This study was designed to examine how four-year-old children might be able to respond and interpret works of art. Informed by Jean Piaget's and Lev Vygotsky's theories of cognitive development, and building on Micheal Parsons' and Abigail Housen's theories of aesthetic development, the study investigated whether or not four-year-olds are able to expand their initial responses to achieve deeper levels of understanding about works of art.

As higher education moves increasingly to online and hybrid programs, more students will be taking art appreciation courses virtually. The research that exists on student perceptions related to hands-on art making suggests that active creation is valuable in fostering creativity, inspiring knowledge, and supporting and motivating students. The purpose of this case study was to explore non-art major, college-level students' experiences, perceptions, and reflections of an active learning component within an online art appreciation class delivered at a public university in the southeastern United States. Three research questions were developed to explore the students' experiences, perceptions, and reflections of this hands-on art making component. The conceptual framework was based on the combined work of prominent theoreticians, educators and scholars in the arts including Dewey, Piaget, Bruner, Gardner, and Eisner. To complete this case study, in-depth interviews were conducted with 10 non-art major, college level students (enrolled in online art appreciation during the 2015-16 academic year) and included discussion about a specific art work that each student made. The interview data was analyzed using open-coded thematic analysis. The overall findings indicated that: there is an emotional response to hands-on art making, appropriate faculty instruction is an important factor in actively engaged learning, and students gain knowledge through the active learning component of the online art appreciation class. Findings were used to design a 3-day professional development workshop. Implications for educators include advocating for variations in art coursework for online students.

This work deals with the notion of hybridity; an ideal moment of cultural negotiation which results, in the words of Homi Bhabha, in the creation of a 'third space.' This theoretical plateau is formed by two parties whose agendas, while ostensibly conflicting, overlap enough so that each informs the space but neither dominates it . In this case I examine a specific site of hybridity, the "Arrivals Passengers Only" area of the Vancouver International Airport. Here, the space is informed by the presence of works, created by the Coast Salish Musqueam people, in the Airport Terminal, created by the Vancouver International Airport Authority. While this sort of negotiation can be described using positive and progressive terms, and the creation of a third space represents a compelling ideal, I argue that the moment of hybridity within the airport is ultimately undermined by other areas of the building in which no negotiation has taken place. The airport's role as a business necessitates marketing strategies aimed mainly at tourists and other business interests. Since virtually the entire building is devoted to that market, the negotiated hybrid space becomes hidden so that its potential impact is lost. Although participating in the creation of a working model of culture with the Musqueam people, the Airport ends up destabilising that model and the space, the ‘third space,’ which contains it. This particular example points to a site specific aspect of contemporary North American culture by drawing on the local community as a source for investigating that discourse. The thesis, then, has two points of entry; the ephemeral discourse of cultural negotiation and the locally grounded freeze-frame view of one site in contemporary Vancouver.

Orientador: Jose Mario Ortiz Ramos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-09T06:37:33Z (GMT). No. of bitstreams: 1 Dias_PauloHenriqueBarbosa_D.pdf: 685823 bytes, checksum: 2fcf476c703edf9a9e935b1280908813 (MD5) Previous issue date: 2007 / Resumo: A tese analisa os modos como um grupo de sujeitos localizados socialmente define suas preferências por bens simbólicos em geral e por obras, intérpretes, gêneros e estilos musicais em particular. Para tanto procuro 1) definir que lugar ocupa o consumo de bens simbólicos ¿ em especial a música ¿ no conjunto de experiências de que os sujeitos participam ¿ a posição deste tipo de consumo na hierarquia de suas prioridades; e 2) descrever as situações concretas em que as obras são apreendidas e os processos através dos quais as experiências de que o sujeito participa cotidianamente definem os significados atribuídos às obras.. A pesquisa toma por referencial empírico habitantes de uma região localizada na periferia de Campinas (Distrito Industrial de Campinas, o DIC). Tal escolha deveu-se ao meu interesse em abordar a discussão sobre gosto ancorando-a no espaço social definido pelo pertencimento aos segmentos populares. Assim, associa-se, na pesquisa, análises de correlações entre fatores sócio-econômicos e práticas de consumo de bens simbólicos às baseadas em observações etnográficas dos comportamentos e percepções dos atores. Entre muitos padrões observados pode-se perceber a predominância dos repertórios caracterizados pelo ecletismo, o que em determinadas situações estaria associado a algum grau de tolerância à diversidade / Abstract: This thesis analyze the ways that groups of specific places define your preferences about symbolic goods in general and about oeuvres, interprets, genders and musical styles in particular. To make this work try to:1) define the place of the consume of symbolic goods ¿ especially music ¿ in these peoples¿ experiences ¿ the position of this kind of spend in the priorities¿ hierarchy; 2) To describe the concrete situations where the artistic oeuvres are apprehended and the process through of the daily experiences of this people define the meanings attributed to this oeuvres. The research uses as empiric referential, the habitants of a region placed in the Campinas¿ periphery (Industrial District of Campinas, DIC). This choice comes from my interests in approaching the discussion about taste linked in the social space defined by the belonging to the popular social segments.Thus, it is associated in the research, analysis of correlations between socioeconomics factors and practices of consume of symbolic goods. Among many patterns observed it is possible to perceive the predominance of repertories characterized by the eclecticism. It, in some circumstances, could be associated to the tolerance to the diversity / Doutorado / Doutor em Ciências Sociais

By referring to established concepts and theories which contemplate our experiences in relation to others and space, this thesis examines the interactions and responses of an audience during various participatory artworks. I draw upon Jean-Paul Sartre’s Being and Nothingness and Elizabeth Grosz’ Architecture From The Outside: Essays on Virtual and Real Space in order to understand our interactions with other people, our interactions inside an environment, and the objects and ceremonies we use during these interactions. I align these experiences with the methods which are employed to anticipate and create the interactions between an audience and a participatory artwork. Our daily interactions can be considered a frame that an artist shapes for their represented situation to allow, provide and guide an audience towards their possibilities for movements and actions within a participatory artwork. The interactions that occur in participatory art are done in relation to others and include groups of people interacting with each other rather than an individual disembodied experience. I refer to Claire Bishop in her book, Artificial Hells, and Nicolas Bourriaud in Relational Aesthetics in order to define participatory art. In defining participatory art I focus on the idea that participation is a social activity without which the artwork does not function or exist. I unravel Brett Bailey’s Exhibit A, Anthea Moys Anthea Moys vs The City of Grahamstown and Christian Boltanski’s Personnes in terms of the frame they use to construct participation and interaction. I refer to my own exhibition Ineffaceable as an exploration of these frames which encourage participation. The inside and the outside are a constant theme throughout this thesis and my exhibition. This thematic re-emerges in relation to a number of opposing and fluctuating dynamics: the self and the other; the object and the subject; familiarity and strangeness; the participator and the spectator; the immersive and the disembodied; and the artwork and the audience. Participatory art has not been sufficiently explored particularly in South Africa with South African case studies and particularly from a practical standpoint that includes methodologies for creating participation. This thesis hopes to enrich and contribute to the contemplations on participatory art by focusing on our interactions with others.

This work deals with the notion of hybridity; an ideal moment of cultural negotiation which results, in the words of Homi Bhabha, in the creation of a 'third space.' This theoretical plateau is formed by two parties whose agendas, while ostensibly conflicting, overlap enough so that each informs the space but neither dominates it . In this case I examine a specific site of hybridity, the "Arrivals Passengers Only" area of the Vancouver International Airport. Here, the space is informed by the presence of works, created by the Coast Salish Musqueam people, in the Airport Terminal, created by the Vancouver International Airport Authority. While this sort of negotiation can be described using positive and progressive terms, and the creation of a third space represents a compelling ideal, I argue that the moment of hybridity within the airport is ultimately undermined by other areas of the building in which no negotiation has taken place. The airport's role as a business necessitates marketing strategies aimed mainly at tourists and other business interests. Since virtually the entire building is devoted to that market, the negotiated hybrid space becomes hidden so that its potential impact is lost. Although participating in the creation of a working model of culture with the Musqueam people, the Airport ends up destabilising that model and the space, the ‘third space,’ which contains it. This particular example points to a site specific aspect of contemporary North American culture by drawing on the local community as a source for investigating that discourse. The thesis, then, has two points of entry; the ephemeral discourse of cultural negotiation and the locally grounded freeze-frame view of one site in contemporary Vancouver. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Research supports ideas that relate the value of arts integration to success in the elementary classroom. This thesis explores the theoretical and practical aspects of the integration of the visual arts and their value, specifically to elementary grades four through six.

The artist scholars: E pluribus unum is an exploratory curriculum designed to be implemented into middle schools. Adolescents experience a period of chaotic and emotional changes that can be both confusing and challanging. This cummiculum seeks to give adolescents a means of expressing themselves. By introducing students to performing arts, the literary arts, and the visual arts, adolescents will begin to answer the basic questions of being human: who are we? Where do we come from? How is knowledge constructed, used, and valued? Each unit consists of lesson plans intended to introduce students to the basic elements of the arts.

One of the main projects of the Stockton Unified School District Curriculum Council during the past two years has been to evaluate and review possible courses to be taught on a trial basis in the curriculums of the Stockton Senior High Schools. One such course, "World of Art," was recommended and approved by the Curriculum Council to be initiated as a trial offering for no later than 1960. The "World of Art" course was originally intended to be a one semester course open to junior and senior students in secondary school. Although the course was intended to be a one semester course in art appreciation, it was designed primarily to bring to interested and academically able students an awareness of the art values in personal and community life. The emphasis of such a course was the development of an understanding of art forms and the artists' materials of the present day in relation to the artistic heritage of our times. The Stockton Unified School District Curriculum Council and Steering Committee for Art Education have granted permission to extend the "World of Art" course from a one semester course to a full year course if a proper syllabus and survey of possible problems that would arise in the actual course could be worked out. The Curriculum Council, after an analysis of related literature dealing with art appreciation throughout the schools in the United States, felt that the principle aim of the newly proposed course should be to bring to the attention of senior high school students the most significant developments in the creative arts.

The dissertation explores how quality-judgments on works of art are created within the contemporary art world. The research starts with the examination of modernist art theories supported by the museum, and continues with the exploration of the impact of the art market on quality-judgments. Although the art market had already distorted the idea of quality, further contradictions and difficulties have risen within judgment-making after the 1960s due to the dematerialisation of the work of art. Art criticism should have been able to deal with this complexity, but it is demonstrated that art criticism is a subjective field and even if there is a universal theory on quality, it often fails when applied to the particular work of art. Throughout the dissertation it is demonstrated that although ‘good art’ is a subjective, power- and discourse-dependent concept, all art professionals seek something that is an inherent quality of the artwork. However, regardless of the existence of such inherent value, judgments on quality are constructed by and subjected to power-struggle. / Art History, Visual Arts & Musicology / M.A. (Art History)