Pub Date : 2023-05-19DOI: 10.5406/15437809.57.2.04
S. Ashrafi, Michael Garbutt, Altyn Kapalova
Abstract:The article presents a phenomenological-hermeneutic account of everyday aesthetics based on the Playful Eye, an experiential method for encountering the "Other" through contemplative, somatic, and embodied practices informed by the concept of play. The experiences co-curated with participants—illustrated here by a Playful Eye event held in Osh, Kyrgyzstan—are grounded in an understanding of the relationship between the self and Other, cultivating a sense of inner truth that is unconcealed when the sensing agent experiences itself through being sensed. It is contended that everyday aesthetics provides a muted, fleeting experience of the Other, the seamless and ceaseless succession of the parts that constitute the totality of engagement with the world. This transformative understanding as "extended self," also evident in many Indigenous traditions, can provide the common ground for dialogue, empathy, and compassion in contexts where conflicting values and beliefs might otherwise result in indifference or hostility.
{"title":"Beyond the Art Museum: A Phenomenological-Hermeneutic Account of Everyday Aesthetics","authors":"S. Ashrafi, Michael Garbutt, Altyn Kapalova","doi":"10.5406/15437809.57.2.04","DOIUrl":"https://doi.org/10.5406/15437809.57.2.04","url":null,"abstract":"Abstract:The article presents a phenomenological-hermeneutic account of everyday aesthetics based on the Playful Eye, an experiential method for encountering the \"Other\" through contemplative, somatic, and embodied practices informed by the concept of play. The experiences co-curated with participants—illustrated here by a Playful Eye event held in Osh, Kyrgyzstan—are grounded in an understanding of the relationship between the self and Other, cultivating a sense of inner truth that is unconcealed when the sensing agent experiences itself through being sensed. It is contended that everyday aesthetics provides a muted, fleeting experience of the Other, the seamless and ceaseless succession of the parts that constitute the totality of engagement with the world. This transformative understanding as \"extended self,\" also evident in many Indigenous traditions, can provide the common ground for dialogue, empathy, and compassion in contexts where conflicting values and beliefs might otherwise result in indifference or hostility.","PeriodicalId":45866,"journal":{"name":"JOURNAL OF AESTHETIC EDUCATION","volume":"57 1","pages":"54 - 72"},"PeriodicalIF":0.5,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43648040","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-19DOI: 10.5406/15437809.57.2.06
Sara Ishii
Abstract:Queer Chicana author Gloria Anzaldúa often used visual art to develop and teach her theories, which address issues relating to social identity and institutions as well as creativity and spirituality. Her large collection of archived sketches at the Gloria Evangelina Anzaldúa Papers at the University of Texas demonstrates her drive to visually express ideas. The archive also holds unpublished works and talks in which Anzaldúa discusses her concepts of creativity and the image-making process. Despite the prevalence of images in her work, few scholars have analyzed her artwork or her writings on creativity. To address this gap, I explore the question: How do Anzaldúa's sketches inform her theoretical concepts of creativity and image-making? Analyzing her visual work significantly contributes to academic scholarship, especially for scholars looking to engage with Anzaldúan theorizing beyond that of her written works.
{"title":"\"Creative Acts of Vision\": Connecting Art and Theory through Gloria Anzaldúa's Archived Sketches","authors":"Sara Ishii","doi":"10.5406/15437809.57.2.06","DOIUrl":"https://doi.org/10.5406/15437809.57.2.06","url":null,"abstract":"Abstract:Queer Chicana author Gloria Anzaldúa often used visual art to develop and teach her theories, which address issues relating to social identity and institutions as well as creativity and spirituality. Her large collection of archived sketches at the Gloria Evangelina Anzaldúa Papers at the University of Texas demonstrates her drive to visually express ideas. The archive also holds unpublished works and talks in which Anzaldúa discusses her concepts of creativity and the image-making process. Despite the prevalence of images in her work, few scholars have analyzed her artwork or her writings on creativity. To address this gap, I explore the question: How do Anzaldúa's sketches inform her theoretical concepts of creativity and image-making? Analyzing her visual work significantly contributes to academic scholarship, especially for scholars looking to engage with Anzaldúan theorizing beyond that of her written works.","PeriodicalId":45866,"journal":{"name":"JOURNAL OF AESTHETIC EDUCATION","volume":"57 1","pages":"111 - 94"},"PeriodicalIF":0.5,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46106499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-19DOI: 10.5406/15437809.57.2.02
A. Kraus, Maria Pemsel
Abstract:The focus of this article is on the social and personal development of children. The essay's point of departure is a specific idea about holistic personal development in the classroom with reference to the philosopher Michel Serres. A historical perspective will be added by the concept of the bildungsreise (in French, Le Grand Tour; in English, educational or cultural journey). This perspective allows us to raise the question of how the idea of increasing self-awareness, coping with life challenges, and the tuning of long-standing aspirations through an educational journey can be related to the concepts of bildung (German) and bildning (Swedish). To understand bildning, a girl's survival in a wide, mystical forest in Astrid Lindgren's novel Ronia, the Robber's Daughter will be sketched as an example of a bildningsresa. A bildningsresa differs somewhat from a bildungsreise. We subsume bildungsreise and bildningsresa under the concept of the educational journey, with the awareness that this term has its own history that we cannot thematize. Modelling the idea of bildung and bildning within the glocalized world, the idea of an educational journey will be connected to personality development in the classroom, seen in Serres's terms.
摘要：本文的重点是儿童的社会和个人发展。这篇文章的出发点是参考哲学家米歇尔·塞雷斯关于课堂上整体个人发展的具体观点。bildungsreise（法语，Le Grand Tour；英语，教育或文化之旅）的概念将增加历史视角。这种观点使我们能够提出一个问题，即通过教育之旅提高自我意识、应对生活挑战和调整长期愿望的想法如何与bildung（德语）和bildning（瑞典语）的概念相关。为了理解在阿斯特丽德·林德格伦的小说《罗妮娅》中，一个女孩在广阔而神秘的森林中生存，《强盗的女儿》将被描绘成一个bildningsresa的例子。bildningsrea与bildungsrise有些不同。我们将bildungsreise和bildningsresa纳入教育之旅的概念中，意识到这个术语有自己的历史，我们无法将其主题化。用Serres的话来说，教育之旅的概念将与课堂上的人格发展联系起来，这是对全球化世界中的诈骗和诈骗的建模。
{"title":"The Educational Journey: Bildningsresa (Swedish), Bildungsreise (German), and Personal Development","authors":"A. Kraus, Maria Pemsel","doi":"10.5406/15437809.57.2.02","DOIUrl":"https://doi.org/10.5406/15437809.57.2.02","url":null,"abstract":"Abstract:The focus of this article is on the social and personal development of children. The essay's point of departure is a specific idea about holistic personal development in the classroom with reference to the philosopher Michel Serres. A historical perspective will be added by the concept of the bildungsreise (in French, Le Grand Tour; in English, educational or cultural journey). This perspective allows us to raise the question of how the idea of increasing self-awareness, coping with life challenges, and the tuning of long-standing aspirations through an educational journey can be related to the concepts of bildung (German) and bildning (Swedish). To understand bildning, a girl's survival in a wide, mystical forest in Astrid Lindgren's novel Ronia, the Robber's Daughter will be sketched as an example of a bildningsresa. A bildningsresa differs somewhat from a bildungsreise. We subsume bildungsreise and bildningsresa under the concept of the educational journey, with the awareness that this term has its own history that we cannot thematize. Modelling the idea of bildung and bildning within the glocalized world, the idea of an educational journey will be connected to personality development in the classroom, seen in Serres's terms.","PeriodicalId":45866,"journal":{"name":"JOURNAL OF AESTHETIC EDUCATION","volume":"57 1","pages":"16 - 35"},"PeriodicalIF":0.5,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49663866","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-19DOI: 10.5406/15437809.57.2.03
Abel B. Franco
Abstract:I defend that the distinctive object of our aesthetic evaluation of films is the full emotional experience, taken as a unified whole, that we go through as we watch a film and that I call the viewer's film emotional life. The aesthetic value itself—the positive quality we perceive in the experience of having had a certain film emotional life—is in the significance we experience in that film emotional life insofar as it contributes to the discovery and the exploration of the viewer's human and individual emotional nature. I finally suggest that the explanation of the positive felt quality of such experience is in the progress it represents regarding our resourcefulness as emotional subjects toward the realization of our individual ideal of life.
{"title":"The Aesthetic Value of Film","authors":"Abel B. Franco","doi":"10.5406/15437809.57.2.03","DOIUrl":"https://doi.org/10.5406/15437809.57.2.03","url":null,"abstract":"Abstract:I defend that the distinctive object of our aesthetic evaluation of films is the full emotional experience, taken as a unified whole, that we go through as we watch a film and that I call the viewer's film emotional life. The aesthetic value itself—the positive quality we perceive in the experience of having had a certain film emotional life—is in the significance we experience in that film emotional life insofar as it contributes to the discovery and the exploration of the viewer's human and individual emotional nature. I finally suggest that the explanation of the positive felt quality of such experience is in the progress it represents regarding our resourcefulness as emotional subjects toward the realization of our individual ideal of life.","PeriodicalId":45866,"journal":{"name":"JOURNAL OF AESTHETIC EDUCATION","volume":"57 1","pages":"36 - 53"},"PeriodicalIF":0.5,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47231509","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-19DOI: 10.5406/15437809.57.2.05
Xiaofeng Cen, Gao Letian, S. J. Nimal, Zhu Yisong
Abstract:With the development of literati gardens during the Ming dynasty (1368–1644), the layout and design level of gardens reached an unprecedented height. As the representative of Suzhou gardens, The Humble Administrator's Garden (Zhuozhengyuan, 拙政园, 1530) has unique natural conditions and mature garden design, and its water management art is particularly exquisite. The best-preserved graphic information of The Humble Administrator's Garden are the poems and paintings by Wen Zhengming (文徵明, 1470–1559), including Thirty-One Scenes of The Humble Administrator's Garden (拙政园三十一景图, 1533), thirty landscape poems, and the biography Wang's Humble Administrator's Garden (王氏拙政园记, 1533). As the research object, this article aims to restore the image of The Humble Administrator's Garden by analyzing the water scene of the garden, summarizing its water technique and art, and extracting "Source of inflowing water" (为有源头活水来), "Esteem the mountain, revere the water, imitate the heaven and earth" (敬山畏水, 象天法地), "Fusion of the imitation of nature and the subjective ideas of the artist" (外师造化, 中得心源), and "Free and unfettered, enjoy the joy of leisure" (逍遥自得, 享闲居之乐) as the water aesthetic thoughts of the garden. In addition, this article provides some reference for the current landscape design.
{"title":"The Aesthetics of Water Management of The Humble Administrator's Garden","authors":"Xiaofeng Cen, Gao Letian, S. J. Nimal, Zhu Yisong","doi":"10.5406/15437809.57.2.05","DOIUrl":"https://doi.org/10.5406/15437809.57.2.05","url":null,"abstract":"Abstract:With the development of literati gardens during the Ming dynasty (1368–1644), the layout and design level of gardens reached an unprecedented height. As the representative of Suzhou gardens, The Humble Administrator's Garden (Zhuozhengyuan, 拙政园, 1530) has unique natural conditions and mature garden design, and its water management art is particularly exquisite. The best-preserved graphic information of The Humble Administrator's Garden are the poems and paintings by Wen Zhengming (文徵明, 1470–1559), including Thirty-One Scenes of The Humble Administrator's Garden (拙政园三十一景图, 1533), thirty landscape poems, and the biography Wang's Humble Administrator's Garden (王氏拙政园记, 1533). As the research object, this article aims to restore the image of The Humble Administrator's Garden by analyzing the water scene of the garden, summarizing its water technique and art, and extracting \"Source of inflowing water\" (为有源头活水来), \"Esteem the mountain, revere the water, imitate the heaven and earth\" (敬山畏水, 象天法地), \"Fusion of the imitation of nature and the subjective ideas of the artist\" (外师造化, 中得心源), and \"Free and unfettered, enjoy the joy of leisure\" (逍遥自得, 享闲居之乐) as the water aesthetic thoughts of the garden. In addition, this article provides some reference for the current landscape design.","PeriodicalId":45866,"journal":{"name":"JOURNAL OF AESTHETIC EDUCATION","volume":"57 1","pages":"73 - 93"},"PeriodicalIF":0.5,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41453600","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-19DOI: 10.5406/15437809.57.2.01
M. Boatright
Abstract:This article explores how philosopher Ralph Waldo Emerson embraces the concept of experience as a means to live life as an experiment in order to welcome opportunities for the creation of new knowledge. The author uses Emerson's writings to argue that progress of thought and society can be made when one questions archaic fact, sees action and knowledge as inseparable, and views fearless experiencing as an invaluable event that can transform learning and lives.
{"title":"Overcoming Limitations: Reading as Transformational Experience in Emerson's Writings","authors":"M. Boatright","doi":"10.5406/15437809.57.2.01","DOIUrl":"https://doi.org/10.5406/15437809.57.2.01","url":null,"abstract":"Abstract:This article explores how philosopher Ralph Waldo Emerson embraces the concept of experience as a means to live life as an experiment in order to welcome opportunities for the creation of new knowledge. The author uses Emerson's writings to argue that progress of thought and society can be made when one questions archaic fact, sees action and knowledge as inseparable, and views fearless experiencing as an invaluable event that can transform learning and lives.","PeriodicalId":45866,"journal":{"name":"JOURNAL OF AESTHETIC EDUCATION","volume":"57 1","pages":"1 - 15"},"PeriodicalIF":0.5,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47720797","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-19DOI: 10.5406/15437809.57.2.07
Georgia Belesis
Abstract:In this article, I argue that by integrating aesthetic education into history instruction, teachers can create a "historically relevant pedagogy." This approach paints a more complete picture of history and reflects students' varied learning styles and their sociocultural needs, interests, and experiences. Historically relevant pedagogy integrates the frameworks of aesthetic, historical, and culturally relevant educational approaches. Through this pedagogical combination, students can develop historical literacy, experience academic excellence, and become socioculturally aware of their role in society. The conclusions of this study suggest a need to redesign high school history courses to include more aesthetics-based instruction.
{"title":"Aesthetic Education in Developing a Historically Relevant Pedagogy","authors":"Georgia Belesis","doi":"10.5406/15437809.57.2.07","DOIUrl":"https://doi.org/10.5406/15437809.57.2.07","url":null,"abstract":"Abstract:In this article, I argue that by integrating aesthetic education into history instruction, teachers can create a \"historically relevant pedagogy.\" This approach paints a more complete picture of history and reflects students' varied learning styles and their sociocultural needs, interests, and experiences. Historically relevant pedagogy integrates the frameworks of aesthetic, historical, and culturally relevant educational approaches. Through this pedagogical combination, students can develop historical literacy, experience academic excellence, and become socioculturally aware of their role in society. The conclusions of this study suggest a need to redesign high school history courses to include more aesthetics-based instruction.","PeriodicalId":45866,"journal":{"name":"JOURNAL OF AESTHETIC EDUCATION","volume":"57 1","pages":"112 - 123"},"PeriodicalIF":0.5,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49246828","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-16DOI: 10.5406/15437809.57.1.07
Asmita Sarkar, Aileen Blaney
Abstract:Contemporary painting is a complex practice, and artists regularly incorporate elements from different media such as photography, textile, and performance. Despite its status being diminished by different conceptual art movements, painting still has a critically important place in the artworld. This importance is largely due to painting’s ability to stretch across media and make a direct appeal to the senses. In this article, an attempt is made to theorize the facility of painting to incorporate different media and its resulting reflexivity. Maurice Merleau-Ponty’s theory of embodiment and phenomenological theory of metaphor provide the theoretical means to articulate reflexivity in painting. Curatorial writing about contemporary painting and case studies of young painters from India form a backdrop for the analysis of examples from the painting practice of one of the authors to demonstrate the material dynamism of painting. It is shown that this reflexivity is intimately related to the sensuous texture of materials used in the creation of the paintings under discussion. The first-person narrative of artistic process and production provides insight into the embodied process of making and manipulating media and evidence that painters can create new insights about the ontology of painting.
{"title":"Material Metaphor and Reflexivity in Contemporary Painting: A Practice-based Investigation","authors":"Asmita Sarkar, Aileen Blaney","doi":"10.5406/15437809.57.1.07","DOIUrl":"https://doi.org/10.5406/15437809.57.1.07","url":null,"abstract":"Abstract:Contemporary painting is a complex practice, and artists regularly incorporate elements from different media such as photography, textile, and performance. Despite its status being diminished by different conceptual art movements, painting still has a critically important place in the artworld. This importance is largely due to painting’s ability to stretch across media and make a direct appeal to the senses. In this article, an attempt is made to theorize the facility of painting to incorporate different media and its resulting reflexivity. Maurice Merleau-Ponty’s theory of embodiment and phenomenological theory of metaphor provide the theoretical means to articulate reflexivity in painting. Curatorial writing about contemporary painting and case studies of young painters from India form a backdrop for the analysis of examples from the painting practice of one of the authors to demonstrate the material dynamism of painting. It is shown that this reflexivity is intimately related to the sensuous texture of materials used in the creation of the paintings under discussion. The first-person narrative of artistic process and production provides insight into the embodied process of making and manipulating media and evidence that painters can create new insights about the ontology of painting.","PeriodicalId":45866,"journal":{"name":"JOURNAL OF AESTHETIC EDUCATION","volume":"57 1","pages":"119 - 98"},"PeriodicalIF":0.5,"publicationDate":"2023-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47903923","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-16DOI: 10.5406/15437809.57.1.06
Bob King
Abstract:This article examines the role of maieutic dialogue and exponential power in creative work. Its thesis is that maieutic dialogue is the engine that drives the creative process, and exponential power is the engine that informs maieutic dialogue. The legacy of Socrates is rehabilitated, and then his example is used as a clinic to rehabilitate the legacies of Jackson Pollock, Robert Rauschenberg, and creative artists in general. Implications for aesthetic education are alluded to in a concluding section.
{"title":"Conversation on Conversation: Maieutic Dialogue and Exponential Power in Creative Work","authors":"Bob King","doi":"10.5406/15437809.57.1.06","DOIUrl":"https://doi.org/10.5406/15437809.57.1.06","url":null,"abstract":"Abstract:This article examines the role of maieutic dialogue and exponential power in creative work. Its thesis is that maieutic dialogue is the engine that drives the creative process, and exponential power is the engine that informs maieutic dialogue. The legacy of Socrates is rehabilitated, and then his example is used as a clinic to rehabilitate the legacies of Jackson Pollock, Robert Rauschenberg, and creative artists in general. Implications for aesthetic education are alluded to in a concluding section.","PeriodicalId":45866,"journal":{"name":"JOURNAL OF AESTHETIC EDUCATION","volume":"57 1","pages":"85 - 97"},"PeriodicalIF":0.5,"publicationDate":"2023-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46254553","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-16DOI: 10.5406/15437809.57.1.05
Ela Krieger
Abstract:When teaching the use of perspective, art teachers usually begin with the linear perspective of the Italian Renaissance with the intent of providing pupils with practical tools to create spatial illusion in their drawings. Perspective, however, is and can be much more than a technique for constructing pictures. Given that perspective-taking is one of the central aspects of empathy, the teaching of this topic can serve as a tool for improving openness and empathy among school children. The transformative power of art education makes this possible. The current article suggests a method of using photographic works of art to encourage children to see the world from the perspective of the other. Complementing the teaching of one-point perspective, the teacher introduces the children to the idea of multiple points of view to engage them in imagining things as if they could be otherwise, leading eventually to increased social sensitivity.
{"title":"On “Perspective(s)” and Empathy in Art Education","authors":"Ela Krieger","doi":"10.5406/15437809.57.1.05","DOIUrl":"https://doi.org/10.5406/15437809.57.1.05","url":null,"abstract":"Abstract:When teaching the use of perspective, art teachers usually begin with the linear perspective of the Italian Renaissance with the intent of providing pupils with practical tools to create spatial illusion in their drawings. Perspective, however, is and can be much more than a technique for constructing pictures. Given that perspective-taking is one of the central aspects of empathy, the teaching of this topic can serve as a tool for improving openness and empathy among school children. The transformative power of art education makes this possible. The current article suggests a method of using photographic works of art to encourage children to see the world from the perspective of the other. Complementing the teaching of one-point perspective, the teacher introduces the children to the idea of multiple points of view to engage them in imagining things as if they could be otherwise, leading eventually to increased social sensitivity.","PeriodicalId":45866,"journal":{"name":"JOURNAL OF AESTHETIC EDUCATION","volume":"57 1","pages":"74 - 84"},"PeriodicalIF":0.5,"publicationDate":"2023-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43461927","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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