Pub Date : 2020-01-01DOI: 10.1177/0276237419868951
D. Perkins
Today as in the past, artists often produce works of art to foster civic agendas of one sort or another, sometimes affirming and sometimes critiquing contemporary attitudes. To what degree is engaging with civically inflected art likely to have the desired impact? We develop an analogy between the work of Ellen Winner and colleagues questioning the impact of studying art on performance in other academic areas. We suggest that, in many cases of civically inflected art, transfer of the desired message is implausible, recognizing difficulties of changing people’s minds in general, of how art specifically might do so, and how superficially art is often engaged. We urge that civically impactful encounters with art, which certainly occur, require not just a landing pad character—the impact deriving from imbibing the work—but rather a launching pad character—the work functioning as a starting point for discussion, reflection, and exploration.
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Pub Date : 2020-01-01DOI: 10.1177/0276237419868942
H. Gardner
Not every worthy scholar receives a Festschrift (literally: a celebratory book); circumstances can delay or prevent its appearance. And not every Festschrift lives up to expectation: Such collections can range from clutches of articles that were rejected from journals to sets of articles that mostly rehash the author’s own work, a sort of “mirror,” or “selfie” Festschrift. Happily, this impressive Festschrift lives up to its name and to the occasion. Ellen Winner is a major scholar—arguably, the major scholar—in the experimental psychology and the developmental psychology of the arts. And in these pages, ably edited by her talented proteges Thalia Goldstein and Jennifer Drake, several other leading conceptualizers, experimentalists, and educators (and some writers are all three!) offer both tributes to Ellen and significant contributions in their own right.
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Pub Date : 2020-01-01DOI: 10.1177/0276237419868955
P. Harris
Research on children’s drawing has focused primarily on the challenges they face in depicting reality on a two-dimensional surface. As they get older, their depictions become increasingly realistic. However, the development of drawing also reflects children’s increasing ability to surmount another challenge, notably the constraints imposed by what they know about reality. In the course of development, children become increasingly capable of drawing creatures and objects that they have not observed and that do not exist. More specifically, they are able to imagine hybrids and other impossible entities and to depict what they imagine. By implication, the development of drawing involves two distinct trajectories: increased realism alongside a growing ability to escape the confines of known reality. Effectively, children gradually become capable of portraying the unreal as if it were real.
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Pub Date : 2020-01-01DOI: 10.1177/0276237419868940
C. von Károlyi
This report is a contribution to Ellen Winner’s Festschrift from a very fond former student and collaborator.
本报告是一位非常喜爱的前学生和合作者对Ellen Winner的Festschrift的贡献。
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Pub Date : 2020-01-01DOI: 10.1177/0276237419868947
L. Hetland, K. Sheridan, Shirley Veenema
In this article, the authors describe over 20 years of work with Ellen Winner at Project Zero, a research and development group at the Harvard Graduate School of Education. This included a cross-arts curriculum and assessment project aimed at practitioners (ArtsPROPEL, 1989–1995), 10 meta-analytic syntheses of the effects of arts learning on nonarts achievement (REAP, 1997–2001), and an observational theory-building study of the dispositions intended to be learned in high school art classes and the structures through which they are taught, meant for audiences of both practice and theory (Studio Thinking, 2001–2013). Ellen’s perspective as an experimental psychologist interacted with ours in fertile ways to make richly rewarding collaborations in our efforts to make sense of art education practices. From how she chooses what she studies, to her eclectic approaches to research, to addressing her work to broad audiences, psychologists have much to gain from Ellen’s methods.
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Pub Date : 2020-01-01DOI: 10.1177/0276237419868962
T. Goldstein, Jennifer E. Drake
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Pub Date : 2020-01-01DOI: 10.1177/0276237419868945
R. Sternberg
Gifted children are an extremely precious resource. But what does it mean to be gifted? Ellen Winner has devoted much of her career to addressing this question. In this essay, I argue that our society misdefines giftedness, placing undue emphasis on analytical skills. Moreover, the problem is getting worse. Amplifying factors in society are narrowing rather than broadening our definition of giftedness. I discuss what is happening, why, and what we can do about it.
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Pub Date : 2020-01-01DOI: 10.1177/0276237419868959
J. Kennedy, S. Mastandrea, Igor Juricevic, Marta Wnuczko
As Winner (1982) argued, we “read” a lot in to pictures, aptly via metaphor—which applies to unreal stretch in flying-gallop—but inaccurately with perspective—we underestimate compression of the azimuth.
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Pub Date : 2020-01-01DOI: 10.1177/0276237419868949
Molly Berenhaus, G. Cupchik
This discussion of Habits of Mind is rooted in Ellen Winner and colleagues’ groundbreaking research on the skills and dispositions taught in visual arts, music, and theater classrooms in the United States. The Habits students are learning in these creative contexts have applications to other domains, such as the sciences and everyday life. The philosophical origins of Habits of Mind are discussed in the context of American pragmatism, critical theory, and aesthetic theory in order to expand our understanding of habits and their relationship to creative-thinking and cognition. In contrast with cultural-norms, students’ artistic pursuits may benefit from additional training in expressive imagination.
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Pub Date : 2020-01-01DOI: 10.1177/0276237419868956
D. Simonton
Although this article’s author and Ellen Winner completed their graduate training at Harvard’s now extinct Department of Psychology and Social Relations in the 1970s, they pursued divergent paths that only intersected on a few critical occasions, especially two discomfiting events during scientific meetings (the first event for her and the second for the author). Yet these distressing events stimulated this author to produce new publications on two crucial issues: artistic talent and creative life cycles. He much later reciprocated by inviting her to contribute a chapter on child prodigies for his handbook on genius. Without ever having collaborated, a productive relationship still emerged, albeit almost entirely at a distance.
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