Out There? Looking for Lesbians in British Art — Some Preliminary Observations

The article seeks to explore some of the difficulties that may be experienced within higher art education both by the student of art who is lesbian and by researchers focusing on the subject of lesbians and art. For those interested in this area of study there may be particular obstacles which are not present for heterosexual students and which act as a barrier to exclude more readily available information and images. The potential importance and relevance of these exclusions for the lesbian student of art are examined in relation to the political and social oppression which lesbians have experienced, the effects of which can be seen in both historical and contemporary lesbian images and artwork. The article also examines possible issues around ‘coming‐out’ and homophobia for lesbian students and researchers within education generally, the prevalence of assumptions of heterosexuality, and the importance of awareness of these issues for educators of gay students. The conclusion drawn is that there is diversity inherent within any grouping but a more inclusive art education policy would inform the culture of all.     

盲人概念特征的跨通道表征

以生物概念和非生物概念的视觉特征和触觉特征为材料,采用启动条件下的特征确认范式,考察了盲人概念表征中的特征模拟机制。结果表明:(1)同明眼学生比,盲生视觉特征和触觉特征联系更加紧密。(2)盲生视觉特征间并不直接相连,而是通过触觉特征相互联系。(3)盲生触觉特征到视觉特征的转换需要一个特征整合的过程。     

Development of Art Appreciation in 11–14 year‐old Students

Modern art curricula derive from the assumption that visual arts education can be of a high quality only if productive and receptive artistic activities are implemented. In art education practice, we are able to follow incentives for artistic expression but pay less attention to developing art appreciation that is based on developing as subtle perceptions of artwork as possible. Students have few opportunities to observe, enjoy and understand artwork. This discussion presents the results of a study that monitored the development of art appreciation abilities of 11–14 year‐old students in Slovenian compulsory education. The level of art appreciation abilities is rather average and more developed with older students and girls. There were no statistically significant differences with regard to school stratum.     

Making art invisible: visual education and the cultural stagnation of neo-liberal rationality

The popularity of visual literacy may have resulted, in part, from some school authorities rushing the process of determining school curriculum. This article argues that the haste is reflective of pressure placed on educational discourse to conform to neo-liberal reforms of the sector, and is not the result of a careful and complex debate within the education community. In Australia, such reform has contributed to the erosion of visual art as a discrete subject in the general curriculum. The article accounts for the fact that the lack of careful debate may be due to art educators rehearsing tired arguments for retaining the place occupied by visual art, which smack of sentimentality. The author examines the conceptualisation of visual art at a cultural and theoretical level, and argues that by considering the function art has traditionally played in relation to conceptions of human subjectivity, we may disclose the marginalisation of visual art as a signal of much larger threats to political and economic structures in democratic society. The article considers whether the absorption of ‘art’ within a broader preference for visual communication, graphic design, or design and technology, is symptomatic of a long-term cultural stagnation.     

Access and Support in the Development of a Visual Language: arts education and disabled students

Overall, little is known about the ways in which disabled children and young people produce artwork or how they are enabled to access the visual arts curriculum particularly when they have high level and complex support requirements. This article focuses on the Information Communication Technology (ICT) and practical assistance that enables disabled students to create art and design work. The article is based on my recent doctoral research which has analysed the arts education of a group of disabled young people post 16 and investigated the ways in which the arts curriculum can be made accessible [1]. ICT, in conjunction with effective practical assistance, can be refined and merged to create seamless access to the visual arts for disabled students and can play a key role not only in equipping them with the skills and competencies to gain qualifications and potential employment, but also as a ‘voice’ with which they can express their particular experiences of the human condition.     

Art Education for the Development of Complex Thinking Metacompetence: A Theoretical Approach

This article proposes to explore the relationships between art education and the development of complex thinking (proposed as metacompetence in this study) from a theoretical perspective. This is an approach that arises from contemporary conceptions about art, which is an intrinsic relationship between the artwork and the creative and critical character towards representation systems. Emphasising the definition of complex thinking proposed by Mathew Lipman serves as a guiding axis to try to establish the cognitive processes that compose it. Among the main findings is that the development of complex thinking and cognition occurs through action and interaction with the environment, thus linking to the notions of ‘situated competence’ and the ‘complex approach to competences’. By including cognitive and metacognitive processes, it allows us to postulate complex thinking as metacompetence. In addition, it is proposed that the use of learning methodologies (under a competence‐based approach) could contribute to an art education where students produce artistic works that involve critical, creative processes or divergent results. It is also necessary that both the curriculum and the teachers encourage an expanded and interdisciplinary vision, understanding that art is not circumscribed to a specific discipline.     

Beyond the Understanding of Visual Culture: A Pragmatist Approach to Aesthetic Education

In the recent decades art education has tried to move away from the trends based on practical skills and techniques towards a greater stress on interpreting and understanding visual culture, created by the mass media. This approach implies a revision of the field of study and a redefinition of goals, replacing the study of art with a study of ‘visual culture’, a concept that better describes the daily environment of students and which reorientates art education towards social and cultural awareness. In this article, starting from Dewey's conception of art as experience, a theoretical framework is offered based on three ideas. Firstly, the subject of art education involves aesthetic experience, which includes both ‘high’ art and popular culture. Secondly, it is necessary to reconstruct the balance between understanding and production in art education, in order to consider art products as narratives, stories or comments about life experiences. Thirdly, to review the educational function of art education in order to determinate its value for social reconstruction and for which Rorty calls ‘self‐creation’.     

The Multiple Faces of Visual Arts Education

This article identifies recent, mainly Nordic, research approaches to visual arts education. A concept map was developed as a heuristic tool in order to highlight salient traits and blind spots. Contemporary research typically has its origin either in education or in the art world, with an emphasis either on art as language or on art as text. These two dimensions were used to organise the studies and to select representative exemplars in different domains. The framework helped to chart the knowledge base of, and research approaches to, visual arts education. However, the result of blending subject matter and pedagogy tended to be a ‘mixture’ of viewpoints rather than emerging domains of subject‐specific pedagogical knowledge (Lee Shulman: an ‘amalgam’).     

Community Participatory Ecological Art and Education

This paper presents a phenomenological case study on ecological artist Lynne Hull by investigating the connections between ecological art, nature, and education. The research examines Hull's ‘positive gesture towards the Earth’ as conceptualized in her work of creating habitats for wildlife (Hull, 2004, para 1). It illustrates how she seeks to inspire changes in human behaviour through her artwork in addition to developing action steps based on her works. Through an examination of Hull's work, the researcher explores how ecological art can inspire environmental education by presenting innovative ways of thinking about existing concepts. The paper discusses how educators can incorporate inquiries about ecological art into the school curriculum. Furthermore, it considers ways in which educators can adopt Hull's art‐making processes and integrate these into the curriculum. It argues that educators can help students to interact with these artworks and develop their own creative processes in a meaningful way that involves art, aesthetics, and nature – all of which may raise students' consciousness about the environment in themselves and others. Ultimately, appreciating the elements of nature and their connection to the aesthetic can become a vehicle for raising awareness about broader     

“Look,a [picture]!”: Visuality,race, and what we do not see

This article argues that understanding vision and visuality as associated but distinct terms has significant implications for the ways in which we engage with racial constructions of identity. Expanding the ways in which we visualize race beyond simply the visual offers us a more comprehensive approach to understanding the construction of and response to race in the twenty-first-century United States. This article moves from theoretical implications of non-visual visualizations like tactile visuality and audial visuality through photographs taken by blind photographers to ask how race and racial identity are implicated in conversations about both vision and visuality.     

Teacher expectations and student literacy engagement and achievement

Notwithstanding the complex and dynamic nature of teaching and learning in schools, over four decades of research findings have consistently revealed a correlation between teacher expectations and student achievement. Focusing on teacher expectations for the narrative structures created by young children, this article features a discussion of data gathered during a multifaceted study with 7‐ and 8‐year‐old students. The overall purpose of the case study research was to explore the development of student understanding of elements of visual art and design and diverse narrative structures in picturebooks. For the culminating activity of the research, the students had opportunities to apply and transform their knowledge of the instructional foci when they composed their own multimodal print texts. Analysis of the students' narrative structures revealed the multiple forms of metalepsis, the purposeful breaking of storyworld/narrative boundaries, evident in their writing and artwork. In addition to a discussion about the socially situated nature of the children's multimodal text‐making, the article includes a consideration of the importance of teacher expectations with respect to student literacy engagement and achievement.     

高职院校学生感知学习风格比较研究

感知学习风格是指学习者在获取信息、处理信息时在视觉、听觉和动觉等方面所表现出的一种偏向认知方式。通过问卷调查的方式,分别对高职院校统招生、单招生及艺术类学生的感知学习风格进行了比较研究。结果显示：（1）统招生感知学习风格明显偏向于视觉型,而单招生和艺术类学生则明显偏向于触觉型;（2）统招生中,女生感知学习风格明显偏向于视觉型,男生明显偏向于触觉型,而艺术类男女生感知学习风格偏向与统招生正好相反,即男生明显偏向于视觉型,而女生则明显偏向于触觉型;（3）单招生男女生感知学习风格偏向不明显。     

‘Being an artist you kind of,I mean,you get used to excellence’: Identity,Values and Fine Art Assessment Practices

In this article I report on a study into fine art lecturers’ assessment practices in higher education. This study explores the ways that lecturers bring themselves into the act of assessment (Hand & Clewes 2000). I interviewed twelve fine art lecturers who worked across six English universities. Lecturers were asked to relate to me how they learnt to assess student artwork and what informed their judgement making. My research explores the interfaces between fine art lecturers’ assessment practices, their values and identity/ies. My analysis offers a rendering of the ways that values underpin lecturers’ assessment practices. The article explores the ways that lecturers’ assessment decisions relate to their experiences as ex art students, their identity as artists, their own artistic practices, their conceptualisation of the arts arenas and the HE sector. My key overarching argument is that identity/ies and values underpin and enrich fine art lecturers’ assessment practices.     

Visual Arts and Art Education in Zimbabwe Since the 1999 Presidential Commission of Inquiry into Education and Training (CIET) Report

African art education discourse is deeply enshrined in community visual arts and its programming. This article is an analytical narrative documentation of anecdotal historical debate on art education in Zimbabwe. The referential data-based entry provides a historical analysis of the evolution of art education and its programming as a post-CIET phenomenon. The CIET observations provide points of departure for continued debate on achievements and areas requiring further interrogation in art education and community visual arts in Zimbabwe. I conclude by coining a road map for art education in the quest for comparable programming against regional and international best practices.     

Killing the Goose: Conflicts between Pedagogy and Politics in the Delivery of a Creative Education

This article arises out of a research project which looks at the promotion of creativity in pre‐degree and undergraduate learners in art and design. The project considers ‘conceptual’ definitions of creativity and its promotion which have been evidenced by research, and ‘operational’ definitions and delivery methods used by lecturers and students in the art & design sector. The theoretical understandings and empirical evidence thus gained reveal the continuing existence of a radical and potentially effective pedagogic idealism within art & design education. However, a comparison between theory, experience and current realities, leads us to the conclusion that the existence of this educational desideratum is threatened by the commodification of education and the over‐elaborate monitoring which accompanies it. This is a personal and somewhat polemical view but, we believe, one that is also widely held in the sector. We suggest that a reaffirmation of experiential evidence is essential to counter the impact of an increasingly audit‐driven approach to education which focuses on outcomes rather than process and on systems rather than individuals.     

Blindness,Art and Exclusion in Museums and Galleries

Drawing on interviews with blind people, this paper examines both their exclusion from museums and galleries and their responses to the art educational provision that is specifically designed to remedy that marginalisation. Blind visitors’ responses to these educational projects were polarised; respondents were either highly critical or very enthusiastic. This paper begins by outlining the interviewees’ criticisms which included; education officers’ misconception of how touch facilitates learning and aesthetic response, a lack of educational progression and blind people's exclusion from mainstream events. I then ask why, given these problems, did other respondents reply so favourably, suggest that these high levels of satisfaction had little to do with museum provision but were in fact the result of social interaction and of rare inclusion within the sighted community. I argue that, ironically, this sense of inclusion is premised on blind visitors’ structural exclusion from art institutions. Finally, the article examines those visitors who, illicitly or otherwise, already experience some aspects of the museum in multisensory terms, but maintain that until museums’ and galleries’ ocularcentric orientation is reconfigured, there will be little possibility for these rogue visitors to develop their knowledge of art. Likewise, without institutional change, educational events for the blind will continue to be an inadequate supplement to a structure that is and remains inequitable.     

互动媒介艺术帮助干预自闭症儿童的探索研究

在互联网+时代,互动媒介艺术与其他学科如科技、生物等相交叉,帮助越来越多需要被帮助的人。互动媒介艺术传递的双向性,使帮助自闭症儿童发展社交具备了可能性。不论在中国还是在国际上都是前沿领域,对自闭症儿童治疗也还处于初步的探索阶段,它不仅与科技、生物等领域相结合,甚至将医学与教育领域相结合,目前的理论指导为未来项目的进一步开展做理论基础,说明互动媒介艺术在人类医疗健康领域也有着研究和实践潜力。     

后现代语境下艺术教育的审美品格

艺术教育以其鲜明的形象、充沛的情感,美化人的心灵,使受教者进入更高的精神境界,成为一个具有高尚情操的人。这种独具特点的审美品格,使艺术教育在全民族精神素质的提高中发挥着不可忽视的作用。在异彩纷呈的后现代语境下,艺术教育的审美品格呈现出多元化发展的态势:技术理性与情感的矛盾,使艺术教育中审美情感得以凸现;文化工业所带来的标准化与独创性的矛盾,使艺术教育中审美独创性得以高扬;信息全球化与民族性的矛盾,使得人们开始关注艺术教育中审美民族性的问题。