New Frontiers
The Application of the Diagram of the Circuit of Artifact Culture to the Teaching of Film Appreciation at University Level
Paper Presentation in a Themed Session Fu Ju Yang
Faced with a social environment in which film and video images are increasingly replacing written text, it is important for art education to incorporate suitable film teaching models that can help students to fully understand the film images they are exposed to in their everyday lives. The researcher had previously developed a film appreciation teaching model and supporting teaching strategies that aimed to give appropriate weight to film meaning and content, formal characteristics, viewer (i.e. student) response, and viewer reflection in light of the viewer’s own personal experience. This model was used in class in the university at which the researcher teaches; while the use of this model did help to strengthen students’ film appreciation abilities, it was found that it was not sufficiently comprehensive in terms of fully covering the different aspects of film appreciation. In the present study, therefore, the researcher hoped to understand of the Diagram of the Circuit of Artifact Culture used in France and utilizing it to develop a film appreciation teaching model and strategies that can be applied to the teaching of film appreciation in universities in Taiwan.
Synesthesia, Art and Visual Impairment: Appreciation of Paintings by Non-visual Students in Brazilian Basic Education
Paper Presentation in a Themed Session Luís Müller Posca, João Henrique Lodi Agreli
In view of the absence of a parameter for the inclusion of the Visual Impairment students in the Art classes in Brazil, this study proposed to demonstrate how the Visual Arts teaching can be adapted to the non-visual student in Basic Education. Considering the basis that Art is linked to human feelings, many people believe that a student who cannot see is excluded from what refers to visual poetics. Departing from the inclusive proposal of the exhibition “Sentir pra Ver (feel to see)” - São Paulo 2015, which presented adapted paintings to the non-visual public, we defend, inspired by this initiative, a teaching proposal including the creation of tactile planks as well as synesthesia (a phenomenon that provokes multisensory reactions, mixing more than one sense in front of an analysis object ) that is able to provide to visually impaired students the possibility of appreciating paintings in the Art classes. With the method of tactile-synaesthetic teaching created, we started to check its effectiveness alongside non-visual students of Basic Education, attesting its efficiency and legitimating the guarantee of a meaningful and inclusive learning of these pupils in the Art classes.
Contingency and the Institutividual: Exploring Shifting Streams in Arts Education
Paper Presentation in a Themed Session Michael J Greaves
Contingency in Arts Education is vital in terms of supporting both teachers and learners in the ever changing and often outputs driven tertiary sector. Contingency can be defined in this sense as something other than what is now. Contingency leaves a residue in all art making and also in art education which provoke new ways in which to engage within old questions. I have observed in both my own institution, and in visiting institutions abroad, an ideological shift that is informing how learners are viewed, their agency, and how this specifically affects the fascia that connects and defines the institution, ideas of research, teaching pedagogy and the institutividual. Johannes Bruder, Matthias Tarasiewicz and Dušan Barok, in conversations around sources and resources in arts education in 2015, presented the term “institutividual” as a way in which to identify this shift in learners’ agency. To address the term institutividual in relation to the structure, intention and outcomes of the architecture of the tertiary environment, Jeremy Till’s interpretation of contingency in Zygmunt Bauman’s writing around Le Courbusier’s project in Pessac will be reviewed, where a top down architecture of communal living was reinterpreted by residents post occupation in order to complete the proposal of the lived project. This paper aims to provoke the readers’ questioning of their "why," in relation to practice, teaching and the new technological world which we as semi-analogue beings inhabit.
Art for Engineers: Teaching Art in an Interdisciplinary Environment in Mexico
Paper Presentation in a Themed Session Jose Manuel Suarez Noriega
Being part of the Humanities and Fine Arts Department may sound natural for most universities worldwide. However, it is not common in most Mexican private universities. The practice and research in arts is almost nonexistent. Private universities are mostly interested in educating for developing entrepreneurship and technical knowledge in students. Nevertheless, at Tecnológico de Monterrey –the largest private university in Mexico– it is crucial that all students enroll in an arts course, at least, once. The challenge is to engage students from diverse study areas (from Biotechnology to Marketing, from Mechatronics to Psychology) in art’s critique, appreciation, and analysis. To do so, professors have shifted the main focus in education: from theory to inquiry. It has been vital to incorporate an inquiry-based methodology that allows students to exercise four fundamental components in the aesthetic appreciation of art: imagination, contemplation, research, and creation. I am interested in sharing how teaching art in interdisciplinary groups is not a hindrance; albeit, it is an opportunity for innovation. Students do not need to have an arts background to become engaged and critical spectators. They only need to be given confidence and a series of activities that break up with the tyranny of erudition.
