The Richness of Art Education. Howard Cannatella. Rotterdam/Taipei, Sense Publishers 2008. Pp. 136.Pbk. £35.

This paper describes an experimental course in the preparation of art teachers. The goal of the course was to engage final-year art students in thinking about the fundamental questions in aesthetic education and in considering various views of their roles as teachers of art. The classes presented a dialogue between two teachers: a philosopher of art and an artist. We discussed the social justification of art, the place of art in education and more generally the portrayal of visual culture in (...) philosophical thought. The bibliography for the course comprised a list of basic texts in aesthetic education, from Friedrich Schiller to Nelson Goodman. In class we linked the range of philosophical views examined to the artistic exploration of themes (mainly in contemporary and local art). The course also incorporated guest speakers who presented their own projects relating to different meeting points of art and education, including social-activist artists, curators, philosophers of education and school architects. The article presents the rationale for the course, its method and a sample of its content. (shrink)

This essay reflects upon certain aspects of Wittgenstein's own practices as a teacher. Doing philosophy always took priority for Wittgenstein, whether this was in oral or written form: it was important to show the deep puzzles in our language (and our culture and thinking) as a step toward dissolving them. In this respect, one can teach only as a guide; it is a matter of showing more than saying. Wittgenstein's approach suggests a model that I will call tacit teaching. Tacit (...) teaching refers to the many forms of informal instruction—some intentional, some unintentional, and some difficult to categorize simply as one or the other—by which skills, capacities, and dispositions are passed along within a domain of practice. Wittgenstein repeatedly uses the language of signposts, of wandering through a city, of being lost and finding one's way, of needing a guide, of learning how to go on by one's self, to refer to the complex web of knowledge and understanding that allows successful autonomous practice in some discipline: most pertinently, in the context of Wittgenstein's own teaching and writing, the discipline of doing philosophy, but with clear reference to teaching and learning in other complex and ill-structured domains as well. (shrink)

This article explores the contrasting arguments for the place of the arts in education made by the two distinguished arts educators—the American Elliot Eisner and British dance and physical education theorist Graham McFee. Both scholars begin with the premise that the arts should be central to a liberal education and then diverge. McFee argues, from his success in seeing dance as part of the National Curriculum in the UK, that a conceptually precise and closely focused philosophical rationale is critical, whereas (...) Eisner takes the opposite path—arguing for the inclusion of the arts because they embody the most profoundly central task of all education—the nuanced development of mind. (shrink)

The field of Philosophy and Education seems to be experiencing a renewed interest in the work of Aristotle. As recently reviewed by Curren (Oxf Rev Educ 36(5):543–559, 2010), most of this attention aligns with the virtue ethics movement where themes like moral development in education, and the inquiry on human flourishing as the aim of education are prevalent. For sources, this scholarship relies heavily and extensively on the Nicomachean Ethics and Politics’ Book VIII where Aristotle develops his single, clearly defined (...) account of education. Among the short list of scholars who include Poetics in their research, their work seems to return to issues of morality and education (Carr in J Aesthet Educ 44(3):1–15, 2010; Gupta in J Aesthet Educ 44(4):60–80, 2010). This paper is an attempt to rediscover Aristotle’s insights on the peculiar type of learning that the arts seem to favor. In order to carry on this investigation, I will first guide my argument towards Aristotle’s remarks on poiesis. Then, I will focus on what constitutes the heart of poiesis, that is, mimesis. I will pay special attention to Aristotle’s consideration of both poiesis and mimesis as ultimately dealing with what he calls “possibility.” I will argue that learning in the arts entails the coming together of these three qualities. This would be a way of learning characterized by seeing human likenesses emerge as such in our interactions with artworks. (shrink)

This article critically examines current ways of justifying a place for the arts in general education and develops an alternative position. First, justifications relying on the positive non-artistic outcomes of art education are represented and problems exposed. Next, I discuss and criticise the position of John White, who takes the arts to promote self-knowledge, ethical contemplation and social cohesion. Then I develop a new account of artistic value based on the concept of fulfilment.

This article critically examines current ways of justifying a place for the arts in general education and develops an alternative position. First, justifications relying on the positive non-artistic outcomes of art education are represented and problems exposed. Next, I discuss and criticise the position of John White, who takes the arts to promote self-knowledge, ethical contemplation and social cohesion. Then I develop a new account of artistic value based on the concept of fulfilment.