In 2004 the United Nations was conmemorating the tenth anniversary of the International Year of the Family. On this occasion, it was fitting to consider an aspect of education which can be developed in the family, but hardly receives much attention in that context. We refer to aesthetic education. The scope of this education is diverse: family life style, personal hygiene, manner of dressing, care in the use of material things, decorum. The latter includes the gestures and manner of speaking (...) as one interacts with others.Aesthetic education involves the proper cultivation of the external senses – touch, smell, taste, hearing and sight – and the internal senses such as the imagination, memory and life experience. The achievements in aesthetic education redound to the other spheres of education: emotional, moral, intellectual and social.By way of an example, the use of movies as a means to promote aesthetic education in the family is explained. To draw out the maximum educational potential of this medium, the active involvement of parents especially during the child’s early developmental stage is indispensable.The paper is divided into three parts: 1. The role of aesthetic education in the development of the human personality. 2. The family as the setting for aesthetic education. 3. Movies as a medium for aesthetic education. (shrink)

To what extent does the construction of any curriculum framework have to contain axiological assumptions? Educators have been made aware of tacit epistemological assumptions underlying existing curricular frameworks by the continual demands for their revision. Eisner suggested that curriculum policy should be centred around imagination; economic rationalists have suggested that it be made more functional and accountable than traditional university disciplines allow for. Is it possible, as Efland suggests, to combine competing traditional ideologies of education in a complex postmodern pastiche (...) which can nonetheless provide standards of assessment and evaluation without presuming a grand narrative? Brown suggests not. This paper examines the challenge of maintaining principled standards and recognising postmodern relativities, making particular reference to the notion of the sublime and the arts curriculum. (shrink)

This article examines the social development of Hong Kong's cultural and national identity since its return from the UK to the People's Republic of China nearly six years ago, focusing on the extent to which Hong Kong students are now inculcated in traditional Chinese music and express their devotion to the PRC through singing the national anthem. Hong Kong music teachers experience conflicts concerning their roles as music teachers and as purveyors of values education. These observations raise fundamental questions concerning (...) the sociopolitical function of values education in the music classroom. (shrink)

This paper analyzes what may have been a mistake by pianist Thelonious Monk playing a jazz solo in 1958. Even in a Monk composition designed for patterned mayhem, a note can sound out of pattern. We reframe the question of whether the note was a mistake and ask instead about how Monk handles the problem. Amazingly, he replays the note into a new pattern that resituates its jarring effect in retrospect. The mistake, or better, the mis-take , was “saved” by (...) subsequent notes. Our analysis, supported by reflections from jazz musicians and the philosopher John Dewey, encourages a reformulation of plans, takes, and mis-takes as categories for the interpretation of contingency, surprise, and repair in all human activities. A final section suggests that mistakes are essential to the practical plying and playing of knowledge into performances, particularly those that highlight learning. (shrink)

For over a century, drawing from observation, at least at the introductory level, has been integral to many secondary and most post-secondary art school programs in Europe and North America. Its place in such programs is understood to develop an ability to see and interpret on a flat surface the real, three-dimensional world; this skill, in turn, provides support to related mental processes such as memory, visualization, and imagination. Where an artist looks when drawing from observation may not be arbitrary (...) and can be observed, quantified, and analyzed. Our interest in examining the first few minutes of the drawing process takes its lead from the novice’s question, "Where should I begin?" Attempting to understand these first few minutes led to a collaborative study between art educators and cognitive-perceptual psychologists: the former interested in implications for practical pedagogy, the latter in applying expertise in eye movement and scientific methodology in service of a specific real-world question. The stated purpose of the study notwithstanding, contrasting histories and practices in art and science provided contexts for discussion beyond the collection and interpretation of data. This article seeks to report upon and further that discussion. (shrink)

The purpose of this paper is to introduce everyday aesthetics in education. First, it presents everyday aesthetics as a subdiscipline within philosophical aesthetics, that revisits sensory perception as the backdrop of all experience, claims ordinary life is a proper venue for aesthetic inquiry, and problematizes the impact aesthetic preferences have on habitual decisions. Second, the paper argues that among the diverse matters students learn in school, they learn—explicitly or implicitly—what and how to perceive, as well as the pedagogical purposes of (...) daily perception. School models the relationships that students will develop between what they perceive, what they think about it, and how they act accordingly. Next, the paper elaborates on the notions of “school aesthetic matrixes” and “space and place in school”. School aesthetic matrixes refer to perceptual patterns that allow characterizing relationships between daily perception and the pedagogical project of a school. They manifest through expressions such as prison school, home school, mall school, etc. Space and place in school allude to concomitant experiences, of corporeal basis, that allow describing how we inhabit the world. What distinguishes them is the approach each one gives to the senses and the body. The paper concludes by calling attention to the comprehension and role of perception in education, urging to mind the aesthetic-pedagogical character that students develop throughout 12 years of schooling. Ultimately, the key relationships we develop with ourselves, others, and the world, entail a basic perceptual dimension that can be educated to become more purposefully and integrally present in life. (shrink)

To what extent does the construction of any curriculum framework have to contain axiological assumptions? Educators have been made aware of tacit epistemological assumptions underlying existing curricular frameworks by the continual demands for their revision., ) suggested that curriculum policy should be centred around imagination; economic rationalists have suggested that it be made more functional and accountable than traditional university disciplines allow for. Is it possible, as ) suggests, to combine competing traditional ideologies of education in a complex postmodern pastiche (...) which can nonetheless provide standards of assessment and evaluation without presuming a grand narrative? ) suggests not. This paper examines the challenge of maintaining principled standards and recognising postmodern relativities, making particular reference to the notion of the sublime and the arts curriculum. (shrink)