|A.560 | Wednesday, 18 July 2007, 11:30 - 12:00, Room A1 |
|(Doing) art as an interdisciplinary didactical principle
|Works of art are implemented during lessons in school usually in order to mediate ideas and theories about subjective realities. Pictures, sculptures, installations are then meant to be representations of insights or illustrations of certain imaginations. Here we will interpret works of art as translations of theories in special settings of experience: Paradoxically especially art installations, performances, context art or other efforts and styles that infiltrate or thematise the object character of a work of art can be interpreted in this manner. In this regard it is thinkable that referring to them makes it easier for the pupils to understand certain subjects in school. Possibly on the basis of such art works or action modi ways to deal with certain experiences can be traced and found. These could as well serve to generate theories. Such references to art could principally be possible every time interdependencies and contexts are to be learnt. They can be shown by including all the senses. In order to develop a didactical-methodical interdisciplinary concept to integrate artistic procedures in school teaching we will first mark out some clues in the learning theory. What comes down is: Learning requires that the subject makes sense for the learning person and that he can realize his ability to deal with the learning subjects. Here experiencing, learning by doing and being aware of oneself are playing the central role. With this perspective it comes out that sense is never articulated by an isolated element. It always happens among two or more instances. Sense derives from a lateral linkage between circumstances and signs and it founds meaning through alliances formed between different elements. Especially differences, contrasts and borders as definitions are functioning as sense making moments. Bernhard Waldenfels describes the experience of sense as a complex mesh of borders, contrasts, metonymies that are characterised by ambiguities and simulations that derive from the abundance of colour, sound, light, space, language etc.. In this view the cognitive experience of sense in the modus of a “Heureka!” cannot be divided from experiences made in the life world. Gernot Boehm describes this as follows (translated by the author): “Our eyes are not opposite to the things, they are not only scanning them with the eyeshot, but our eyes are in the things as well as the things in them. Images not only sketch a world of objects in distance, but also a world in which the emerging of reality becomes visible; defining itself as a kind of subject. (..) We do live in the world and not before the world.” If something makes sense to a person perceiving or seeing an event, these experiences are as well acts of consciousness as such of body sensation (references: Polanyi and Waldenfels).
Taking Land Art as a starting point and on the basis of the principle of a reciprocal interpretation of the work of art and situational contexts Christiane Brohl develops the didactical strategy of “displacement”. With this strategy, which is at the same time a teaching principle, Brohl shows that art interferes and intervenes in actual discourses and currant semantic fields. The “displacement” as a method can reveal these effects that cannot always be articulated as certain figures. This method is thus a possibility to let novelties emerge into familiarities, in reference to Waldenfels, to let the “extraordinary” seep into the “orderly”. Thus linkages of facts become possible that did not exist before. We suppose that the strategy of “displacement” could be generally implemented for the application of art works for interdisciplinary projects in school. Moreover we will explore which other principles of teaching could make this approach practicable.