The energy dynamics of creativity are the metaphysical foundations upon which the theory of holistic aesthetics was built. Traditional inquiry into creativity has been concerned with the isolated issues of either the process, technique, product, creator, or environment in which creation occurs. The aesthetics presented herein provide the art educator with an alternate approach and attitude. The absolute presupposition from which the theory develops states that "there is naught but energy, for God is life." The resulting model which incorporates the rationale of the physics of light is designed to illustrate relationships between the creator and the energies of creativity. Educational applications and significance of the model are described in terms of light and color; these practical implications lend themselves to empirical testing.

This study presents a new perspective on work practice in conceptual art. Using ethnographic evidence from five visual artists, the study used a combined visual arts and practice orientated perspective to explore the materiality of their everyday work and the sociomaterial practices shaping it. Close scrutiny is given to the forms of expertise embedded in this through concepts of knowing-in-practice and epistemic objects. Emerging from the findings is clearer understanding of how an arts-based methodology might enhance knowledge about artists’ knowing-in-practice. Popular representations of contemporary artists often ignore the realities of precarious work. This is reflected in the professional education of artists with its concentration on studio-based activities and emphasis on the production and products of artmaking. This study reconfigures and reconceptualises the work of artists as assemblages of sociomaterial practices that include, but are not limited to artmaking – so providing a different representation of the work of artists as a continuous collaboration of mundane materials. The study identified seven sociomaterial practices, defined as movement-driven; studio-making; looking; pedagogic; self-promotion; peer support; and pause. As these practices are subject to ever-changing materialities, they are constantly reassembled. Analysis revealed hidden interiors of underemployment and income generation to be significant factors embedded in the mundane materialities of everyday work, revealing resilience and adaptability as key forms of expertise necessary for the assembling of practices. Further, the arts-based methodology of ‘integrated imagework’ created ways of visually analysing the materially-mediated, socially situated nature of knowing in practice, and demonstrated how relational concepts relating to knowing-in-practice might be better analysed. Findings indicate how the professional education of artists – particularly the way the workplace of the studio is understood – could be re-envisioned to support the fluidity of contemporary artistic practices. The studio itself is a form of knowledge – ever changing – forming and being formed by the practices of artists. Adopting this view of studio-based education would be a radical departure from current studio-based pedagogies in contemporary art education. Further, resilience – the capacity to sustain practices that are emergent and constantly unfolding – becomes a form of expertise central to the professional education of artists.

The purpose of this study was to discern the topical content and educational content level of selected presentations given at National Art Education Association conferences and to identify the gender, level of involvement, and occupational background of participants who provided this information. The printed content of nineteen national conference bulletins published from 1951 through 1980 was analyzed to identify presentations and participants that focused on art education teachers, students, and programs in preschool through grade twelve.

The problem of this study was a content analysis of art and art-related vocabulary utilized in selected children's leisure time television viewing. Three programs (Misterogers Neighborhood, Sesame Street, and The Electric Company) were selected for the analysis. Audio tapes were made, transcribed, and analyzed for the art and artrelated words based on contextual usage. The analysis of the resulting 223-page tapescript revealed 467 art and art-related words which occurred a total of 3,668 times. The identified art and art-related words were subsequently sorted into five categories by systematically applying specific criteria. The conclusion was that television is limiting in art and art-related vocabulary as a viable language source.

Orientador(a): Carminda Mendes André / Banca: Naira Neide Ciotti / Banca: Sara Elton Panamby Rosa da Silva / Banca: Silvio Donizetti de Oliveira Gallo / Banca: Uvanderson Vitor da Silva / Resumo: Como fazer de uma aula de arte um acontecimento performático? Questão desencadeadora de tantas outras que moveram um pensamento em processo em torno do trabalho que tenho desenvolvido enquanto professora performer pesquisadora na instituição de ensino voltada à educação básica para jovens e adultos CIEJA Ermelino Matarazzo, localizada na zona leste da cidade de São Paulo. Tal questão me levou a um embate com minha experiência corporificada de mulher negra lésbica servidora pública da rede municipal de ensino, como um meio para investigar a criação de aulas performáticas. Estas aulas foram concebidas em um contexto permeado por impossibilidades vinculadas a parâmetros instituídos na intersecção entre raça, gênero, sexualidade e classe. Neste âmbito, o pensamento em processo que constitui esse trabalho propõe a professora performer pesquisadora como autoetnógrafa na criação de aulas performáticas junto ao Coletivo Parabelo. Por meio de uma abordagem autoetnográfica performativa com o intuito de acionar a escrita enquanto narrativa pessoal, em uma atitude autorreflexiva acerca das inadequações impelidas à condição de mulher negra lésbica servidora pública, que um dia ousou se autodeclarar professora performer pesquisadora. Ao assumir a perspectiva proposta pelo filósofo Achille Mbembe de que o projeto moderno parece estar fundamentado na invenção do negro, a medida em que um corpo de extração é concebido pela lógica escravocrata, transformando a colonização no maior aparato... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: How to make an art class a performance event? A triggering issue for so many others that have moved a thought in process around the work that I have developed as a professor performer researcher at the CIEJA Ermelino Matarazzo elementary school for youths and adults, in the east side of São Paulo city. This question made me feel the relevance of my incorporated experience as a black woman lesbian public servant of the municipal school network, as a way of investigating the criation of performatic classes. These classes were conceived in a context permeated by impossibilities linked to the parameters established at the intersection between race, gender, sexuality and class. In this context, the thought in process that constitutes this work proposes the professor performer researcher as autoethnographer in the act of creating performatic classes. To using a performative autoethnographic approach, with the intention of triggering writing as a personal narrative in a self-reflexive attitude about the inadequacies impelled to the condition of a black woman lesbian public servant who once dared self-declare professor performer researcher. In assuming the perspective proposed by the philosopher Achille Mbembe that the modern project seems to be grounded in the invention of the Negro, the extent to which a extraction body is conceived through slave-like logic, transforming colonization into the greatest technological apparatus of modernity. In this way, this research was composed by... (Complete abstract click electronic access below) / Doutor

Orientador(a): Rejane Galvão Coutinho / Banca: Davi Gutierrez Antonio / Banca: Fernanda Mello Demai / Banca: Luiza Helena Christov / Banca: Maristela Sanches Rodrigues / Possui anexo em CD / Resumo: A tese intitulada, Imagens, percursos e narrativas: relações possíveis entre Arte, Currículo e Educação Profissional foi construída tendo como prerrogativa demonstrar a Arte uma ignitora de processos cognitivos, perceptivos e sócio afetivos que extrapolam o campo profissional tendo como hipótese o contato com as reflexões e argumentos da Arte, fundamentalmente por meio das imagens, contribui para a formação dos/ as estudantes, independente do contexto profissional. A presente tese utiliza-se da análise do discurso (RICOUER) e da pesquisa como narrativa biográfica (NÓVOA) como procedimento metodológico e foi organizada em duas partes complementares; na primeira parte foi realizada a revisão bibliográfica contemplando como as diferentes concepções de Currículo (CASEMIRO/ MACEDO e SILVA) e Trabalho (ALBORNOZ, ARENDT, BAUMAM, GORZ, ABRAMO e VENTURI) assim como as questões da visualidade, cultura visual, estética e criatividade (PAGLIA, GARDNER, BARBOSA, SERVIO, DARRAS, EFLAN e OSTROWER) se relacionam com a questão da formação profissional e como estas concepções se relacionam com as orientações curriculares (TROJAN) e documentos oficiais da educação profissional. Na segunda parte é apresentado como tais questões se relacionam no espaço de uma escola técnica profissionalizante de nível médio em duas turmas do eixo de Produção Cultural e Design por meio de projetos cujos objetivos são a produção de imagens. Para construção das análises, foram selecionados projetos e atividades, nos... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The thesis entitled, Images, paths and narratives: possi- ble relations between Art, Curriculum and Professional Education was built with the prerogative to demonstrate Art as an igniter of cognitive, perceptive and affective partner processes that extrapolate the professional field having as hypothesis the contact with the reflections and Arguments of Art, mainly through images, contributes to the formation of students, regardless of the professional context. The present thesis is using the discourse analysis (RICOUER) and the research such as biographical narrative (NÓVOA) as methodological procedure and was organized in two complementary parts; in the first part, a bibliographical review was carried out contemplating how the different conceptions of Curriculum (CASEMIRO/MACEDO and SILVA) and Work (ALBORNOZ, ARENDT, BAUMAM, GORZ, ABRAMO and VENTURI) as well as the questions of visuality, visual culture, aesthetics and creativity (PAGLIA, GARDNER, BARBOSA, SERVIO, DARRAS, EFLAN and OSTROWER) are related to the issue of vocational training and how these conceptions relate to the curriculum guidelines (TROJAN) and official vocational education documents. The second part presents how such questions relate in the space of a vocational technical school of medium level in two groups of the axis of Cultural Production and Design through projects the objectives of which are the production of images. For the construction of the analyzes, projects and activities were selected, in... (Complete abstract click electronic access below) / Resumen: La tesis titulada, Imágenes, trayectorias y narrativas: relaciones posibles entre Arte, Currículo y Educación Profesional fue construida teniendo la prerrogativa demostrar el Arte una ignitora de procesos cognitivos, perceptivos y socio afectivos que extrapolan el campo profesional teniendo la hipótesis el contacto con las reflexiones y argumentos del Arte, fundamentalmente por medio de las imágenes, contribuye a la formación de los / las estudiantes, independientemente del contexto profesional. La presente tesis se utiliza del análisis del discurso (RICOUER) y de la investigación narrativa biográfica (NÓVOA) como procedimiento metodológico y fue organizada en dos partes complementarias; en la primera parte se realizó la revisión bibliográfica contemplando como las diferentes concepciones de Currículo (CASEMIRO / MACEDO y SILVA) y Trabajo (ALBORNOZ, ARENDT, BAUMAM, GORZ, ABRAMO y VENTURI) las cuestiones de la visualidad, cultura visual, estética y creatividad (PAGLIA, GARDNER, BARBOSA, SERVIO, DARRAS, EFLAN y OSTROWER) se relacionan con la cuestión de la formación profesional y lo modo que estas concepciones se relacionan con las orientaciones curriculares (TROJAN) y documentos oficiales de la educación profesional. En la segunda parte se presenta lo modo que las cuestiones se relacionan en el espacio de una escuela técnica profesional de nivel medio en dos grupos del eje de Producción Cultural y Diseño en proyectos cuyos objetivos son la producción de imágenes. Para la... (Resumen completo clicar acceso eletrônico abajo) / Doutor

This study examines the effects that discipline-based art education has upon reading test scores of public school second grade children. The progress in language arts of an experimental group and a control group were followed for two six week grading cycles. The experimental group was treated with DBAE instruction for one six weeks, while the control group received only studio production exercises. Both groups received no art instruction for another six weeks. Gains between mean pre-test and post-test scores indicated a significant difference for the experimental group but not the control group.

The goal of this thesis was to illustrate that secondary students, when motivated to express themselves, can effectively apply to their own work those elements of design relevant to sculptural form. This unit sought, first, to develop in secondary students a knowledge of sculptural techniques for handling terracotta; second, this unit sought to inspire or motivate the secondary students by utilizing a subject of great interest to them, their own images; third, this unit sought to bring together the students' understanding of the material and their motivation for self expression -- to transform their ideas into three-dimensional works of art; fourth, this unit sought to introduce to the students those art concepts related to sculpture that would be immediately helpful to them while working. The projects of this unit were organized into a series of progressively more challenging subjects to gradually increase the students' confidence in handling the material and to develop the students' understanding of sculptural design. The choice of the sculptural material and method was limited to a single material using a simple method -- namely, terracotta with the additive method to illustrate that the expressive possibilities of sculpture can be learned and experienced in depth with this simple approach. This unit in terracotta sculpture lasted approximately seven weeks and was presented in part to a general art class consisting of approximately twenty-nine students at Adams High School and in part to three classes at the Museum Art School totaling thirty students. The students in all classes ranged in age from thirteen to eighteen years of age. The results of these projects were generally successful. The work produced by the students demonstrated an understanding of the use of clay, an awareness of the expressive possibilities of sculpture, and an awareness of some elements of design relevant to sculpture. As the projects progressed, the students became more confident in the manipulation and control of the clay. They began to realize that sculpture can be a very interesting art form due to its three dimensionality, and that clay due to its plasticity, can be used expressively. As their work progressed, they developed an awareness of form, content, and the organization of sculpture as tools for creating effective and interesting sculptures. It was concluded that students on the secondary age level are capable of understanding mature art concepts and, furthermore, are interested in experiencing these concepts if they can be applied immediately to specific needs related to the students' work. These concepts must have the purpose of helping the student express himself more effectively and must be immediately applicable to a subject in which the student is very interested.

Orientador(a): João Cardoso Palma Filho / Banca: Roger Marchesini de Quadros Souza / Banca: Kathya Maria Ayres de Godoy / Banca: Omar Khouri / Banca: Juliano Casimiro de Camargo Sampaio / Resumo: O presente estudo tem como foco de compreensão a relação matéria-corpo-percepção concebida não só do ponto de vista artístico, mas também sob a ótica da filosofia e de outras ciências. Por esta razão, busca-se fundamentar científica e artisticamente as concepções de matéria-corpo-percepção como princípios a permitir vislumbrar novos entendimentos sobre arte, ciência e educação. Assim, apoia-se nas produções contundentes dos pensadores Gaston Bachelard (1884-1962), Maurice Merleau-Ponty (1908-1961) e Michel Foucault (1926-1984) na construção do arcabouço teórico-artístico desta investigação, com o objetivo central de redimensionar o caráter de cientificidade aos conceitos de matéria-corpo-percepção na criação artística. Toma-se, então, parte dos dados obtidos nos estudos anteriormente desenvolvidos no mestrado e recorre-se aos momentos de suspensão e reflexão para rever, ampliar e formular hermeneuticamente a práxis artística. Nesse sentido, o estudo compreende que a discussão epistemológica fomentada pelos filósofos a respeito da matéria-corpo-percepção constitui-se em linguagens e expressões relevantes à crítica e à reflexão de si e de mundo, e no que tange à criação estética a sustentar a assimilação dialética da realidade corpórea; questões que 'desestabilizam' o saber pré-concebido e nos permitem reflexionar em direção a uma "nova pedagogia" / Abstract: The present study has a comprehension focus on the relation between matter-body-perception conceived not only from the artistic point of view, but also from the perspective of philosophy and other sciences. For this reason, we seek to scientifically and artistically underpin the conceptions of matter-body-perception as principles that allow us to glimpse new understandings about art, science and education. Accordingly, it is based on the striking productions of the thinkers Gaston Bachelard (1884-1962), Maurice Merleau-Ponty (1908-1961) and Michel Foucault (1926-1984) in the theoretical-artistic framework construction of this research, with the central objective of resize the scientificity profile to the concepts of matter-body-perception in the artistic creation. It is take, so, part of the data obtained in the previously studies developed in the master's degree and it is invoked the moments of suspension and reflection to review, expand and formulate hermeneutically the artistic praxis. In this sense, the study understands that the epistemological discussion fostered by philosophers regarding matter-body-perception is constituted in languages and expressions relevant to the criticism and reflection of oneself and of the world, and with regard to the aesthetic creation to sustain the dialectical assimilation of corporeal reality; issues that 'destabilize' preconceived knowledge and allow us to reflect on a 'new pedagogy' / Resumen: El presente estudio tiene como meta de comprensión la relación materiacuerpo-percepción concebida no solo desde el punto de vista artístico, sino también bajo la óptica de la filosofía y de otras ciencias. Por esta razón se busca fundamentar científica y artísticamente las concepciones de materia-cuerpopercepción como principios a permitir vislumbrar nuevos entendimientos sobre el arte, la ciencia y la educación. De este modo se apoya en las contundentes producciones de los pensadores Gaston Bachelard (1884 - 1962), Maurice MerleauPonty (1908 - 1961) y Michel Foucault (1926 - 1984) en la construcción del marco teórico-artístico de esta investigación con el objetivo central de redimensionar el carácter de cientificidad a los conceptos de materia-cuerpo-percepción en la creación artística. Para ello se ha empleado parte de los datos obtenidos en los estudios previamente desarrollados en la maestría y se recurre a los momentos de suspensión y reflexión para rever, ampliar y formular hermenéuticamente la praxis artística. De este modo, el estudio comprende que la discusión epistemológica fomentada por los filósofos con respecto a materia-cuerpo-percepción se constituye en lenguajes y expresiones relevantes a la crítica y la reflexión de si y del mundo en lo que se refiere a la creación estética a sostener la asimilación dialéctica de la realidad corpórea; cuestiones que desestabilizan el saber preconcebido y nos permite ampliar las reflexiones hacia una "nueva pedagogía" / Doutor

Faculty of Education. Includes bibliographical references (leaves 194-222)