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Ths bk examines the role of aesthetic experience in learning science&in science education from the perspective of knowlecge as action&language use,based on the writings of John Dewey&Ludwig Wittgenstein.It offers a novel contribution to the current debat
This book examines the role of aesthetic experience in learning science and in science education from the perspective of knowledge as action and language use. The theoretical underpinnings are based on the writings of John Dewey and Ludwig Wittgenstein. In their spirit aesthetics is examined as it appears in the lives of people and how it relates to the activities in which they are involved. Centered around an empirical analysis of how students and their teachers use aesthetic language and acts during laboratory and field work, the book demonstrates that aesthetics is something that is constantly talked about in science class and that these aesthetic experiences are intimately involved in learning science. These empirical findings are related to current debates about the relation between aesthetics and science, and about motivation, participation, learning and socio-cultural issues in science education. This book features: *an empirical demonstration of the importance and specific roles of aesthetic experiences in learning science; *a novel contribution to the current debate on how to understand motivation, participation and learning; and *a new methodology of studying learning in action. Part I sketches out the theoretical concepts of Wickman's practical epistemology analysis of the fundamental role of aesthetics in science and science education. Part II develops these concepts through an analysis of the use of aesthetic judgments when students and teachers are talking in university science classes. Part III sums up the general implications of the theoretical underpinnings and empirical findings for teaching and learning science. Here Wickman expands the findings of his study beyond the university setting to K-8 school science, and explicates what it would mean to make science education more aesthetically meaningful. Wickman's conclusions deal to a large extent with aesthetic experience as individual transformation and with people's prospects for participation in an activity such as science education. These conclusions have significance beyond science teaching and learning that should be of concern to educators generally. This book is intended for educational researchers, graduate students, and teacher educators in science education internationally, as well as those interested in aesthetics, philosophy of education, discourse analysis, socio-cultural issues, motivation, learning and meaning-making more generally.
What do we do when we view a work of art? What does it mean to have an 'aesthetic' experience? Are such experiences purely in the eye of the beholder? This book addresses the nature of aesthetic experience from the perspectives of philosophy psychology and neuroscience.
This book addresses new research directions focusing on the emotional and aesthetic nature of teaching and learning science informing more general insights about wellbeing. It considers methodological traditions including those informed by philosophy, sociology, psychology and education and how they contribute to our understanding of science education. In this collection, the authors provide accounts of the underlying ontological, epistemological, methodological perspectives and theoretical assumptions that inform their work and that of others. Each chapter provides a perspective on the study of emotion, aesthetics or wellbeing, using empirical examples or a discussion of existing literature to unpack the theoretical and philosophical traditions inherent in those works. This volume offers a diverse range of approaches for anyone interested in researching emotions, aesthetics, or wellbeing. It is ideal for research students who are confronted with a cosmos of research perspectives, but also for established researchers in various disciplines with an interest in researching emotions, affect, aesthetics, or wellbeing.
The artist/educators in this book invite you to come with them on a journey of discovery into the meaning of teaching for aesthetic experience. With learning as their art, they create educational encounters with passion and feeling, and leave their students with vivid impressions, growth, and change. Each author engages in aesthetic experience from an individual perspective - as poet, dancer, visual artist, or musician - and each of them engages as an educator who brings art into his or her classroom, no matter what the subject. Inspired by the words of philosopher Maxine Greene, the contributors transform the theoretical into the practical, urging students to look to the arts and nature for simple beauty, and awaken their minds to new possibilities of creative learning.
Curriculum Issues in Arts Education, Volume 3: The Development of Aesthetic Experience focuses on the processes, methodologies, and approaches involved in the development of aesthetic experience, including art education, developmental theories, and aesthetic assessment. The book first tackles the concept of aesthetic development and aesthetic dimension in art education. The text then explores the psychological viewpoint of aesthetic development and aesthetic development in music. Topics include music education, music and function, task of teachers, developmental relationships between processes or roles, and uses and misuses of developmental theories. The publication ponders on the role of teachers and students, aesthetic development in dance, and drama as learning, art, and aesthetic experience. The manuscript then examines emotional development in adolescence, meaning in aesthetic experience, and aesthetic assessment and the reliability factor. The book is a reliable source of information for educators and readers interested in the development of aesthetic experience.
A theory of the neural bases of aesthetic experience across the arts, which draws on the tools of both cognitive neuroscience and traditional humanist inquiry. In Feeling Beauty, G. Gabrielle Starr argues that understanding the neural underpinnings of aesthetic experience can reshape our conceptions of aesthetics and the arts. Drawing on the tools of both cognitive neuroscience and traditional humanist inquiry, Starr shows that neuroaesthetics offers a new model for understanding the dynamic and changing features of aesthetic life, the relationships among the arts, and how individual differences in aesthetic judgment shape the varieties of aesthetic experience. Starr, a scholar of the humanities and a researcher in the neuroscience of aesthetics, proposes that aesthetic experience relies on a distributed neural architecture—a set of brain areas involved in emotion, perception, imagery, memory, and language. More important, it emerges from networked interactions, intricately connected and coordinated brain systems that together form a flexible architecture enabling us to develop new arts and to see the world around us differently. Focusing on the "sister arts" of poetry, painting, and music, Starr builds and tests a neural model of aesthetic experience valid across all the arts. Asking why works that address different senses using different means seem to produce the same set of feelings, she examines particular works of art in a range of media, including a poem by Keats, a painting by van Gogh, a sculpture by Bernini, and Beethoven's Diabelli Variations. Starr's innovative, interdisciplinary analysis is true to the complexities of both the physical instantiation of aesthetics and the realities of artistic representation.
This accessible and timely edited volume is at once provocative and original in shedding new light on the roles of science and arts creativities for 'future-making education'. An international set of expert authors grapple with innovative ways of thinking about the complex, textured and contested entanglements of knowledge and practice reconfigurings in STEAM education.
This book looks at the value of integrating the arts and sciences in the school curriculum. It argues that this will help students further their understanding of analytical concepts through the use of creativity. The authors illustrate how schools can work towards presenting common practices, concepts, and content. Coverage features case studies and lessons learned from classrooms across the United States. The notion of STEAM (Science, Technology, Engineering, Arts, and Mathematics) is an emerging discipline unique in its desire to provide a well-rounded approach to education. The chapters of this volume examine STEAM in a variety of settings, from kindergarten to higher education. Readers will learn about the practical considerations involved when introducing the arts and creativity into traditionally left brain processes. This includes best practices for creating and sustaining successful STEAM initiatives in any school, college, or university. For instance, one chapter discusses novel approaches to teach writing with the scientific method in order to help students better present their ideas. The authors also detail how the arts can engage more diverse learners, including students who are not traditionally interested in STEM subjects. They provide three concrete examples of classroom-tested inquiries: designing a prosthetic arm for a child, making a paleontology investigation, and taking a closer look at the arts within roller coaster engineering. This book is an invaluable resource for teachers and teacher trainers, university faculty, researchers, and school administrators. It will also be of interest to science, mathematics, engineering, computer science, information technology, arts and design and technology teachers.
