Against the Flow: Education, the Art and Postmodern Culture
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Against the Flow: Education, the Art and Postmodern Culture by Peter Abbs (Paperback, 2003)
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Continue shopping Checkout Continue shopping. Chi ama i libri sceglie Kobo e inMondadori. Choose Store. Or, get it for Kobo Super Points! Skip this list. Ratings and Book Reviews 0 0 star ratings 0 reviews. Under what criteria are artworks selected as part of museum collections? Who has the authority to make such decisions? What are the implications of the method of displaying art in museums? Furthermore, encounters with real art exhibited in museums can add a spatial dimension to the learning experience. The presence of objects in various forms distinguishes museums from other learning settings.
To some degree, museum collections can partly fulfill humans' instinctive desire for authenticity: There can be no substitute for the experience of seeing with your own eyes the paintings of Leonardo da Vinci, the beaks of the finches that gave Darwin his first inkling of the theory of evolution, or the worn shoes that victims of the Holocaust took off before they entered the gas chamber.
Spalding : 9. In the late Victorian period late nineteenth century in Britain, teaching with objects in schools even led to the emergence of school museums Lawn In relation to critical reflections of the exhibition culture in museums, scholars have explored the nature of engagement with objects. Alpers criticizes museums' tendency to prioritize the visual sense, and Classen and Candlin have both linked the history of modern museums to the cultural construction of the senses.
While handling of objects was common before the nineteenth century, the changing attitudes toward conservation and the widening of public access to museums made handling less practical. However, material objects themselves have the potential to facilitate embodied and multisensory learning. The material properties and the physical presence of the artifact demand embodied responses, which may be intuitive and immediate … The initial reaction to an object may be at a tacit and sensory rather than an articulated verbal level.
Post-modernism, post-modernity and education
VCAE aims at breaking down the distinction between high art and popular art and bringing about interaction between different communicative modes Duncum We can discern traces of postmodern influence in the two pedagogical features of learning in museum settings discussed in the previous section. As Robert R. Grand narratives are usually connected, uniform, and systematic, and organized to make sense of human history. Little narratives are about individuals' lives and can be trivial, fragmented, and emotional. For instance, immigration policies and control at a national level are a grand narrative, while immigrants' personal experiences form a diverse range of little narratives.
The discussion of pedagogical principles of MIAE in this chapter is situated in a postmodern framework and is further grounded in the theory of relational aesthetics. Relational aesthetics is a conceptual framework developed by Bourriaud in understanding contemporary art. While Bourriaud largely uses examples of contemporary art, this concept can be widely applied to reframe our understanding of aesthetics and it directs our attention to the participatory and interactive role that viewers play.
When extended to the museum realm, relational aesthetics implies that exhibitions in museums are always in a state of becoming as each visitor contributes to the formation of exhibitions with their own interpretations. While the former is more related to aspects of making sense of art and the latter to aspects of producing art, they are to be considered as two blended and complementary frames rather than two separate approaches.
Museums in a postmodern framework can no longer be posited as neutral spaces, and visitors are to be positioned as learners who come with their own backgrounds, preferences, and learning styles.
Informed by this view, formats of educational initiatives in museums have also been diversified: lecturers and guided tours dominated by museum staff have been supplemented by facilitated dialogues led by museum staff. Museums are often pioneering in experimenting with and promoting dialogic teaching, although practices in museums can also be transferred to other settings particularly school classrooms.
One example is visual thinking strategy, developed by Yenawine , the former education director of the New York Museum of Modern Art. However, dialogic teaching should not be simplified as dialogues initiated with questions. One trainee teacher brought students to Monet's Springtime at the Fitzwilliam Museum Cambridge, UK and prompted them to think about the personal life of the artist, the senses conveyed by the picture, and how the artist achieved these effects.
Relationship to modernism
Conversations about art often extend to other disciplinary areas. Research has revealed that, while students are learning the basic information in core subject areas, they are not necessarily learning to apply their knowledge effectively with regard to thinking and reasoning Applebee, Langer, and Mullis When children participate in interdisciplinary experiences, they see the value of what they are learning and become more actively engaged Resnick For example, Efland, Freedman, and Stuhr's proposal of a postmodern art curriculum includes Amish quilts, postcards, and an American Indian powwow — objects that touch upon multicultural contents and everyday life experience.
Visual literacy is the ability to find meaning in imagery.