Teaching Visual Culture: Curriculum, Aesthetics, and the Social Life of ArtTeachers College Press, 2003 - 189 من الصفحات This is the first book to focus on teaching visual culture. The author provides the theoretical basis on which to develop a curriculum that lays the groundwork for postmodern art education (K–12 and higher education). Drawing on social, cognitive, and curricular theory foundations, Freedman offers a conceptual framework for teaching the visual arts from a cultural standpoint. Chapters discuss: visual culture in a democracy; aesthetics in curriculum; philosophical and historical considerations; recent changes in the field of art history; connections between art, student development, and cognition; interpretation of art inside and outside of school; the role of fine arts in curriculum; technology and teaching; television as the national curriculum; student artistic production and assessment; and much more. “A compelling synthesis of scholarship from a variety of fields. . . . This book successfully blends theory with provocative arts education applications.” “Insightful and well-researched. . . . This book will spark discussion among art educators, serving as a catalyst for change in theory and practice.” |
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... Perspectives of Artistic Development Social Ways of Knowing Art: Constructivism, Socially Shared Cognition, and Distributed Cognition Situated Knowledge: Developing Conceptions and Misconceptions about Art Conclusion lnterpreting Visual ...
... perspective, it is important to remember that history is not the past—it is a story about the past. At all levels of education in the past, that story has been largely Western and represented as a history of styles, barely touching on ...
... perspectives of learning maintain social aspects of cognition at their center and therefore can be important ... perspective, cultural capital is a much broader notion involving not only an awareness of high culture, but a social ...
... perspective is profound and critically important to students' understanding of the pervasive visual arts. Chapter 8 concludes the book, with a discussion of the importance of critical reflection during student production and critique as ...
... . Individuals appropriate characteristics of visual representations, adopting these representations as a description of himself/herself. From this perspective, people can be manipulated Visual Culture, Education, and Identity.
المحتوى
Pragmatist | |
The Importance of Connecting | |
Knowing Visual Culture | |
Shared Cognition and Distributed Cognition | |
Constructing Concepts | |
Visual Culture and Democratic | |
Technological Images Artifacts | |
Student Artistic | |
References | |
Index | |