilosophyofart.SeeLeviandSmith,1991.Inparticular,seethechapterTeachingArtasaHumanity(pp.180207).AccordingtoLeviandSmith,Teachingartasahumanity.entails

33、,amongotherthings,explainingthewaysinwhichartexhibitslifeconcretely,stimulatestheimagination,integratesthedifferentculturalelementsofasocietyandpresentsmodelsforimitationorrejection(p.181).SeealsoParsonsandBlocker,1993.Moreover,Moore(1994)arguesphilosophyofartdoesnthavetobeimported;itcanhardlybekept

34、out.Thequestionsyoungpeoplearelikelytoaskaboutartprovoketheveryquestionaesthetictheoryisdesignedtoanswer.AccordingtoMoore,asyoungartistsexperimentwithnewmaterialsandnewartforms,theyinevitablyencounterthequestionofwhatmakesathingart,thefundamentaldenitionissueinaesthetics.Fakesandforgeriesfascinateki

35、dsandfosterspeculationsaboutauthenticityandoriginality(Moore,1994).Fordiscussionofteachingphilosophyofartthroughcasestudies,seeParsons,1994andMoore,1993.Formoreonphilosophyofartintheartcurriculum,seeParsonsandBlocker,1993;LeviandSmith,1991;andGalvinStewart,1994.AsChalmersnotes:Althoughitcropsupfromt

36、imetotimeasaconferencetopic,todate,fewauthorshaveaddressedissuesaroundtheteachingofarteducationhistorytopreserviceteachersandtograduatestudents(Chalmers,2004,p.11).Foraninspiringdescriptionofacooperativeteachingprojectofanaestheticianandacurator,seeFeaginandSubler,1993.Langer(1971)protestsagainstwha

37、tshetermsthesocialveneerimageofartintheeyesofsociety.Aguestlecturewasapartofalltheoreticaldivisionsofthecourse.Moreonthecoursesstructurebelow.TheSchooloffersseveralprogrammesinart(plasticarts,photography,video,newmediaandmore),includingcoursesinarthistoryandarteducation.Thenumberofstudentstakingthec

38、lassaveragedabout90duringthersttwoyears.TheIsraeliacademicyearisdividedintotwosemesters,eachconsistingof14weeks.Sothecoursecomprised28classes.Smith(2004)presentsSchiller,ReadandDeweyasthreegenerativethinkers.Clearly,ashort,writtendiscussioncannotaccuratelyconveywhatwasalivediscussionoverveweeksinthe

39、classroom.Afterrulingoutthedeliveryofthediscussionindialogueform(apresumptuousandtediousmethod),wedecided,forthesakeofuency,tohighlightmerelysomeofthethemeswediscussed.AssumingthatourreadersarefamiliarwithSchiller,wewillnotdwellonthedetailedanalysispresentedtoourstudents.Journalcompilationr2009Journ

40、alofthePhilosophyofEducationSocietyofGreatBritainPhilosophyofArtEducationintheVisualCulture1473.24.advisable,however,toremindourselvesthatinallthefreeartsthereisyetaneedforsomethingintheorderofaconstraint.Withoutthisthespirit,whichinartmustbefreeandwhichaloneanimatesthewo

41、rk,wouldhavenobodyatallandwouldevaporatecompletely.Thisreminderisr2009TheAuthorJournalcompilationr2009JournalofthePhilosophyofEducationSocietyofGreatBritain148D.Barchana-LorandandE.Galnoorneededbecausesomeofthemorerecenteducatorsbelievethattheypromoteafreeartbestiftheyremoveallconstraintfromit(Kant,1987,p.171).REFERENCESAlpers,S.(1983)TheArtofDesc