Abstract

Lange, Marie Luise
Germany
K.605 | Wednesday, 18 July 2007, 14:30 - 15:00, Room MZH
Creation of double alertness of mind – on aesthetic laboratory situations and “nomadic” studying in university art education
The goal of aesthetic education in school and university is to acquire different perspectives of aesthetic perception. Alongside this, the competence to invent individual aesthetic realities through the application of traditional and modern cultural techniques and formal principles is to be learnt. Both requires the development of aesthetic behaviour that not only observes and describes daily life phenomena but that also questions, reflects and investigates them critically and perhaps even makes suggestions on how to modify them. IF contemporary art - is an art of experiment, of research, of game and of dealing with hybrid forms and signs, IF it - evokes intermedia processes like the combination of static and moving pictures, of spaces and sounds, of material and immaterial occurrences and by doing so - moves in between of various art forms, sciences, media and daily life phenomena THEN schools and universities have to teach their students not only how to deal with aesthetically produced worlds of pictures and processes in a sensorial-cognitive way, but also in a critically reflecting one. According to this, art education has to be seen as the interdisciplinary crossroad of the fine arts and aesthetics, media and youth culture, educational and anthropological sciences. In the subject of art education itself one may, should, has to think at a “1000 plateaus” (Deleuze) and shall work aesthetically and artistically with many concrete references. Successfully functioning art education has to be seen as a “joint” to which students can attach their personal aesthetic, artistic and scientific research and knowledge in order to be able to develop their sensorial and cognitive differentiations. Students themselves should experience such complex and multidimensional examinations during their studies. In my lecture I want to show with examples how university practise in art education initiates cross-border aesthetic research and action, in which not only the artistic products but the whole process with its ups and downs plays a decisive role and must therefore be reflected. In its essence this process is experimental, multi-layered and gives only little guarantee for precise interpretation. Therefore and for the ability to apply the gained experiences for teaching their future students, the students of art education should experience their studies with a double alertness of mind (producing artistically and at the same time reflecting on the process of production) as a kind of “work-in-progress”-workshop.
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