Complexity and the Culture of Curriculum

This paper has two main foci: (1) the history of curriculum design, and (2) implications from the new sciences of chaos and complexity for the development of new forms of curriculum design and teaching implementation. Regarding the first focus, the paper posits that there exist—to use Wittgenstein's phrase—‘family resemblances’ between Peter Ramus’ 16th century curriculum design and that of Ralph Tyler in the 20th century. While this 400‐year linkage is by no means linear, there are overlapping strands from Ramus to Comenius to the Puritans to colonial New England to Horace Mann to Ralph Tyler. What unites these strands, all belonging to the Protestant Methodization movement that swept across northern Europe into colonial America and the USA, is the concept of Method. Taylor's ‘time and motion’ studies set the stage for Tyler's Basic Principles of curriculum design—those starting with set goals and concluding with measured assessment.

The second focus draws on the new sciences of chaos and complexity to develop a different sense of curriculum and instruction—open, dynamic, relational, creative, and systems oriented. The paper concludes with an integration of the rational/scientific with the aesthetic/spiritual into a view of education and curriculum informed by complexity.     

An Autoethnographical Study of Culture,Power, Identity and Art Education in Post‐Colonial South Korea

This article reflects my experiences of learning art in the 1970s and 1980s and my teaching career in school art education in twenty‐first century South Korea. This autobiographical reflection shows how I have struggled with my identity as an art teacher in the post‐colonial context of Western influences on Korean society since World War II. There has been greater tension and a greater struggle for different values, practices and identities when new values and practices have been introduced into the particular socio‐cultural context of South Korea. My struggles with particular kinds of pedagogic identity valued within the rapidly changing political, economic and cultural context of Western influences on Korean art education demonstrate the hidden structural mechanism of the relationship between culture, power and identity in the post‐colonial world of globalisation. This study as an autoethnographical research provides critical insights into how identities are produced by pedagogic discourses and practices of art education that are constructed through the specific systems of practice and language which transmit and regulate such identities and values.     

Old World Teaching Meets the New Digital Cultural Creatives

This article sets forth a conceptual, philosophical and social agenda for art and design education in the twenty‐first century, considering how a set of beliefs articulated within US art education discourse interfaces with conceptualisations about emerging global digital media and technologies. Discussion highlights selected writings in the USA primarily, writings about art education technology orientations; and then describes the professional experiences and insights of the writer as she embraced, implemented and made sense of technology in terms of her own multicultural educational orientation in a US university. Based on these insights, this writer proposes that technology pedagogy is not actually about digital technologies per se, but about what we intend to do with new technologies in the twenty‐first century. Old notions of art as an embodiment of things that matter and a testament to the human condition are now connected to contemporary ideas about citizenship, caring and public engagement. In this trajectory, citizenship education is then posed as central to a future vision of art education in the digitally connected classroom. Caveats and limitations of the educational and transformative power of new global electronic media being set forth in this article are also noted, including paradoxical self‐contradictions within the orientation itself.     

高等艺术教育体系中有关问题的借鉴与反思

在新世纪,随着科技、政治、文化的巨大发展,中国高等艺术教育将面临新的挑战。审视我国现行艺术教育体系,还存在很多的问题。本文从行政管理体制的统一性与灵活性、业务水准评估的权威性与特色性、现行高等艺术教育模式的运用与发展、课程设置的全面性与专业性等几个方面予以探讨,并在研究欧美一些有成效的做法的基础上对中国高等艺术教育体系的科学化提出一些建议。     

Element‐and‐Principles Instruction,Perceptual Drawing and Paul Klee's Pedagogical Sketchbook

This study examines the key concepts of elements‐and‐principles art instruction, as defined in the publications by Vorkurs (preliminary course) instructors at the Bauhaus. Elements‐and‐principles instruction was for decades central to formalist art training, and continues to play a role, albeit limited, today. Preceding accounts of the elements‐and‐principles have not considered contextual matters worthy of attention, specifically, two other instructional frameworks. One is perceptual drawing that dominated in Western art culture before the inception of the elements‐and‐principles approach. The second is the instructional model Paul Klee proposed in his well‐known but under‐examined instructional publication of 1925, Pedagogical Sketchbook. With regard to the latter, scholars have failed to undertake detailed analysis that would explain Klee's instructional model and, in particular, its central (and idiosyncratic) concept of ‘trichotomy’. Trichotomy is a structure rather than a formal element, providing visual equivalents for extra‐visual events. The peculiarity of trichotomy and related concepts in Pedagogical Sketchbook has kept the publication a faint presence in elements‐and‐principles instruction and in related scholarly inquiry. With a more precise presentation of Klee's pedagogical focus, this study distinguishes heretofore overlooked dissimilarities between the Pedagogical Sketchbook model and elements‐and‐principles approach, and enables recognition of affinities between Klee's model and current conversations about embodiment pedagogies in visual arts education.     

Education and Society: a Plea for a Historicised Approach

In the course of the ‘long’ eighteenth century, ways of thinking in the Western world transformed in fundamental ways; even words that remained the same took on new meanings. In the field of the history of ideas, the period 1700–1850 is also called the ‘saddle‐period’. Philosophers of history have argued that the new basic concepts that emerged at this time indicate how social reality has come to be comprehended in the modern era. Various segments of the population relied on them to act, understand, interpret and reform reality. These concepts are crucial to the discursive constitution of the world—in the economy, politics, science, art, education and so on. They play their part in the dissolution of the ‘old’ world and the emergence of a ‘new’ one. They can thus also be studied with regard to their functioning as both factors in and indicators of evolutionary processes. This article deals with a small aspect of the historical co‐evolution of concepts and structures in education. It examines the non‐random character of the variations in the discourses on the social function of education, especially in the eighteenth century.     

Contemporary Art and the Role of Interpretation: Reflections from Tate Modern's Summer Institute for Teachers

Recent research indicates that the taught curriculum in art and design secondary school education pays scant attention to meaning‐making in visual art. This article explores possibilities for teaching interpretation through a report on an action‐research project based on Tate Modern's Summer Institute for Teachers. In doing so it argues for the value and necessity of interpretation as a taught skill.     

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     

文理渗透·素质教育——探索高等教育新模式的理论思考

针对目前高等教育体制中存在的理相互脱节、学生知识结构和价值观念的偏颇、课程调置对学生综合素质的制约等现象,通过转变教育观念、调整课程设置、加强校园化建设、注重实践性教学环节等理渗透的方式,以推进素质教育,培养具有创新精神和实践能力的复合型人才。     

Interior Design Supports Art Education: A Case Study

Interior design, as a field of study, is a rapidly growing area of interest — particularly for teenagers in the United States. Part of this interest stems from the proliferation of design‐related reality shows available through television media. Some art educators and curriculum specialists in the nation perceive the study of interior spaces as a ‘practical application’ of the arts. This article discusses an experiential design problem, originally used in higher education interior design studio courses that was modified and shared with students in third grade to address national academic standards. Later, this same project was modified for use with high school students in the educator's community and with international design students in South Korea. Lastly, the project was presented in a workshop to art education students at a higher education institution. The project was modified to address (1) the age group level and (2) a topic relevant to the audience. Goals of the design project were: (1) to explore creative problem‐solving, (2) to explore the application of design elements and principles, and (3) to increase student understanding of spatial relationships within an interior environment. Findings indicate that the project supported several visual art standards, including perception and community. This project may be of interest to current and future art educators and others interested in the potential of interior design content supporting art education.     

高等工程教育改革的若干思考

进入21世纪之后,我国高等工程教育面临着内外部环境的深刻变化,各工科院校必须转变教育思想,树立人才培养新观念;改革课程体系和专业结构,努力培养高素质的现代工程师;加强师资队伍建设,努力发挥他们教书育人的主导作用.     

Art Education and the Moral Injunction to be Oneself

A primary function of schooling is to impart moral discipline, and art education distills this role to its core imperative of mandated pleasure, summarised by Jacques Lacan as the ‘will to enjoy’. This manifests in the insistence that, despite producing similar outcomes, students come to recognise themselves as unique and creative. In the twentieth century, art education in the USA has developed methods for extracting supposedly intimate personal expressions from young people, albeit without demanding the technical versatility, historical knowledge and critical reflection required of mature artists – the exception to this, despite its many flaws, being so‐called Discipline‐Based Art Education, or DBAE. In this article, I begin with reflections on the untapped potential of DBAE to relate to contemporary art practices. My ideas on moral instruction are expanded upon in the second section, when I undertake a ‘backwards’ history of British and American art education, in which the ideal of art class as a site of intrinsic and authentic meaning‐making is challenged by the functional requirements of education. My last section takes up a critique of critical pedagogy, in which I use the example of a project my high school students did about Michael Jackson to challenge ways in which trauma and pleasure are seen by critical pedagogues as features of experience that conflict fatally with the educational ends of individualist autonomy.     

美术教育与艺术设计教育办学模式及其差异性

美术教育与艺术设计教育从根本来说是不同性质类别的教育形式。从较普遍的角度分析,现阶段我国高等院校美术教育与艺术设计教育,存在着观念理解与办学模式差异化的现象。当前在艺术院校体制改革和学科建设中应阐述清楚这两种教育在学科中的教学内容与意义、学生培养与目标、教学课程与设置、教学模式与方法等方面的差异性。从根源上理解这两种教育的性质分为"造型"活动和"造物"活动,从而揭示了造型表现与造物应用在当今我国高等艺术院校教学过程中所表现出的差异与基本特征。澄清这方面问题有利于美术教育与艺术设计教育的改进与发展。     

论卡夫卡小说"表现主义"艺术技巧

表现主义兴起于20世纪初,盛行于20、30年代的德、美、北欧等国。奥地利小说家卡夫卡是这个流派的杰出代表,其小说的表现主义技巧达到了运用自如、登峰造极的境界,卡夫卡的小说寓荒诞于真实,融幻想与怪诞于一体。他所创造的艺术世界．人称“卡夫卡式”,如同“莎士比亚化”一样．也是内容和形式的有机统一体．并已成为世界文学史上的一个美学概念。     

STEM Integration in Middle School Life Science: Student Learning and Attitudes

In many countries around the world, there has been an increasing emphasis on improving science education. Recent reform efforts in the USA call for teachers to integrate scientific and engineering practices into science teaching; for example, science teachers are asked to provide learning experiences for students that apply crosscutting concepts (e.g., patterns, scale) and increase understanding of disciplinary core ideas (e.g., physical science, earth science). Engineering practices and engineering design are essential elements of this new vision of science teaching and learning. This paper presents a research study that evaluates the effects of an engineering design-based science curriculum on student learning and attitudes. Three middle school life science teachers and 275 seventh grade students participated in the study. Content assessments and attitude surveys were administered before and after the implementation of the curriculum unit. Statewide mathematics test proficiency scores were included in the data analysis as well. Results provide evidence of the positive effects of implementing the engineering design-based science unit on student attitudes and learning.     

林风眠艺术理论研究

林风眠是 2 0世纪中国杰出的艺术家与艺术教育家 ,他的绘画艺术及教育思想对 2 0世纪中国现代艺术产生了深远的影响。同时他在艺术理论研究方面也取得了突出的成果 ,这些成果包括对艺术特征的研究、对原始艺术的研究以及对中西艺术比较和艺术社会化等问题的探讨 ,提出了独特的观念和理论。我们不但应该研究林风眠在绘画创作上的重大成果 ,而且还应总结他在艺术理论上的贡献 ,这样我们才能全面认识一代宗师林风眠的现代意义     

Envisioning the Future: Working toward Sustainability in Fine Art Education

Fine art education provides students with opportunities to acquire knowledge and skills to respond creatively to their experience of society and culture. Fostering creative ways of knowing, thinking and doing requires studio learning conditions that promote the exploration of embodied perceptions, material sensibilities and conceptual ideas that are provisional, socially constructed and ever changing. Traditionally, art schools provided these conditions unchallenged because they were autonomous. Since the 1980s, however, art schools have been integrated into the academy, and face increasing pressure to meet the institutional demands of being in a university. Some argue this changed status means the academy, with its research and pedagogic traditions, is actually straitjacketing creativity. Furthermore, contemporary art practice has changed as artists are increasingly experimenting with interdisciplinary modes of working. This article discusses a two‐year major change initiative, undertaken within an urban Australian art school, designed to respond to this complex set of changed circumstances. It considers ways to address institutional compliance and viability demands while maintaining deeply held values about how to foster creativity in undergraduate students. The outcome is a new organising structure and renewed curriculum for the largest programme offering in the school: the fine art undergraduate degree. Educational renewal is conceptualised as a creative process and the approach to change is thus adapted from creative research methodologies. By treating pedagogy and curriculum design as a creative process, this change initiative, rather than straitjacketing creativity, has re‐envisioned an epistemological framework for undergraduate fine art that will sustain creativity education into the future.     

潜藏于现代设计中的未来主义

未来主义艺术思潮衰落于20世纪20年代,加上两次世界大战导致艺术家大批量丧生,它受到重创。然而,未来主义所倡导的理念和元素,至今仍出现在生活的各领域中,这些身影并非历史的遗迹,而是未来主义被引用及进化的结果。     

美国教师教育课程规划改革:教学观变革视角的检视

在美国存在着四种主要的教学观,而这直接影响教师教育课程的总体规划思路。以简单化的教学观指导下的传统的教师教育课程设计存在诸多问题。要改变传统教师教育课程设计的弊端,就要将教学看做是一种专业或是艺术,重视教师教育课程总体构成的四种主要关系,这将给教师教育课程的总体规划提供一种新的思考方式。     

19世纪及2O世纪初朝鲜对族谱功能的认识

19世纪及20世纪初朝鲜晚期的族谱功能，突出伦理道德的教化要求，并把伦理道德诉求作为人的特征，族谱的功能被泛化，修谱的意义被升华。不少人将朝鲜与中国比较。谈及对于朝鲜族谱的看法。有的人认为朝鲜文化晚于中华，故族姓历史短暂。但更多的人指出，当时不仅名门望族皆有族谱。而且朝鲜一般人家各有谱牒，族谱已经普及全社会。朝鲜族谱学深受中国文化的影响。