Importance Of Art Research Articles

ARTed Talks: Promoting the Voices of a New Generation of Art Teachers

Imagine discussing a complex topic such as the importance of arts to education in eight minutes or less. Now imagine doing that as a preservice educator still learning the field of art education an...

Danto as Educator

From the title as Educator (1874)1 it would be natural to expect Nietzsche to offer us a detailed account of how Schopenhauer's philosophical system influenced his own thought, or perhaps at a minimum how the sage of Frankfurt's work was crucial for his development as a thinker. After all, Schopenhauer's World as Will and Representation clearly left a profound mark on Nietzsche's earliest published work, The Birth of Tragedy. But Nietzsche frustrates these reasonable expectations in the essay, as he is almost entirely silent on Schopenhauer's actual philosophical system. By the point in time of writing as Educator, Nietzsche has apparently taken for granted that this post-Kantian's version of transcendental idealism, his will-less aesthetics, the ethics of compassion, and the praise of asceticism as redemption from the will-to-life are just plain wrongheaded. So why would Nietzsche call Schopenhauer his educator, if Schopenhauer's oeuvre was not particularly educational?Nietzsche focuses on the man as educator. He lauds Schopenhauer as an example of how to be a true philosopher for one's time and culture. Most impressive to him was Schopenhauer's manner of living: independent, free from the dominant religious, political and social thinking of his day; free from the need to draw an income; and, accordingly, free from a formal academic environment. Above all, what was most worthy of emulation, according to Nietzsche, was Schopenhauer's quest for the truth and the suffering he undertook for truth's sake. He suffered in part because of the intellectual climate in which he philosophized that favored Hegelian currents rather antithetical to Schopenhauer's peculiar mixture of Plato, Kant, Vedic thought and attention to contemporary natural science. Ultimately, it is the example of the free, truth-seeking and suffering genius that creates a philosophy with the capacity to disturb that makes Schopenhauer his educator.2Arthur Danto was one of my most important educators. He is responsible, for better or for worse, for putting me on the intellectual and academic path I've been pursuing for the past 20 years, that is, to reconstruct many facets of Schopenhauer's thought, especially his metaphysics, ethics and aesthetics for contemporary use. Unlike Schopenhauer's influence on Nietzsche, however, it is both Danto's work and his personal example as an engaged philosopher and art critic that educated me. Further, Danto's model as a philosophical educator is anything but that of a solitary, untimely sufferer for the sake of the truth, though he did exemplify a kind of freedom from traditional academic style and freedom from the oftentimes-sterile academic concerns of his day. While Danto certainly sought out the truth about the nature and importance of art, history, and many other philosophically rich topics, he was no solitary sufferer. On the contrary, Danto was a very sociable and even joyful philosopher, deeply engaged in his contemporary society, in the academy, and especially in the world of art past and present.I decided to pursue graduate study in philosophy at Columbia in the early 1990s largely because of Arthur Danto. As an undergraduate I read The Transfiguration of the Commonplace (1981), and I recall reading the whole 200-page book in one sitting. In that book, Danto takes the reader on an exhilarating, ridiculously erudite journey through the history of philosophical aesthetics, the history of art, and through contemporary currents in the visual arts especially in the 1950s and 1960s. The meandering but purposive path he takes in the book delivers a compelling case that the essence of a work of art, as opposed to an ordinary object, is that it is an embodiment of meaning, and further, that one needs to understand the historical and institutional background of artistic practice in order to grasp that meaning and to grasp the essential nature of art and why it matters. …

ART IN THE PEDAGOGY OF "LIBERAL EDUCATION" OF RUSSIA AT THE END OF THE XIX - THE BEGINNING OF THE XX CENTURY

In this article, in the search of ways of development of modern Russian education, based on universal values and free development of the individuality of each child, considers the views of representatives of pedagogy liberal of the turn of XIX – early XX centuries in search of ways of development and a radical renovation of the existing school. The study aims to analyze new approaches to educational theory and practice, based on the rejection of uniformity in training and education, search of opportunities of creating conditions for natural and free development of the personality. An important place in the work understands the ideas of teachers about the child the center of the entire educational system, the impossibility of any kind of violence and intervention in the natural process of development from the adults. The article analyzes the ideas of teachers about the education of free, creative, selfdetermining personality, the significance of the expression of the child's personality, harmonious development of all aspects of human nature, touches on the necessity of encouraging your child to modern culture, and also about the leading role of art in the process. The work presents the beliefs of teachers about the importance of art, including music, in the development of each child. Considerable attention is paid to the description of the proposals of thinkers about the importance of the organization of accumulation of children's personal experiences with the art activities of children on the perception of music, singing and playing musical instruments to facilitate the free and harmonious development and disclosure of creative abilities and demonstrate initiative, meet free needs of children.

Byline, Richard Wright: Articles from the Daily Worker and New Masses by Richard Wright

Reviewed by: Byline, Richard Wright: Articles from the Daily Worker and New Masses by Richard Wright Brennah Hutchison (bio) Wright, Richard. Byline, Richard Wright: Articles from the Daily Worker and New Masses. Ed. Earle V. Bryant. Columbia: U of Missouri P, 2015. Earle V. Bryant's Byline, Richard Wright: Articles from the Daily Worker and New Masses historically contextualizes Wright's journey as a journalist with several publications during the years he was associated with the US Communist Party. Bryant's critical book chronicles the celebrated writer's activism not through his well-known literary works, but through his lesser-known periodical pieces that were featured in publications such as the Daily Worker (1921–1958), New Masses (1926–1948), and New Challenge (1937).1 Byline presents a detailed roadmap of Wright's editorial passage through an America that is suffering due to the Great Depression. The critical text examines the historic events that Wright humanized in an attempt to shed light on issues like: the African American livelihood in an impoverished Harlem, where many residents could not even afford the inflated price of milk; America as a global citizen in an ever-changing sociopolitical milieu; how Joe Louis came to represent democracy in his infamous match against Nazi Max Schmeling; [End Page 117] the unlikely faces of African American members within the Communist Party, like Mother Ross who was born a slave; and the importance of art as propaganda through the life and folk lyrics of Huddi Ledbetter. Bryant illustrates that Wright's journalistic work showcased the author's ability as an active observer/writer and his talent for encapsulating an era of political instability on local and international levels. Bryant aims to demonstrate that Wright immortalized the everyday [wo]man, along with the celebrated, in order to create a realistic snapshot of the late-1930s in America. Bryant is successful in representing this; Wright's articles that he includes exemplifies the author's sense of responsibility, not only to the US Communist Party, but also to his fellow residents in Harlem and America in general. Much like Bigger Thomas in Wright's legendary Native Son (1940), within his periodical pieces Wright typifies the need to focus on all facets of human nature in order to produce a more fulfilling picture. Byline is organized into five sections. For the most part, each section focuses on major/ minor and international/local historical events that affected the United States, and the African American community specifically. "Section One: The Shame Spot of New York" highlights Wright's never-ending work when it came to disclosing the inhabitable conditions of Harlem. Bryant makes a point of exhibiting Wright's social actions through a stoical pathos with his Daily Worker article "Negro, with 3-Week-Old Baby, Begs Food on Streets": While Wright's account of Harlem's battered and bruised souls is heart-rending, his intent is not to evoke tears. 'If you are the type to weep,' he writes at the conclusion of 'Negro . . . Begs Food,' then 'you can have a good cry over this and then feel good, 'purged,' you know. But tears can't stop starvation.' Wright's primary purpose is to effect action, reform. (18) In addition, pieces like "A.L.P. Assemblyman Urges State Control of Price of Milk" were also featured in the Daily Worker. Readers have no choice but to confront the devastating lifestyle of Mr. and Mrs. Adolphus Green and their children of Harlem: What does this 1-cent per quart increase in the price of milk mean to a Negro family in Harlem? Mount the steps at 14 E. 120th St. and knock . . . you want to know how the rise in the price of milk will affect their living? . . . The children, including the mother and father, are undernourished. In telling the ages of her children, Mrs. Green declared timidly: 'I'm always ashamed to tell people how old my children are, they are so small. They simply don't get enough to eat.' (33–34) Bryant establishes that Wright has the skill to drag the reader along with him in his journalistic endeavors in an impoverished Harlem situated in the Great Depression. "Section Two: The...

Integration of Art and Morality in Oscar Wilde's the Happy Prince

Oscar Wilde is associated with the doctrine Art for Art's sake. He is believed to be a pure aesthete who thought of morality as being independent of art. Critics often describe the decadence literature to which Wilde belongs as being immoral, morbid, sordid, and perverse. Some critics find his story The Happy Prince an example of his homosexuality. In his short story The Happy Prince he proved to be more a moralist than an aesthete. It shows that he did not in fact apply his doctrine Art for Art's Sake. The paper shows that Wilde also believed in the inherently moralist nature of art. He believed that art can transform society into a better one through better appreciation of art. Art may also create the conditions conducive to a further development of a society. Drawing a grim picture of a town where art is not appreciated, he presents the theory that a modern welfare state cannot be constructed without art. He charts the way towards achieving such a project. He makes a statue transform a misery-stricken town into a happy one. Thus he criticizes the crude Victorian society and their hostility to his theory of aesthetics as well as their obsession with the new materialism and ugly industrialization of the age. He indicts inequality, poor living conditions and misery. The Happy Prince is a celebration of the importance of art in any modern society. He concludes his story with the idea that religion does not disapprove of art making the story his proof that he does preach morality in his art and he is far from being morbid or perverse.

Derecho Ambiental Ecuatoriano, quo vadis?

El derecho ambiental, reconocido como tal, es una de las ramas más modernas del derecho y el estudio de su historia y evolución divide a los autores. Sobre la base de una revisión histórica, el artículo expone el concepto y los principios del derecho ambiental y concluye con un análisis del texto constitucional y prueba como en la práctica se debilitan varios principios de esta rama especializada que son resultados precisamente de la evolución histórica que se presenta en el artículo en su primera parte; se incluye entre las conclusiones una alerta sobre las consecuencias de este paulatino debilitamiento.
 El objetivo principal de este artículo es presentar la evolución del derecho ambiental para contribuir con su divulgación y evidenciar que la importancia de mantener técnica en su definición para evitar su debilitamiento. Durante su elaboración se trabajó principalmente con fuentes documentales, revisión bibliográfica de investigaciones y artículos de tratadistas reconocidos. El artículo contiene: (i) introducción, (ii) evolución histórica global y latinoamericana, (iii) concepto y principios del derecho ambiental, (iv) breve análisis de las normas ambientales en la Constitución del Ecuador, enfatizando en aquellas relativas a los derechos de la naturaleza y el caso de los transgénicos, también llamados organismos genéticamente modificados, y a modo de conclusión se expone sobre la perspectiva del desarrollo futuro del derecho ambiental en Ecuador.

Deep Knowledge: A Strategy For University Budgetary Cuts

During and after the Financial Crisis of 2008, many institutions of higher learning have had revenue and budgetary reductions, forcing them to make severe university budget cuts and university reductions in force. Often the university cuts are preceded by a process of evaluation of academic programs where institutions determine what they stand for and value. One option, when forced to downsize, is to use a business model, such as Sullivan (2004) explains, where high-value, low-cost programs are kept and low-value, high-cost programs are cut. However, a business model of education does not reflect the true social value of education or the importance of arts, sciences and humanities, where students learn how to struggle with, write about and understand the world. John Henry Cardinal Newman’s (1852) treatise, The Idea of a University, suggests an alternative strategy of cost cutting that has to do with deep knowledge, i.e. keep the oldest programs in existence on a given university. Using the deep knowledge concept, a university will cut young (junior programs) first and retain old (senior) programs until the very last, rather than deciding cuts based on a business model. The deep knowledge concept emphasizes a Socratic ideal where professors and students wrestle over concepts, such as the meaning of “beauty.”

Message from Editor

Dear Readers,It is a great honor for us to publish fifth issue of International Journal of Innovative Research in Education.International Journal of Innovative Research in Education welcomes original empirical investigations and comprehensive literature review articles. The journal aims to promote new innovative ideas in all fields of education.The journal provides an international platform for researchers, managers, scientists, professionals and professors of educational sciences to publish high quality refereed papers comprising comprehensive leading trends of education.Views of individuals with visual impairment on the usability of a website in social responsibility projects, importance of art in social work practices, views of school adminstrators on teachers’ time management skills in class, total quality management in education, evaluation of the perspectives of employees on the destination of a tourism region, analysis of public hospital activities and musical socialization process have been included into this issue. The topics of the next issue will be different. You can make sure that we will be trying to serve you with our journal with a rich knowledge in which different kinds of topics are discussed in the next volume. A total number of thirteen (13) manuscripts were submitted for this issue and each paper has been subjected to double-blind peer review process by the reviewers specialized in the related field. At the end of the review process, a total number of seven (7) high quality research papers were selected and accepted for publication for this issue.We present many thanks to all the contributors who helped us to publish this issue. Best regards,Assoc. Prof. Dr. Zehra OzcinarEditor – in Chief

Action at the exhibit face: video and the analysis of social interaction in museums and galleries

ABSTRACTWhilst we can observe a considerable increase in importance of arts and museum marketing, research of people’s engagement with art in exhibitions is relatively rare. This neglect of people’s action and interaction in exhibitions is somewhat surprising considering that it is in exhibitions where museums are in direct contact with their audience. This article begins with a review of the emergence of video-based research in the social sciences before turning to the use of video for the study of visitor behaviour in exhibitions. It contributes to recent debates on experiential and sensory marketing by examining three video-recorded fragments of interactions at exhibits in museums. The analysis of the fragments suggests that people’s experience of exhibits arises in social interaction with others. The article ends with a discussion of the theoretical and methodological contribution of video-based research in museums and of implications of such research for those involved in the management and design of museums and other experiential environments.

Perceptual Systems, an Inexhaustible Reservoir of Information and the Importance of Art

There is my developing experience as a painter going blind which is unusual and interesting and as you know I am interested in that. But I am equally interested, possibly more interested in a conception of what figurative art can be as a way of mining new experience and in some sense or other recording it so it’s communicable. Now essentially all my drafts [of this paper] are trying to put those two together and it seems at first like a paradox, but it’s a paradox that I think I can perfectly resolve… and it’s what I want to do… the third element which is very hard to separate from the other two, is the perceptual learning applied to the perceptual systems, made possible through consciousness… That does require an analysis to do with things to do with the anatomy of the eye and the brain, which most people haven’t got a clue about but which is absolutely crucial.

Achieving Harmonious Colour Relationship in Art/Design: Towards a Mathematical Model

Achieving harmonious colour relationship for visual expression is of prime importance in art and design. Mixing pigment colours is often unwieldy, ambiguous, confusing and problematic. Therefore, as a panacea, this paper proposes a mathematical model that would serve heuristic, descriptive, diagnostic, prescriptive, and predictive functions. It used a triangulation of the Critical-Historical-Analytical Examination, Artistic Exploration and Content Analysis methods. The paper started with the need for model to satisfactorily resolve problems associated with mixing colours in harmony. Furthermore, the fundamental features of colour were highlighted. Moreover, it discussed the adoption and adaptation of the Colour Wheel into a set of alphanumeric codes and mathematical proposition: nH(I+V) =1, where n is a number of a code that represents a type of colour harmony, H:Hue, I: Intensity and V: Value. The alphanumeric codes: M(1), A(1,2,3), DC(1,7), SC(1,6,8), NC(1,6 or 8), TR(1,5,9), B(1,6,10) and TD(1,3,7,9 or 1,4,7,10) represent Monochromatic, Analogous, Direct Complementary, Split Complementary, Near Complementary, Triadic, Balance, and Tetrad schemes respectively. And the paper ended with suggestions that artists and designers should internalize and employ these codes and formula, which with practice, become intuitive and useful.Keywords: Colour Features, Colour Mixing, Harmonious Relationship, Mathematical Model, Art and Design

An Art Teacher's Perspective: The Value of Museum Resources to the Common Core

Visual art teachers have often been the producers and directors of their own curricula, turning to various resources and objectives (local, state, and national) to form their own sets of standards. Common Core State Standards (CCSS) have provided new opportunities to integrate the arts into content-based curricula. The author, a classroom art teacher, describes how museum resources and professional development workshops have helped her not only integrate the arts into core subject lessons, but how to demonstrate evidence of cross-curricular learning, and advocate for the importance of art in teaching critical thinking skills.

Art Pedagogics in Computer Graphics

<p><em>This article discusses the use of information technology, namely computer graphics. The possibility of using artpedagogicheskoy activities in computer graphics. From the perspective of the conceptual field students. Influence of processes unfolding in the information, spiritual levels, exacerbate the problem of improving the education system in accordance with the challenges of the time. In the context of the transformation of Kazakh school informatization of education is increasing scientific and practical need to find efficient models, innovative forms and methods of construction of educational pro¬tsessa. Providing favorable conditions for personal self-determination and human professio¬nalnogo. As well as substantial characteristics of the concepts of "artpedagogika" in the context of the problems solved by the visual arts. The place and importance of art in education of the younger generation.</em></p><p> </p>

Morality, Society, and the Love of Art

The principal focus of the essay is the idea of artistic value, understood as the value of a work of art as the work of art it is, and the essay explores the connections, if any, between artistic value and a variety of other values (social, moral, educational, and character-building) in human life. I start with a series of observations about social values and then turn to moral values. Beginning from Goethe’s claim that ‘music cannot affect morality, nor can the other arts, and it would be wrong to expect them to do so’, I proceed from music through the other arts; I distinguish different conceptions of morality; I highlight what I call a work of art’s positive moral value (its power for moral improvement); and distinguish three kinds of moral improvement, one taking pride of place. My conclusion is that the positive moral value of works of art has been greatly overrated. I then return to the social values of art, looking at the situation from a very different point of view and reaching new conclusions, some of them positive. I end by explaining why my observations and arguments about the positive moral value of a work of art in no way diminishes the importance of art in human life, the true end of art having an importance in human life not guaranteed by morality.

Shadow philosophy: Plato's cave and cinema

Shadow Philosophy: Plato’s Cave and Cinema is an accessible and exciting new contribution to film-philosophy, which shows that to take film seriously is also to engage with the fundamental questions of philosophy. Nathan Andersen brings Stanley Kubrick’s film A Clockwork Orange into philosophical conversation with Plato’s Republic, comparing their contributions to themes such as the nature of experience and meaning, the character of justice, the contrast between appearance and reality, the importance of art, and the impact of images. At the heart of the book is a novel account of the analogy between Plato’s allegory of the cave and cinema, developed in conjunction with a provocative interpretation of the most powerful image from A Clockwork Orange, in which the lead character is strapped to a chair and forced to watch violent films. Key features of the book include: a comprehensive bibliography of suggested readings on Plato, on film, on philosophy, and on the philosophy of film a list of suggested films that can be explored following the approach in this book, including brief descriptions of each film, and suggestions regarding its philosophical implications a summary of Plato’s Republic, book by book, highlighting both dramatic context and subject matter. Offering a close reading of the controversial classic film A Clockwork Orange, and an introductory account of the central themes of the philosophical classic The Republic, this book will be of interest to both scholars and students of philosophy and film, as well as to readers of Plato and fans of Stanley Kubrick.

Inside and Outside: High School Students Increasing Self and Social Awareness through Art Making

Creating and talking about visual art with other people is an effective method to evoke multiple dialogues about identity and social phenomena. This form of discourse, in which visual language and cultural and social expressions are intertwined, helps people better understand themselves and other human beings. Artmaking can be a process of learning about human lives (Leavy, 2015). Through discussing several artmaking approaches in a Korean high school setting, I will argue for the importance of art in terms of its effectiveness in encouraging students to reflect on their identity and social problems that influence them and the greater community. Many high school students are struggling with the concerns of dealing with intense competition, their future careers and other people’s judgements of them. At the same time, they are at a dramatic turn in their lives, where they are charting their future direction and where they should not forget about their roles as members of society. The visual stories that contain individual students’ lived experiences and emotions about their concerns illustrate the multiple layers of living as human beings in a complex society.

“A Matter of Life and Death”: Kawabata on the Value of Art after the Atomic Bombings

This article explores the possible interpretations�and the implications of those interpretations�of a comment about the importance of art made by Yasunari Kawabata (1899�1972), later the first Japanese Nobel laureate for literature: that �looking at old works of art is a matter of life and death.� (In 1949, Kawabata visited Hiroshima in his capacity as president of the Japan literary society P.E.N. to inspect the damage caused by the atomic bombing of Hiroshima that helped end World War II. On his way back to his home in Kamakura, he stopped in Kyoto. He came under severe criticism for �sightseeing� at such a time. This comment was his response.) The introduction explains why we should take him seriously as a commentator on art. The body of the article examines why our looking at art might be more, not less, important after the post-War situation, the kinds of art Kawabata might have meant, why some possibilities are more likely than others, and how they differ in what they offer us and the value of art under conditions of trauma and mass trauma.

Maurice Sendak: The Child as Artist

Maurice Sendak was an artist who not only produced extraordinary art and memorable books but also expanded the range of children's literature, what it can portray. In doing so, he eagerly dealt with his own life, his anxieties and joys, and focused on the importance of art to a child's life.

ANALYSIS OF PHILOSOPHY OF ART FROM ISLAMIC PHILOSOPHERS’ PERSPECTIVE

The western philosophers’ perspective of art is quite different from the Islamic philosophers’ philosophy of art because western philosophers repeatedly employed their western criteria and norms in evaluation of Islamic art. Consequently, this research analyzes art philosophy from Islamic philosophers’ perspective so as to have a deep understanding of art, its forms and values. The main objectives were o analyze the philosophy of art based on Islamic philosophers’ perspective, to determine what influences Islamic philosophers’ perspective of art and to understand the important role of art in Islamic culture. Methodology used was a cross sectional survey that was descriptive with qualitative research and quantitative research being employed. Specifically, research participants only included Islamic philosophers derived from different regions. Findings reveal that Islamic philosophers exteriorize and visualize what hidden inwardly in metaphysics and revelation art is. Moreover, it was revealed that majority of the Islamic philosophers believed that western philosophers misunderstand their perspective of art. In addition, the Islamic philosophers strongly agreed that Art should mainly express submission to God and that artwork that is nonconforming to Islamic worldview is unsuccessful artistically. Another philosophy of artwork is that it should reflect Divine Unity and consideration of beauty was of great importance in art according to Islamic philosophers. It was concluded that art and what constitutes art significantly depend on the culture and believes of individual groups or religious affiliations. Islamic philosophers have a radical different perspective of art philosophy where man is considered as divinity instrument created by Supreme Allah.

ANALYSIS OF PHILOSOPHY OF ART FROM ISLAMIC PHILOSOPHERS’ PERSPECTIVE

The western philosophers’ perspective of art is quite different from the Islamic philosophers’ philosophy of art because western philosophers repeatedly employed their western criteria and norms in evaluation of Islamic art. Consequently, this research analyzes art philosophy from Islamic philosophers’ perspective so as to have a deep understanding of art, its forms and values. The main objectives were o analyze the philosophy of art based on Islamic philosophers’ perspective, to determine what influences Islamic philosophers’ perspective of art and to understand the important role of art in Islamic culture. Methodology used was a cross sectional survey that was descriptive with qualitative research and quantitative research being employed. Specifically, research participants only included Islamic philosophers derived from different regions. Findings reveal that Islamic philosophers exteriorize and visualize what hidden inwardly in metaphysics and revelation art is. Moreover, it was revealed that majority of the Islamic philosophers believed that western philosophers misunderstand their perspective of art. In addition, the Islamic philosophers strongly agreed that Art should mainly express submission to God and that artwork that is nonconforming to Islamic worldview is unsuccessful artistically. Another philosophy of artwork is that it should reflect Divine Unity and consideration of beauty was of great importance in art according to Islamic philosophers. It wasconcluded that art and what constitutes art significantly depend on the culture and believes of individual groups or religious affiliations. Islamic philosophers have a radical different perspective of art philosophy where man is considered as divinity instrument created by Supreme Allah.