Claude P. Bruter (editor), Mathematics in Art: Mathematical Visualization in Art and Education, Springer-Verlag, New York, 2002, pp. X + 337, ISBN 3-540-43422-4.

Mixing methods is a well-known innovative meth- odologic proposal for research in the second half of the 20th century social sciences. Reading literature about it, I observed the aspect that justifies this paper: Authors of theoretical contributions on mixing methods recognized that this was known to be a practice already in use many centuries ago. Some of them even have re-examined the whole history of the scientific method to search precedents. They are however individual and theoretical precedents. I add in (...) this paper the practical projection of these and other methodological theories on people’s training from Greek classical times. My hypothesis is that liberal arts was the basic syllabus in Western -and westernized- educaion for more than a millennium in such a way that results of their training precisely involved to mixing methods. In return, to understand the liberal arts in the light of mixing methods shows new aspects of their historical interest. I study the theoretical basis of this syllabus from Cicero to Alcuin. More important for future research, I conclude that Alcuin’s thesis about the correspondence between the gifts of the Holy Spiritu and the seven liberal arts can be extended to the Aristotelian dianoethics habits and to Dilthey’s 20th-century sciences of mind. (shrink)

In this paper, with reference to Vito Acconci’s Following Piece (1969) and Sophie Calle’s Take care of yourself (2007), I show that some works of conceptual art rely on exemplification to convey ideas, and I defend the following claims about those works. In the first place, I argue that the kinds of events and of objects they present us with are relevant for appreciating the views the works convey. In the second place, siding with Elisabeth Schellekens (2007) and Peter Goldie (...) (2007), I argue, contra James Young (2001), that those artworks can yield experiential knowledge. In the third place, I argue that those artworks also possess probatory value. Finally, I maintain that those artworks can be valuable instruments for the education of the emotions. (shrink)

This book covers the field of and points to the intersections between politics, art and philosophy. Its hero, the late Sir Roger Scruton had a longstanding interest in all fields, acquiring professional knowledge in both the practice and theory of politics, art and philosophy. The claim of the book is, therefore, that contrary to a superficial prejudice, it is possible to address the philosophical issues of art and politics in the same oeuvre, as the example of this Cambridge-educated analytical philosopher (...) proves. Accordingly, the book has a bold thesis on the general, theoretical level, mapping the connections between politics, art and philosophy. However, it also has a pioneering commitment on the level of the particular, offering the first full-length study into the philosophical legacy of Roger Scruton, probably the most important British conservative philosopher of the late 20th and the first decades of the 21st century. It also allows reader to look into the philosopher’s fascination with Central European art and culture. Finally, it also provides a daring analysis of the late Scruton’s metaphysical inspirations, connecting the arts, and especially music, with religion and the bonds of love. (shrink)

This paper provides an in-depth review of Jerrold Levinson’s most recent work in aesthetics, focusing especially on his account of the incompatibility of art and pornography. The author argues that this account does not fit well with Levinson’s own intentional-historical definition of art and his Wollheimian account of depiction.

Higher educational Institutions aim to produce quality graduates. They want their graduates to manifest better skills in their jobs. Thus, this research aimed to gather feedback from employers about the CTEAS alumni. This sequential explanatory research explored the satisfaction of 100 employers with the manifested skills of the College of Teacher Education, Arts, and Sciences (CTEAS) alumni. Through Google Forms, the employers rated the manifested skills of the CTEAS alumni. Based on the results, employers have a high level (...) of satisfaction in terms of the skills of the alumni. They were very satisfied with the manifested foundation, enterprise, technical and knowledge, adaptive, teamwork, employability, and managerial skills. Thus, to sustain in producing fully equipped graduates, the department needs to hone further the foundation and technical and knowledge skills of their graduates. (shrink)

From the publisher: -/- This important new study reevaluates British art writing and the rise of formalism in the visual arts from 1900 to 1939. Taking Roger Fry as his starting point, Sam Rose rethinks how ideas about form influenced modernist culture and the movement’s significance to art history today. -/- In the context of modernism, formalist critics are often thought to be interested in art rather than life, a stance exemplified in their support for abstract works that exclude (...) the world outside. But through careful attention to early twentieth-century connoisseurship, aesthetics, art education, design, and art in colonial Nigeria and India, Rose builds an expanded account of form based on its engagement with the social world. Art and Form thus opens discussions on a range of urgent topics in art writing, from its history and the constructions of high and low culture to the idea of global modernism. Rose demonstrates the true breadth of formalism and shows how it lends a new richness to thought about art and visual culture in the early to mid-twentieth century. -/- “This book is a gem. It gives the most comprehensive and accessible account of the importance of form in the last hundred years of writing about art. It should be compulsory reading not just for art historians, but also for aestheticians and anyone interested in visual culture.” —Bence Nanay, author of Aesthetics as Philosophy of Perception -/- “This is an exceptionally wide-ranging and successful study of a central topic in the history of modernism. Rose moves with enviable facility between archival research and historical concerns and a crisply incisive discussion of the status and integrity of the key ideas. The final section, which extends the story outward into new areas, will be an invaluable spur to future research.” —David Peters Corbett, author of The World in Paint: Modern Art and Visuality in England, 1848–1914 -/- “It’s time we had a sophisticated account of form in the modern visual arts to replace the crude caricatures that have dominated the literature on so-called modernist formalism. Sam Rose supplies this with precision (in his careful readings of modernist texts that have too often been oversimplified) and imagination (in relating them to wider, sometimes surprising, contexts). Demolishing the notion that formalism must be escapist, he provides a cogent explanation for how the study of the Old Masters could go hand in hand with the theorization of a modern art. This lucidly written book not only challenges preconceptions about formalism but shows why we cannot ignore the question of form in discussions of the visual arts up to and including the present day.” —Elizabeth Prettejohn, author of Art for Art’s Sake: Aestheticism in Victorian Painting -/- “A brilliant and timely account of aesthetic form and formalism. Debates about form are fundamental to modernism, and indeed to the story of the arts in the twentieth and twenty-first centuries, yet until now we have been lacking a sustained investigation of how this came to be. Art and Form is a great work of art history, and it will also prove indispensable to literary scholars, philosophers, and cultural critics.” —Rebecca Beasley, author of Ezra Pound and the Visual Culture of Modernism. (shrink)

Appearing for the first time in English, Art and the Working Class is the work of Alexander Bogdanov, a revolutionary polymath and co-founder, with Vladimir Lenin, of the Bolshevik faction of the Russian Social Democratic Labor Party. Bogdanov was a strong proponent of the arts, co-founding the Proletarian Culture (Proletkult) organization to provide political and artistic education to workers. In this book, Bogdanov discusses the origins of art, its class characteristics, and how it might be created within a (...) revolutionary socialist context. (shrink)

Public reason liberalism is the political theory which holds that coercive laws and policies are justified when and only when they are grounded in reasons of the public. The standard interpretation of public reason liberalism, consensus accounts, claim that the reasons persons share or that persons can derive from shared values determine which policies can be justified. In this paper, I argue that consensus approaches cannot justify fair educational policies and preserving cultural goods. Consensus approaches can resolve some controversies about (...) teaching values in the educational system, such as curriculum choice. But they cannot determine which culture goods, e.g., architecture, artwork, or language ought to be preserved in the education system. Consensus approaches cannot fairly resolve competing claims about these kinds of disputes. -/- I propose that convergence accounts of public reason, which allow individuals to draw on their own comprehensive doctrines in limited ways, can remedy these weaknesses in the mainline public reason tradition. The convergence approach can justify a pluralist state that can advance valuable community goods. John Henry Newman’s advocacy of liberal arts education finds resonance in other cultures, notably among Confucians, illustrating that there can be a shared moral vision and inquiry into the good life across deep substantive disagreements about educational values and policies, once we expand our notion of justification to be more inclusive. (shrink)

The idea that education should equip people to lead flourishing lives and help others to do so is now becoming salient in policy-making circles. Philosophy of education can help here by clarifying what flourishing consists in. This essay examines one aspect of this. It rejects the view that well-being goods are derivable from human nature, as in the theories of Howard Gardner and Edmond Holmes. It locates them, rather, as cultural products, but not culturally-relative ones, drawing attention to (...) the proliferating forms they have taken over the past three or four centuries. It looks to aesthetics and art criticism as a guide to a philosophical treatment of well-being goods more generally. It also takes off from aesthetics and art criticism in seeking to identify reliable authorities on the flourishing life. On this, it rejects elitist conceptions in favour of a more democratic model, emphasising its importance in education for citizenship. (shrink)

Christy Mag Uidhir’s Art and Art-Attempts begins from two deceptively simple observations: artworks are the product of intentions, and intentions are the kinds of things that can fail to be realized successfully. Drawing on these observations, he argues that most contemporary theories of art must be rejected because they are not substantively intention-dependent: that is, they do not account for the fact that an attempt to make an artwork can fail. From his view that artworks must be the product of (...) art-attempts that are subject to failure, Mag Uidhir derives implications for many domains in the philosophy of art. He argues that artworks cannot be abstract objects, since abstract objects cannot participate in causal relations and thus can’t be the product of art attempts: one can’t coherently intend or attempt to create something that exists eternally. Things that we think of as repeatable artworks, then, can’t be abstract types: instead, Mag Uidhir proposes, every artwork is concrete, but some are tied together by a relation of relevant similarity. In this symposium, Mag Uidhir replies to three critics, David Davies, Sherri Irvin and Keith Lehrer. All three critics examine the relevant similarity relation that Mag Uidhir proposes to account for artworks that we treat as repeatable, while also considering a variety of other issues. (shrink)

This article argues that Macmurray’s work on education is deserving of serious consideration, because it offers an account of the person that highlights the significance of the emotions and the arts. In particular, the article examines and teases out the areas of Macmurray’s concept of the person that are pertinent to the philosophy of education, which includes the contention that the emotions can and should be educated. Furthermore, on the basis of Macmurray’s work, this article argues that (...) emotional competency is bound up with an education in the creative arts. Consequently engagement with the arts, which is often considered to be a luxury and a hobby, becomes an essential component in the development of human nature and the ability to live well. Finally, by analysing Macmurray’s description of a work of art and bringing Macmurray into conversation with contemporary views regarding the arts and the education of the emotions, in both a critical and a supportive manner, this article concludes that education in the emotions and the arts are key aspects of human well-being. (shrink)

Enriching Arts Education through Aesthetics examines the use of aesthetic theory as the foundation to design and implement arts activities suitable for integration in school curricula in pre-school and primary school education. This book suggests teaching practices based on the connection between aesthetics and arts education and shows that this kind of integration promotes enriched learning experiences. -/- The book explores how the core ideas of four main aesthetic approaches – the representationalist, the expressionist, (...) the formalist, and the postmodernist – translate into respective ways of designing and implementing experiential aesthetics-based activities. Containing relevant examples of interventions used in classes, it analyzes the ways in which the combination of different aesthetic approaches can support varied, multifaceted, multimodal and balanced teaching situations in school. (shrink)

In this essay, David Hildebrand connects Democracy and Education to Dewey's wider corpus. Hildebrand argues that Democracy and Education's central objective is to offer a practical and philosophical answer to the question, What is needed to live a meaningful life, and how can education contribute? He argues, further, that this work is still plausible as “summing up” Dewey's overall philosophy due to its focus upon “experience” and “situation,” crucial concepts connecting Dewey's philosophical ideas to one another, to (...) education, and to democracy. He opens the essay with a brief synoptic analysis of Democracy and Education's major philosophical ideas, moves on to sections devoted to experience and situation, and then offers a brief conclusion. Some mention is made throughout about the surprisingly significant role art and aesthetics can play in education. (shrink)

The major stages of development of cosmic pedagogy have been researched. Based on the achievements of the modern neurosciences as well as of psychology, cosmology, and philosophy, the authors provide their reasoning for the cosmic education and its outlooks for the educational systems of the world. Through the studies of how important human mind is for the Earth and the cosmos and by researching the evolution of human mind within the structure of the Universe, the authors create a more (...) advanced scientific and philosophic basis for the cosmic education where the subject is a comprehensive process of formation and directed progress of both an individual mind and a conglomerate of minds called the "psychospace". The cosmic education researches the permanent progress of the intelligent matter of the Earth. The purpose of the cosmic education has been determined as formation of a planetary and cosmic personality. According to the authors, a planetary and cosmic personality is a harmony of mind, soul, and body, and such harmony is directed to usethe internal creative potential of mind to the benefit of the intelligent matter of the entire Earthand the cosmos. The properties of such a planetary and cosmic personality are being improved continuously; they are a sample (the ideal) of the cosmic pedagogy and the image of a human being of the future. Through the usage of the entire potential and art of upbringing and educating, the cosmic pedagogy is called to embody the major properties of the image of a human being of the future in the new generations of minds and to form a planetary and cosmic personalitycapable of self-actualization to the benefit of the permanent progress of the intelligent matter. (shrink)

This volume has been brought together to generate new ideas and provoke discussion about what constitutes arts education in the twenty-first century, both within the institution and beyond. Art, Artists and Pedagogy is intended for educators who teach the arts from early childhood to tertiary level, artists working in the community, or those studying arts in education from undergraduate to Masters or PhD level.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Heidegger, Art, and Postmodernity by Iain D. ThomsonIrene McMullinIain D. Thomson. Heidegger, Art, and Postmodernity. Cambridge-New York: Cambridge University Press, 2011. Pp. xix + 245. Paper, $27.99.Iain Thomson’s Heidegger, Art, and Postmodernity is an exceptional piece of Heidegger scholarship, providing detailed, informative analysis while remaining highly readable.Thomson begins by reprising the argument from his earlier Heidegger on Ontotheology: Technology and the Politics of Education (Cambridge, 2005), namely, (...) that the concept of ontotheology is key to understanding Heidegger’s thought. Ontotheologies comprehend “the intelligible order in terms of both its innermost core [ontology] and its outermost form or ultimate expression [theology]” (10). Thomson examines Heidegger’s claim that these understandings of reality change over time, a history of being comprised of distinct metaphysical “epochs” of intelligibility. Thomson recounts Heidegger’s project as an attempt to overcome ontotheology, particularly its modern and late-modern forms, in which entities appear solely as objects for control or resources for optimization.Doing so requires cultivating a plural realism whereby entities are recognized as richer in intrinsic meaning than we can capture. Thomson shows that Heidegger’s analysis of [End Page 324] art—particularly Van Gogh’s “A Pair of Shoes”—is aimed at demonstrating how art over-flows conceptual boundaries and thereby reveals this plural givenness of meaning. With startling originality, Thomson both explains the use of the three artworks in “Origin of the Work of Art” in terms of Heidegger’s history of being and refutes Shapiro’s famous criticism, arguing that Heidegger is not suggesting that the painting simply represents a peasant woman’s shoes. Rather, it represents both the shoes and a plurality of other possible meaning gestalts suggested by the umbra of “nothingness” that surrounds the shoes—the unformed textures and colors of the background—one of which is the figure of a woman.The work prompts a gestalt shift from shoes to woman, encouraging us to recognize possibilities of meaning in the inchoate forms surrounding the shoes, and thus (Heidegger hopes) realize the inexhaustibility of meaning and the structure of intelligibility itself: namely, the ontological tension between earth and world, revealing and concealing. Any representation is only one of the many conceptual possibilities present, and art helps us accomplish a postmodern “active receptivity” that responds adequately to the inexhaustibility of being as such.The latter half of Thomson’s book engages in “applied Heidegger”: the examination of particular works to demonstrate the fruitfulness of understanding Heidegger in this way. By analyzing U2’s Achtung Baby, Moore’s Watchmen comic series, and (in a particularly informative chapter) Heidegger’s Contributions to Philosophy qua philosophical fugue, Thomson is able to pursue the implications of what “postmodernity” means for Heidegger and why it should be considered appealing.Thomson’s thought-provoking and informative book should prompt a great deal of discussion. In particular, one can ask whether such a “postmodern” condition represents what Thomson and Heidegger hope it does. Thomson suggests throughout that escaping late-modern optimization and control narratives will encourage us “to approach all things with care, humility, patience, gratitude, and perhaps... awe, reverence, and love” (212). But why should we suppose that recognizing meaning’s excessiveness and multiplicity should produce such positive responses? Is it not equally plausible that it would prompt a kind of desiccated ennui, an inability to care or commit that is rooted in the sense that there is no right answer, no right way to be? One wonders if living with such recognition is even possible, considering the view espoused throughout that intelligibility depends on tension between revealing and concealing. What is the proper place for the view that no framework of intelligibility is right or adequate, but merely captures one facet of possible meaning? Is this compatible with existentialism’s characterization of humanity in terms of the need to commit to projects that delimit a normative horizon through which the world can show up as intelligible?Further, though it seems clear that cultivating a poetic responsivity to the given plurality of meaning will help overcome Western nihilism—i.e. the view that there is no inherent meaning—it is not clear that it will move us beyond... (shrink)

Beginning from Hegel's notion of ethical life (Sittlichkeit) as a mode of consciousness governed by the norms of a historical community, this essay examines the role of education in shaping contemporary communities of autonomous people. It does so by defending a version of the idea that an educator has, among her other tasks, the role of helping her students appreciate the values that are shared across her community. In the course of the examination I relate this idea to trends (...) in the European Enlightenment, and I draw on research concerning political polarization in Europe and North America today and its impact on the academy. In the process I argue that the modern university educator has the task of cultivating in her students an attitude of critical inquiry whose results are not coerced by the social conditions under which that inquiry takes place, and I offer some pedagogical proposals for the university educator facing the situation we are today. (shrink)

Plato drew on the philosophical work of some of his predecessors, especially Socrates, but also Parmenides, Heraclitus, and Pythagoras, to develop his own philosophy, which explores most important fields, including metaphysics, ethics, aesthetics, and politics. With his professor Socrates and his student Aristotle, he laid the foundations of Western philosophical thought. Plato is considered one of the most important and influential philosophers in human history, being one of the founders of Western religion and spirituality. The philosophy he developed, known as (...) Platonism, is based on the theory of Forms known by pure reason as a solution to the problem of universals. Plato's philosophy is in line with the pre-Socratics, sophists and artistic traditions that underlie Greek education, in a new framework, defined by dialectics and the theory of Ideas. For Plato, knowledge is an activity of the soul, affected by sensible objects, and by internal processes. In The Republic of Plato, the highest form is considered to be the Form of Good, the source of all other Forms that could be known by reason. The central theme of the book is justice, argued with the help of several Platonic theories, including the allegorical myth of the cave, the doctrine of ideas, dialectics, the theory of the soul, and the design of an ideal city. His dialectic is a type of knowledge, with an ontological and metaphysical role, which is reached by confronting several positions to overcome opinion (doxa), a shift from the world of appearances (or "sensible") to intellectual knowledge (or " intelligible ”) to the first principles. Plato's educational model (paidèia) differentiates the level of education according to the students' skills. According to Socratic principles, in order to do justice, one must know what is good, and this is best known to the philosopher. Plato detailed this concept, highlighting the distinction between the philosopher (who seeks the principles of truth without claiming to possess it) and the sophist (who lets himself be guided by opinion as the only valid parameter of knowledge). -/- CONTENTS -/- Plato - Biography - Travels - Socrates - Academy - Plato's work - - Classifications of works - - - Chronological - - - Tetralogy - - - Trilogies - - - Lexical grouping Plato's philosophy - Soul - The function of the myth - Ideas - Theory of Forms - Ontology - Epistemology - Ethics - Politics - The philosophical state - Art - Unwritten doctrines: One and the Dyad The Republic - Characters - Summary - Topics - - Justice and righteousness (Book I) - - The Ideal State (Books II-III) - - The city-soul analogy. Harmony of the parties (Books IV-V) - - Form Theory (Metaphor of the Line and the Myth of the Cave, Books VI-VII) - - Family and State (Books VIII-IX) - - Myth of Er (Book X) Dialectics Education Philosopher-king Bibliography -/- DOI 10.13140/RG.2.2.29990.19520 . (shrink)

Then we talk about gender stereotypes in Steam education we can find in the societal mentality: „Girls don´t find STEAM interesting” „Boys are more capable for STEAM”, „Boys are oriented to achievements, girls to feelings and society”. This paper presents the results of sensitive gender workshops, to provide illustrations of stereotypes as an input for the creation of value-added content with gender awareness and continue sensitizing teachers about gender stereotypes in approach to learning that uses Science, Technology, Engineering, the (...) Arts and Mathematics in education. (shrink)

English Abstract In Art as Experience, John Dewey decried the estrangement of art from lived human experience, both by artificial conceptual walls and the physical walls that secluded art within museums. Instead he argued that making and enjoying art are crucial organic functions that sustain communities and integrate individuals within their environments. In the 1920’s Diego Rivera became one of the luminaries of the Mexican muralist movement by creating frescoes that were rooted in Mexican life, both in their subject matter (...) and public location. Rivera and the other artists working within the government cultural program guided by José Vasconcelos created murals that boldly expressed the new values of democracy, peaceful revolution, racial equality and cultural pride. This essay explores the deep resonance between Rivera’s most prominent murals from this period and Dewey’s argument that art is a refined and integral feature of human experience. In particular, this essay will examine the great extent to which these men independently came to the common understanding that for people to thrive and grow they need to create and experience art that grows out of and remains rooted in their culture. Without claiming that either thinker influenced the other, this essay argues that their works mutually inform and enrich each other. Both men sought to free art from the museum, but where Dewey urged us tear down the walls that separated art from lived experience, Rivera transformed walls themselves into murals that unified and educated the people of Mexico and restored their culture. (shrink)

This thesis contends that the possession of a sense of humour would contribute considerably to the quality of human life. It is an exploration and discussion of some of the difficulties involved in justifying the development of humour in terms of a philosophy of education. In light of developments in the digital age with consequent changes in science, technology and society, the educated person of the future will have to be less concerned with the accumulated knowledge of the past (...) than with the development and interplay of social and natural environments. Such a person will need to have, more than ever, a sense of what is truly real and what is truly valuable in human life. If the primary purpose of education is the preparation of students for their future lives, educators are now faced with some challenging problems. Apart from the high social value of laughter, there is a recognized relationship between humour and intelligence. Knowing that the two are related proves to be a key factor in understanding the learning process and assuring that the development of a sense of humour in education is worthy of consideration. (shrink)

This article explores the meeting of two approaches towards philosophy and education: the philosophy for children approach advocated by Lipman and others, and Schmid’s philosophical concept of Lebenskunst. Schmid explores the concept of the beautiful or good life by asking what is necessary for each individual to be able to develop their own art of living and which aspects of life are significant when shaping a good and beautiful life. One element of Schmid’s theory is the practical application of (...) philosophy through the notions of Bildung, reflection, prudence and practical wisdom, as well as the requirement for each individual to take responsibility for actively shaping their life as an artwork. In this sense, each person is the artist responsible for living their own beautiful life. We argue that there are useful parallels between Schmid’s concept of the art of living and P4C, such as the ideal of a holistic philosophy that is “lived.” The pragmatic approach of P4C focuses on the embodied learner who practices critical, caring and creative thinking. Both P4C and Schmid’s theory are reminiscent of the Aristotelian notion of practical wisdom, which allows for an approach to an education for life that prepares students to develop their own art of living. (shrink)

Dr. Seyed Mohammad Mohajer, author of this book, for the first time, on the subject of SEM (Student Experience Management) and TEM :(Teacher Experience Management), Expresses and writes In today’s competitive world in which men are looking for acquiring a better place for themselves and their properties, indeed it can be said that people who compete on a full scale in marketing and branding by learning knowledge and experience, are more successful. Apart from people, countries, cities, businesses, historical and religious (...) sites, companies, products, services, and even government agencies are endeavoring and competing to possess a better place and more profitability. In the meantime, universities, higher education institutions, and specialized schools such as Business Schools, Language Schools, Art Schools, etc are not exceptions. Contest in the digital and traditional area, simultaneously, and with a proper strategy and developing systematic advertising campaigns can make a university or higher education institutions a brand. Since the branding process, as its name implies, has a -ing (continuous), the process must be continual and running continuously. One of the most significant tools in higher education institutions branding is CEM (Client Experience Management) which includes SEM (Student Experience Management) and TEM (Teacher Experience Management). Valuing the main audiences, which are students and professors, and creating a distinctive and excellent experience in the educational environment either in a digital or in a traditional area, can lead to receive excellent feedback from these audiences and direct them to the brand layers that are Awareness, Knowledge, Attitude, Engagement, Satisfaction, Loyalty and the highest level that is Passion, which the same matter make the sense of constancy and belonging and conversion Trademark (Servicemark) a higher education institution to a Lovemark. But how this distinctive experience and feeling can be infused with the audiences? Undoubtedly, many solutions are recommended in this field, such as the use of sensory branding methods, but the important point here is who can create and improve this experience? Certainly, the University Staff has a key and very effective role in the mentioned process. However, the significant point is which employees can make this experience? The answer is very simple but key: Employees who first receive a good sense of working in a scientific and educational environment. Therefore, we are facing a phenomenon called SEM (Staff Experience Management), that is, university administrators and heads, before engaging in Client Experience Management, should seek to create a sense of satisfaction, belonging, and loyalty in the educational environment and grow their educational brand set, which its tools are certainly Employer Branding and Human Capital Management. By mentioning all the foregoing keywords, each of which is a deep concept in BRAND Building and Branding of higher education institutions discussion, we begin our main discussion, namely marketing and branding in higher education institutions. I hope you will be with us by the end of the book and experience a different studying the book, dear reader. Dr. Mohajer writes in his introduction: Be the best version of yourself I daresay all brand and branding concepts and definitions can be observed in the above sentence. whereof the brand, like a human, experiences all the before birth, birth, growth, maturity, wane and death processes, and since a real human being is always looking for growth and ascendancy, and this continuous process to reach the endpoint Life, thus the grown man is always looking to reach a higher point of his present and past. The most important tool in a human ascendancy or a brand is certainly an education. Either for a human or a brand, becoming a distinct brand goes through practical training. The above sentences are a summary of my little experience as Seyed Mohammad Mohajer in education and especially training in the brand management field. Certainly, the brand and education and the combination of these two words are the main and vital tools for the development of any country and human being. Now that I am the President of Tarjoman Oloom Higher Education Institute and the BrandAfarin international group, I consider it necessary as my social mission to start first from myself and with a better understanding of myself, then the great God and comprehending the universe; I announce to the cultured society that we seek to identify brilliant talents in the three areas of education, research and management consulting, and we warmly welcome intellectuals, professionals and individuals seeking individual and organizational growth. Also, by creating skill training courses in four specialized fields of management in the Business School, foreign languages ​​in the Language School of Art and Media in the Art School, and new technologies in the i4.0 School for people who can not afford to pay for the training tuition, We have created the chance to study at Tarjoman Oloom Higher Education Institute for free and then go to the business market. It would be my honor to contact me for more information and direct communication through my website www.mohajer.tvLinks to an external site. and my email info(at)mohajer.tv. Book Details: ISBN-13 : 979-8574963845 Paperback : 272 pages Language: : English ASIN : B08PJPQSK9 Paperback : 272 pages Author: Seyed Mohammad Mohajer, PhD. (President of Tarjoman Oloom Higher Education Institute) For more information on Marketing and Branding in Higher Education Institute, visit: https://www.amazon.com/dp/B08PJPQSK9Links to an external site. (shrink)

This entry surveys issues at the intersection of art and morality. Particular emphasis is placed on whether, and in what way, the moral character of a work of art influences its artistic value. Other topics include the educational function of art and artistic censorship.

Christian B. Miller has noted a “realism challenge” for virtue ethicists to provide an account of how the character gap between virtuous agents and non-virtuous agents can be bridged. This is precisely one of Han Feizi’s key criticisms against Confucian virtue ethics, as Eric L. Hutton argues, which also cuts across the Aristotelian one: appealing to virtuous agents as ethical models provides the wrong kind of guidance for the development of virtues. Hutton, however, without going into detail, notes that the (...) notion of rituals in the Confucian tradition may be able to sidestep Han Feizi’s criticism. In this essay, I wish to explore not only how the notion of rituals, alongside its corollaries in Xunzi’s Confucian program for ethical cultivation, indeed addresses Han Feizi’s criticism, but also observe that Aristotle’s tragic poetry plays functionally equivalent roles in his own understanding of ethical upbringing. I will begin by considering Han Feizi’s critique of ethical cultivation in virtue ethics as such and how it poses a specific problem for the acquisition of the ‘constitutive reasoning’ shared by Aristotle and Xunzi. I will then briefly note that this problem trades on the synthetic structure of human nature found in both Aristotle and Xunzi (the rational/irrational parts of the soul and the heartmind/five faculties), which grounds the way they understand ethical action and agency. Finally, I will suggest how both Aristotle and Xunzi understand the role of the arts in their extensive programme of ethical cultivation, allowing them to respond to Han Feizi’s attack as too narrow a construal of their respective ethical projects. It is hoped that, through this, we may gain a better sense of how more recent virtue ethicists may similarly draw on aesthetic resources for ethical development. (shrink)

This article brings out ethical aspects arising in Plato’s classical critique of narrative and imitative art in The Republic, especially when it comes to reading stories about the past. Socrates’s and Glaucon’s most important suggestion, I argue, is to cultivate an ethical consciousness where one ought to see the distinctions between how the real and the imaginary in narratives are to be conceived, and what that insight ethically demands of the reader. Taken as an ethical insight for the reader when (...) engaging in narrative understanding, this should be to resist the temptation to think that past suffering and misery as told in a story can be read analogously to narratives having a tragic plot. The article clarifies the meaning of Plato’s critique through the ideas of Simone Weil, Emmanuel Lévinas and Iris Murdoch. These existential moral philosophers work towards having an ethical consciousness in one’s personal relationship with stories of our lifeworld. (shrink)

This study aims to find out the factors that hinder students in learning Integrated Art Education. A descriptive research design was utilized in the conduct of the study. The researcher prepared a questionnaire with 15 closed-ended- questions that could be answered objectively. The study discovered that the students would learn more when they feel that they belong to a certain group. Interests in a subject also matter, the more you are interested in a particular subject, the more you will (...) learn the material. Parent support marks an impact on the student's interest in learning Arts. Therefore, personal interest in a subject must be given attention and managed properly. Parent's support also plays a vital role in reinforcing the students on what to pursue in order to maintain their motivation. (shrink)

This article attempts to think of thinking as the essence of critical education. While contemporary education tends to stress the conveying of knowledge and skills needed to succeed in present-day information society, the present article turns to the work of Theodor W. Adorno to develop alternative thinking about education, thinking, and the political significance of education for thinking. Adorno touched upon educational questions throughout his writings, with growing interest in the last ten years of his life. (...) Education, he argues following Kant, must enable students to think for themselves and to break free of the authority of teachers, parents and other adults. Nevertheless, in his discussions of education Adorno says little about the nature of thinking, and the secondary literature on his educational theory addresses this question only cursorily. Important claims on the nature of thinking do appear elsewhere in Adorno's work. From his early writings up to Negative Dialectics, Adorno is preoccupied with thinking, sketching the outlines of critical-dialectical thought. Still, these reflections rarely touch upon educational questions, and the Adorno scholarship has yet to establish this link. Unlike studies which read Adorno's educational thought against the backdrop of the history of education and the German Bildung tradition, or in relation to art and aesthetics, the present article brings together Adorno's ideas on education and thinking in an attempt to contribute both to the Adorno scholarship and to the growing field of education for thinking. (shrink)

It is a familiar thesis that art affects moral imagination. But as a metaphor or model for moral experience, artistic production and enjoyment have been overlooked. This is no small oversight, not because artists are more saintly than the rest of us, but because seeing imagination so blatantly manifested gives us new eyes with which to see what can be made of imagination in everyday life. Artistic creation offers a rich model for understanding the sort of social imagination that is (...) essential to moral deliberation. The " moral " of the arts is that everyday moral decisions can be as richly consummated as artistic productions. The distance is narrowed between this ideal and actual deliberations to the degree that a culture focuses beyond sedimented moral criteria to education of aesthetic virtues of sensitivity, perceptiveness, discernment, creativity, expressiveness, courage, foresight, communicativeness, and experimental intelligence. (Note: The key concepts and main line of argument in this article are further developed in ch. 7 of John Dewey and Moral Imagination: Pragmatism in Ethics (Indiana University Press, 2003).). (shrink)

Following neo-Aristotelians Alasdair MacIntyre and Martha Nussbaum, we claim that humans are story-telling animals who learn from the stories of diverse others. Moral agents use rational emotions, such as compassion which is our focus here, to imaginatively reconstruct others’ thoughts, feelings and goals. In turn, this imaginative reconstruction plays a crucial role in deliberating and discerning how to act. A body of literature has developed in support of the role narrative artworks (i.e. novels and films) can play in allowing us (...) the opportunity to engage imaginatively and sympathetically with diverse characters and scenarios in a safe protected space that is created by the fictional world. By practising what Nussbaum calls a ‘loving attitude’, her version of ethical attention, we can form virtuous habits that lead to phronesis (practical wisdom). In this paper, and taking compassion as an illustrative focus, we examine the ways that students’ moral education might usefully develop from engaging with narrative artworks through Philosophy for Children (P4C), where philosophy is a praxis, conducted in a classroom setting using a Community of Inquiry (CoI). We argue that narrative artworks provide useful stimulus material to engage students, generate student questions, and motivate philosophical dialogue and the formation of good habits which, in turn, supports the argument for philosophy to be taught in schools. (shrink)

Using Australia to illustrate the case, in this paper it is argued that the transformation of universities into businesses and the undermining of the liberal arts is motivated by either contempt for or outright hostility to democracy. This is associated with a global managerial revolution that is enslaving nations and people to the global market and the corporations that dominate it. The struggle within universities is the site of a struggle to reverse the gains of the Radical Enlightenment, the (...) tradition of Enlightenment that, committed to upholding and developing the civic humanism of the Renaissance, strove for liberty, understood as democratic self-governance. The central place the liberal arts had in upholding this liberty is shown. Inspired by the Ancient Greek notion of paideia, the liberal arts, which originated in republican Rome, was the form of education required designed for free people, in opposition to the specialist education appropriate for slaves, to inspire them to maintain their liberty and enable them to govern themselves. While not always upholding this ideal, it is argued in this paper that the liberal arts always kept alive this quest for liberty, bequeathing this quest to the Renaissance philosophers and to the proponents of the Radical Enlightenment. With managerialism and the undermining of democracy, such education and the questioning, creative people it produced, are now seen as a threat to the new global corporatocracy who, to achieve cultural hegemony, have coöpted university managers and academics to impose their agenda to cripple the liberal arts. Their goal, never fully articulated as such but successfully prosecuted, is a dumbed-down population. (shrink)

This article focuses primarily on improvisation in the arts as discussed in philosophical aesthetics, supplemented with accounts of improvisational practice by arts theorists and educators. It begins with an overview of the term improvisation, first as it is used in general and then as it is used to describe particular products and practices in the individual arts. From here, questions and challenges that improvisation raises for the traditional work-of-art concept, the type-token distinction, and the appreciation and evaluation (...) of the arts will be explored. This article concludes with the suggestion that further research and discussion on improvisation in the arts is needed, particularly in the areas of non-jazz improvisation. (shrink)

How do we prepare engineering students to make ethical and responsible decisions in their professional work? This paper presents an approach that enhances engineering students’ engagement with ethical reasoning by simulating decision-making in a complex scenario. The approach has two principal inspirations. The first is Anthony Weston’s scenario-based teaching. Weston’s concept of a scenario is a situation that changes in response to choices made by participants, according to an inner logic. Scenarios can dynamically explore open-ended complex problems without imposing predetermined (...) results, allowing students to apply their ethical reasoning in a more realistic fashion. The second inspiration is Thi Nguyen’s theory of games. According to Nguyen, games are the “art of agency,” meaning that they provide a structure under which some result is agreed to be valuable, along with prescribed ways of achieving that result, in a relatively low-stakes and temporary social arrangement. By playing many games, Nguyen argues, we can develop a “library of agency,” that is to say, a set of values and means to achieving them that can inform how we make high-stakes decisions in real life. Engaging with carefully designed game scenarios, then, can enable students to practice making ethical decisions within a structured framework, which unfolds in response to their choices, while their decisions are driven by some defined goal. This roleplaying game–based approach thus allows students to build their own ethical libraries of agency, in preparation for professional decision-making. The approach is illustrated using a specific example recently deployed in a seminar on engineered living materials (building materials that incorporate living tissues). The scenario uses techniques from tabletop roleplaying games (e.g. Dungeons & Dragons) for outcome resolution, adventure design, and character creation. Through the game, students practice making difficult decisions in a humanitarian context. (shrink)

For centuries, the major story of enlightenment was that education is and should be the cornerstone of our society. We try to educate people to make them respectable members of society, something which we inherently relate to being "better persons", firmly believing that education makes humans less prone to evil. Today, modern research seems to validate that premise: statistics verify that more education results to less crime. But is this picture accurate and does this mean anything regarding (...) morality per se? This paper tries to examine the facts with a more critical eye and determine whether education is indeed a source of ethics or not. The results of the analysis show that what we understand as education is not only unrelated to ethics but can also be a factor resulting in the degradation of morality in humans. Rousseau's arguments against science and arts are re-enforced with arguments stemming from other great philosophers and from modern experience itself. Using modern statistical analysis regarding the correlation of crime and education and through the examination of the modern regression in ethical issues, it becomes evident that education cannot and should not be a source of ethics. Knowing what is ethical is not as important as living an ethical life. Pharisees were the first to be denied the entrance to the kingdom of God. As Oscar Wilde once said, "Education is an admirable thing, but it is well to remember from time to time that nothing that is worth knowing can be taught". (shrink)

Thepaperaimstoexplorethepotentialofresearchbydesigninarchi- tecture and visual arts. The main objective of the paper is to analyze the different models and epistemological positions advanced in the academic milieus as far as doctoral research by design is concerned, to explore the differences and similar- ities between research by design in the field of architecture and in the field of visual arts. Even though the research by design in the fields of architecture and visual arts is focused on the production of knowledge (...) through visual, associative, and experimental research, the models of research by design in visual arts differ from those prevailing in architectural programs. The paper focuses on a corpus of models of doctoral research by design carried out within different university pro- grams in schools of architecture and visual arts, and various multi-university and supra-disciplinary programs (architecture and visual arts) which share the inten- tion to develop their research projects through creative practice. Two questions to which this paper aims to respond are the following: Under which circumstances and conditions a work in the field of architecture (drawn, graphic, or con-structed) or its formulation (verbal or written) can be recognized as active in the constitution of knowledge? What are the modes of inquiry specific to architectural and artistic practices that make it possible to build knowledge that can be transmitted and shared? (shrink)

Advances in artificial intelligence and neuroscience claim to have begun to undermine the assumptions of the arts and educational theory community by explaining consciousness through either a reduction to mathematical functionalism or an excrescence of brain biology. I suggest that the worldview behind such reductionism is opposed to the worldview assumed by many educational practitioners and theorists. I then go on to outline a few common positions taken in the burgeoning field of consciousness studies that suggest that—though many attributes (...) of consciousness have been identified and explained—individual consciousness itself remains as much of an enigma to scientists as to the rest of us who experience it. However, I do suggest the necessity of intersubjectivity for conscious evolution. (shrink)

This study aimed to trace the 2015 to 2019 MAME graduates in the College of Teacher Education for Graduate Studies of the University of Northern Philippines in terms of their personal profile, their work-related profile before and after taking their master’s degree, reasons of taking up the program, competency level before and after taking the program, appraisal of the most useful courses offered in the program, evaluation on the contribution of the program to their personal and professional growth and (...) assessment on the features of the program and suggestions of how to improve the program. The researcher utilized mixed method of research. The subjects were the MAME graduates, and a questionnaire and open-ended questions were sent to them thru various online flat forms. Based on the findings of the study, the following conclusions are derived: pursuing graduate studies chooses no sex, civil status or age as long as there is a will to improve one's self; students have math- related educational background and finished the program within the prescribed number of years; having master’s degree could contribute greatly in landing a permanent teaching job in public schools; professional and personal growth and development is the strongest drive to pursue advance education; the program offers subjects that are useful which enhanced the teaching competencies of the graduates and consequently contribute to the holistic development of the graduates; and that there are areas needing improvement in the MAME program. (shrink)

Nelson Goodman (1906-2007) approached the arts and other kinds of knowledge as forms of symbolism. His principal aim in philosophy was to advance understanding and remove confusions by verbal analysis and logical constructions. Goodman's philosophical theories encompass nominalism, constructivism and a version of radical relativism. In his Languages of Art, Goodman sets forth distinctions among the various art according to differences in the forms of symbols employed. He contributed as well to arts education and to philosophy of (...) the museum. His performance work, "Hockey Seen: A Nightmare in Three Periods and Sudden Death embodies his aesthetic theories. (shrink)

An artwork in one culture and form, say European classical music, cannot be evaluated in the context of another, say Hindustani music. While a person educated in the traditions of European music can rationally evaluate and discuss her response to a string quartet by Beethoven, her response to music in a foreign culture is merely subjective. She might "like" the latter, but her response is merely subjective. In this paper, I discuss the role of artforms: why response can be "objectively" (...) discussed within artforms, but is nonetheless subjective across them. My discussion falls into two parts. First, I offer a psychological account of aesthetic response to art: cultural learning stabilizes this response across individuals who are educated in an artform. Second, I offer a cultural-evolutionary account of the diversity of artforms, adapting Darwin's Principle of the Divergence of Character to explain the multiplicity of art forms. (shrink)

This paper investigates how an introductory philosophy course influences the moral and political development of undergraduate students in a Liberal Arts university in Central Asia. Within a context of rapid changes characteristic of transitional societies—reflected in the organization of higher education—philosophy provides students with the means to reason about moral and political values in a way that overcomes the old ideological tenets as well as contemporary reluctance to theoretical inquiry. Studying philosophy provides a remedy for deficiencies in both (...) secondary and higher education, by improving general reading and reasoning skills, that enable the development of moral reasoning. Furthermore, familiarity with major works of moral and political philosophy can help students comprehend the patterns of social change, as well as surmount the issue of unsatisfactory theoretical foundations for social science. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Scrutinizing the Art of TheaterAaron Meskin (bio)IntroductionIn his 1992 address to the American Society for Aesthetics, Peter Kivy suggested that philosophers of art might do best by giving up on “grand theorizing” (that is, pursuing the definition of art).1 In its place he proposed that they pursue the “careful and imaginative philosophical scrutiny of the individual arts and their individual problems.”2 Of course John Passmore and others had (...) said similar things at earlier points,3 but philosophical aesthetics has, it seems to me, finally and robustly taken the turn toward the philosophies of the arts. Much of the best work in philosophical aesthetics over the last fifteen years or so has pursued the route Kivy suggested. James Hamilton’s The Art of Theater is part of this turn—it is careful and imaginative scrutiny of the art of theater done at the very highest level, and I am delighted to have this opportunity to comment on it.4In what follows I shall address a number of issues raised by Hamilton’s work: the definition of theatrical enactment; the place of pretending and imagining in theatrical performance; the nature of Hamilton’s “ingredients model” and its relation to more traditional accounts of the work/performance relation; the account of theatrical style on offer; and the question of what we have learned from experimental theater.But before I move on to address those aspects of the book’s content in detail, let me say something about the pedagogical significance of this work. Although there are a number of legitimate ways to teach introductory courses on aesthetics and the philosophy of art (for example, by following a historical progression or by structuring it around certain key issues), one increasingly attractive option is to teach a course that focuses on those aforementioned individual arts and their individual problems. So, for example, I used to regularly teach graduate seminars in aesthetics to students enrolled [End Page 51] in a fine arts doctoral program. These students studied music, art education, the visual arts, theater, and dance; the seminars were designed to provide them with a broad foundation in philosophical aesthetics. Since they typically had no background in philosophy, I made the effort to assign readings and topics relevant to their own artistic practices and interests. Providing them with contemporary cutting-edge philosophical material on music and the visual arts was not hard. Kivy’s work, as well as that by Jerrold Levinson, Arthur Danto, Richard Wollheim, and others, makes that fairly easy. And intriguingly—since philosophers are commonly said to have ignored the art of dance—there’s even a decent amount of recent philosophical work on that art form by such authors as Graham McFee, Frances Sparshott, and Noël Carroll and Sally Banes.5 But where to turn to for the theater students? I would often read some of Aristotle’s Poetics with them, but I have to admit that the serious students of the theater that I encountered in those seminars typically knew that text much better than I did. (Still, I hope I challenged their breezy assumptions about catharsis!) We would read Hume on tragedy together—fun, but not really so much about the theater—and sometimes a bit of Nietzsche. But there was never much to give them from contemporary philosophers on the subject—a few articles here and there, of course, but nothing that clearly laid out the big and distinctive issues that the art form of theater raises. Nothing, to put the point a bit differently, that would provide any evidence that there really was a lively and extant philosophy of theater out there, as there are lively and extant philosophies of film, music, literature, and photography. In short, for those attracted to the prospect of teaching aesthetics as the philosophies of arts, the dearth of good work on theater by contemporary philosophers has been a significant source of frustration and even a bit of an embarrassment.The book in question is not the only recent philosophical work on theater. There are fine articles on the topic by David Osipovich, David Saltz, and Paul Woodruff, among others. Hamilton himself has a string of... (shrink)

Against the Artists. Jun'ichirō Tanizaki and the Man of Art. -/- This essay explores the concepts of "art" (gei) and "man of art" (geinin) in Tanizaki's works. These two notions belong to an ancient Japanese aesthetic tradition. The concept of 'gei' means "realization", "skill", but also "technique" and "ability". Traditional stage performances such as 'nō', 'kyōgen', 'bunraku', 'kabuki', are typical examples of 'gei'. On the other hand the concept of 'geinin' implies three pivotal aspects: 1) a strict and harsh aesthetic (...) education; 2) an environment suitable to develop the man of art's sensitivity; 3) a long process of emotional maturation. This perspective, according to this paper, sheds light on the peculiar Japanese aesthetic "difference" in relation to the concepts of art and artist developed - on the contrary - in Western tradition. (shrink)

The relationship between space and human occurs through the actions performed with the body. The abstraction study as an exploration of the body is one of the significant practices for first-year design students. However, there are not enough investigations for design students regarding body, space and basic design principles. This paper aims to explore the potentiality and limitations of the body-abstraction process by comparing the impact of two different educational models on students' perception and improvement. The applied methodology includes comparing (...) two design processes of the basic design course depending on parameters: Given example, source of the video, type of movement, the number of the selected-used scenes, mode of sketching, the method for production, requested outcome, the scale of the study, the material of models and critique of the video. The results present that the activation of the body through mental practice, drawing and modelling stages is critical to understand its abstract and spatial capabilities. The realisation of the potentials in the relationship between body and abstraction in spatial perception would enable us to create an advanced design process addressing more original concepts. (shrink)

Review of 1989 text by Ralph A. Smith, noted art education scholar during the era of DBAE (Discipline Based Art Education), that criticizes the author's agenda to remedy the ills of the state of arts education, arts' secondary status to the sciences, pluralism, and popular ideologies of of contemporary culture as an agenda that is (below the surface) clearly conservative, male-centered, Eurocentric and elitist. My conclusion: "Educators, beware.".

The American system of education makes important and sometimes unjustified assumptions that were questioned and criticized nearly a hundred years ago by author and educational theorist Albert Jay Nock. This essay discusses Nock’s theory of American education and finds that certain of these assumptions stand greatly in need of the support of evidence.

The expression ‘a university without research is a dignified high school’ is becoming a both local and global concern in the academia. The purpose of this paper is to assess the extent to which collaborative research methodologies can enhance integration of faculties of arts and humanities in the universities in Malawi for knowledge development and transfer. It has been argued over and over that universities are spotlighted by their outstanding work in research, developing and sharing ideas, new inventions and (...) creativity within the spectrum of partnership development. While striving for partnership through collaborative research approaches, research activities still remain an area of concern in institutions that offer diverse tertiary education in Malawi. The question of how can these institutions or faculties engage each other in collaborative research methodologies in the quest of knowledge development and transfer remains crucial and relevant The study analyzed strengths, weaknesses, threats and opportunities of the existing research methods in Arts and Humanities and how the two disciplines can create a space for amalgamation so that research findings can benefit both disciplines. The study reveals that collaboration in various disciplines is a challenge owing to variations of conceptual analyses and the deficiency of technical no-how of both teaching staff and students as well as tools for data collection and analysis as may be emphasized in each of the areas of study; Arts and Humanities. Furthermore, while other institutions of higher learning have research ethics committees for checks and balances as a collaborative tool, some institutions do not know that this committee plays a crucial role in the field of research. Within this backdrop, there is need to develop research collaborations within an institution or with other institutions of higher learning that have a well-defined research profile for mutual benefits as far as collaborative research methodologies are concerned. (shrink)