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1.
韩超 《安庆师范学院学报(社会科学版)》2011,30(3):110-113
艺术设计教育的伦理观培养需要教师在艺术设计教育中培养学生的伦理观念,在相关的理论和技法教学中使学生树立良好的职业道德、正确的价值观以及强烈的责任感,然后再通过设计实践的形式使学生巩固和贯彻这种伦理观念。 相似文献
2.
Aktan Acar A. ebnem Soysal Acar 《The International Journal of Art & Design Education》2020,39(1):211-226
First‐year architecture students are expected to utilise visuospatial abilities to generate/construct, retain, rotate and manipulate space mentally and physically through physical and digital representations. This study of 57 female and 23 male participants was conducted to investigate first‐year architecture students’ visuospatial abilities by means of the Beck Depression Inventory, Logical Reasoning Test and Judgment of Line Orientation (JLO) test. Participants’ sexes, cognitive development level, depression scale scores, university entrance exam results, vision disorders, physical competences, art training prior to university and error types were the study’s main parameters. The results showed that academic scores of the participants both to enrol in the program and complete the first‐year studio did not correlate with their JLO scores. Nondepressed participants performed better in JLO. Error analyses demonstrated that there is a concentration on certain items according to the test stimulus line positions, especially in females. Those who reported limited physical and visual competency made more mistakes in the same items. The study concludes that sex, depression, and individual differences in physical and visual competency, and art training, are significant variables for visuospatial performance. Judging visuospatial parameters through spatial design exercises is different from having proper methods and instruments to assess the achievements of the students regarding those abilities in architectural design education. It is important to map students’ visuospatial abilities individually from a developmental perspective. There is a strong need to develop 4D psychometric instrument to assess visuospatial abilities. 相似文献
3.
Fine art education provides students with opportunities to acquire knowledge and skills to respond creatively to their experience of society and culture. Fostering creative ways of knowing, thinking and doing requires studio learning conditions that promote the exploration of embodied perceptions, material sensibilities and conceptual ideas that are provisional, socially constructed and ever changing. Traditionally, art schools provided these conditions unchallenged because they were autonomous. Since the 1980s, however, art schools have been integrated into the academy, and face increasing pressure to meet the institutional demands of being in a university. Some argue this changed status means the academy, with its research and pedagogic traditions, is actually straitjacketing creativity. Furthermore, contemporary art practice has changed as artists are increasingly experimenting with interdisciplinary modes of working. This article discusses a two‐year major change initiative, undertaken within an urban Australian art school, designed to respond to this complex set of changed circumstances. It considers ways to address institutional compliance and viability demands while maintaining deeply held values about how to foster creativity in undergraduate students. The outcome is a new organising structure and renewed curriculum for the largest programme offering in the school: the fine art undergraduate degree. Educational renewal is conceptualised as a creative process and the approach to change is thus adapted from creative research methodologies. By treating pedagogy and curriculum design as a creative process, this change initiative, rather than straitjacketing creativity, has re‐envisioned an epistemological framework for undergraduate fine art that will sustain creativity education into the future. 相似文献
4.
Sebastien Fitch 《The International Journal of Art & Design Education》2018,37(2):244-252
In recent decades, the field of art education has seen an increasing interest in issues of social justice and social reconstruction which has led to pre‐service art educators often being encouraged to include potentially controversial topics in their pedagogy. Surprisingly, however, there seems to have been little concurrent discussion concerning the inherent risks involved in introducing polemical themes within the classroom. Indeed, despite its obvious importance, the subject of censorship is often given little attention in art education circles, save for when it has already become an active problem, such as when an instructor is accused of censorship by a student, or when forces outside the classroom seek to involve themselves in pedagogical decisions. In this article, I describe my experience creating and implementing an undergraduate pre‐service art education course on the subject of censorship. I begin by examining my students’ reactions to some of the themes explored, and then explain how discussing cases of art censorship and controversy can serve as a platform for introducing students to the key role that context plays in how we perceive, value and react to artworks. Finally, I make the argument that by including censorship as a subject within their curriculum, teachers can help students better to navigate the psychological, moral and ethical complexities of contemporary art making. 相似文献
5.
Stephanie A. Clemons 《The International Journal of Art & Design Education》2006,25(3):275-285
Interior design, as a field of study, is a rapidly growing area of interest — particularly for teenagers in the United States. Part of this interest stems from the proliferation of design‐related reality shows available through television media. Some art educators and curriculum specialists in the nation perceive the study of interior spaces as a ‘practical application’ of the arts. This article discusses an experiential design problem, originally used in higher education interior design studio courses that was modified and shared with students in third grade to address national academic standards. Later, this same project was modified for use with high school students in the educator's community and with international design students in South Korea. Lastly, the project was presented in a workshop to art education students at a higher education institution. The project was modified to address (1) the age group level and (2) a topic relevant to the audience. Goals of the design project were: (1) to explore creative problem‐solving, (2) to explore the application of design elements and principles, and (3) to increase student understanding of spatial relationships within an interior environment. Findings indicate that the project supported several visual art standards, including perception and community. This project may be of interest to current and future art educators and others interested in the potential of interior design content supporting art education. 相似文献
6.
1:1 (Dis)section ‐ Learning through Full‐Scale Dissection and Transformations of Abandoned Buildings
Mo Michelsen Stochholm Krag Tina Bering Keiding 《The International Journal of Art & Design Education》2019,38(2):280-298
The section is an essential tool for understanding, exploring, representing and communicating spatial relations, structure and materiality in architecture, design and engineering, and therefore a recurring topic in the curricula. The section itself is destructive of nature and incompatible with a built environment in use or under construction. Hence, students throughout their education meet the section in the form of diagrammatic representations, that is, as forms of meaning emptied from scale, spatiality and materiality. This article reports on a series of four workshops, held in the spring semesters from 2011 to 2014 for first‐year students at Aarhus School of Architecture. The aim was to provide first‐year students with an experience of the relation between the section as a diagrammatic representation and the materiality, structure and spatial relations of a concrete building. The climax of each workshop was a full‐scale dissection and transformation of an abandoned house. As we shall see, the workshops fulfilled not only the intended learning goals, but created an initially unforeseen and unique context for learning about the relations between building and place and introduced the question regarding depopulation of rural areas as a pertinent processional challenge. Beyond an educational value, the research project ‘Transformation on abandonment, a new critical practice?’ transpired from the workshops. This research project and the interplay between teaching and research are discussed in the last part of the article. 相似文献
7.
David G. Wareham Takis P. Elefsiniotis David G. Elms 《European Journal of Engineering Education》2006,31(6):651-660
This paper describes a method of introducing ethics to a second-year class of civil engineering students. The method, known as a ‘structured controversy’, takes the form of a workshop where the students assume the identity of stakeholders having an interest in a proposed development in an environmentally sensitive region. The instructor enhances the workshop by deliberately feeding incorrect information into a catalogue of facts that each stakeholder has at their disposal. After the workshop, the instructor draws out three ethical frameworks from which the stakeholders operate. A key component of the exercise is that the students do not know beforehand that the environmental workshop is being used to introduce ethics. When the connection is revealed, the students appreciate that much of their behaviour during the role-play was because they inadvertently adhered to an unknown ethical platform. Since it is an environmental simulation, an explicit connection can be made to the debate over ‘who’ to include in the moral community. In addition, a link can be drawn to the notion of sustainable development which, in this paper, is advocated as an ethical rather than a technical concept. 相似文献
8.
高校辅导员在工作中应秉持“是益友方能成良师”理念,这是实现大学生思政教育工作科学化、精细化的必然要求。该理念有着教育学、心理学、管理学等方面的理论依据,同时也是当前大学生群体、辅导员队伍和大学生思政教育工作的实际情况所决定的。辅导员可通过衣着、语言、称谓、下课堂、进宿舍、个别谈话、现代通信工具等形式实践该理念,但应注意避免“只做‘益友’,不做‘良师’”和“一味称兄道弟,不顾工作原则”的误区。 相似文献
9.
This article presents a longitudinal study, over eleven years, of the academic progress of a cohort of design students (n = 475) at a major Australian university. The students were from four different spatial design disciplines: architecture, industrial design, interior design, and landscape architecture. The article identifies cognitive variables that may predict future academic success. This research uses regression analysis to identify correlations across a range of variables, in particular exploring the relationship between university entrance scores, subjects studied at school (art and graphics) and academic success as defined by university grade point average and time to completion. This study shows that prior knowledge in art and graphics is not a useful predictor of future academic success, while university entrance scores and first year performance are related to ongoing academic success. These results suggest that for the design disciplines explored here, discipline‐specific prior knowledge is not an important requirement for university entrance. 相似文献
10.
Martina Paatela‐Nieminen Tuija Itkonen Mirja‐Tytti Talib 《The International Journal of Art & Design Education》2016,35(2):229-242
This multidisciplinary article presents a methodology, a research project and selected outcomes from an environmental art education course for teacher students. The course is part of an art education minor at the University of Helsinki, Department of Teacher Education. The students were asked to construct their place through an intertextual art method that provided them the means to study their place open‐endedly as a space of plural cultural meanings. Applying the results from their intertextual process, they reconstructed their place artistically. The end product was a personal work of art that included traces of their chosen places, and created a new meaning for it. The outcome is a visual space of compacted meanings from different places. Places contain history and memories important to identity construction. The results show that the intertextual reading extends the students’ concept of place as a space for relational and plural cultural meanings. Foucault's concept of heterotopia, as it applies to otherness of places and spaces, was used alongside the intertextual art method. 相似文献
11.
One of the strong trends in medical education today is the integration of the humanities into the basic medical curriculum. The anatomy program is an obvious choice for using the humanities to develop professionalism and ethical values. They can also be used to develop close observational skills. Many medical schools have developed formal art observation training in conjunction with nearby art museums to enhance the visual diagnostic skills of their medical students. We report here on an art and anatomy workshop that paired medical and art students who did drawing exercises from plastinated anatomical specimens and the animated face to hone observational skills. Each member of the pair brought a different perspective and expertise to the work that allowed each to be a mentor to the other. The workshop had three sessions: the first involved drawings of plastinated specimens that allowed an intimate experience with authentic human material; the second involved drawings of the human face; and the third included examination of anatomical texts of important anatomist-artists, a lecture on contemporary artists whose work involves anatomy, and a film demonstrating the facial muscles. We propose workshops such as these will help students increase their ability to detect details. This will assist the medical student in developing diagnostic skills for identifying disease and the art student in using the human body as subject. We further propose that these programs will help students develop humanistic sensitivities and provide an outlet for expression of the emotional aspects of dealing with disease and mortality. 相似文献
12.
Burçak Altay Gülnur Ballice Ebru Bengisu Sevinç Alkan-Korkmaz Eda Paykoç 《International Journal of Inclusive Education》2016,20(11):1123-1141
This paper explores the process and outcome of using learner-centred methods to develop students’ empathic design abilities during an educational workshop on inclusive design. In the first section of the paper, we suggest the significance of incorporating inclusive design within the education of design disciplines. Then, we introduce a workshop on inclusive design awareness that architecture and interior design students participated, which applied various learner-centred methods. We discuss the process that incorporated project-based learning, role-playing/simulation and students’ reflections and feedback on their experience. The workshop process, the student project experience and students’ reflections on their learning indicate how multiple methods of learning engage students and enhance their empathic understanding so they can embrace differences and adopt a user-centred design approach. Based on the findings, we provide suggestions for similar educational events that can be applied in other disciplinary contexts. 相似文献
13.
Willem de Bruijn 《The International Journal of Art & Design Education》2020,39(2):290-305
This article describes a pedagogical approach to collage based on the work of art historians John Berger (1926–2017) and Aby Warburg (1866–1929). Its aim is to understand how images can be used to develop critical visual thinking skills within the context of architectural education and architectural theory in particular. Drawing on the notions of ‘visual literacy’ and ‘visual learning’ familiar from educational theory, the article proposes collage as a means to challenge the predominantly verbal modes of assessment prevalent in contextual and critical studies, where ‘contextual’ refers to the wider contexts (cultural, social, historical, theoretical) within which architecture is situated. The Collage Workshop, which the author has developed over the last five years whilst working closely with students at both undergraduate and postgraduate level, is a concrete attempt to implement visually oriented forms of learning and reduce the reliance on written assignments across the curriculum. By analysing some examples of collages produced by students who participated in the workshop, the article hopes to show how images can be used in the construction of an argument and, perhaps more crucially, how seeing assumes meaning in an image‐saturated world. 相似文献
14.
ARTEMIS (Art Educational Multiplayer Interactive Space) is an online multi‐user virtual environment that is designed around the objects, artefacts, philosophies, personalities and critical discourses of the histories and theories of art and design. Conceived as a means of reinvigorating art history and theory education in the digital age, ARTEMIS addresses the specific teaching and learning needs of a new generation of art and design students in higher education. This article is a case study that addresses the second phase of the testing and design development of ARTEMIS. It builds on the findings of the initial phase, which involved the development of the ‘proof of concept’ for an online virtual world and game designed for undergraduate students in the Faculty of Art and Design at Monash University in Melbourne, Australia. Drawing on a test trial and student response survey, this article assesses whether virtual environments like ARTEMIS can generate new life in art and design history, augment the teaching and learning mix in art and design higher education, and foster new modes of active engagement amongst students. 相似文献
15.
刘裕权 《四川教育学院学报》2013,(10):1-4
"教育",教育学最基本的范畴、最重要的概念;"教育",教育事业的核心观点、最起码的术语。以笔者换一个新的角度,重新思考"教育是什么",从教育是教育者与受教育者在和风细雨中的"慢的艺术";是在追求真善美、领悟人生真谛中"体验的过程";是不断的圆满过程中"遗憾的艺术";是生命得以不断延续和精彩绽放的过程中"悟的过程"等方面,重新回答教育的真正含义。 相似文献
16.
马更 《商丘职业技术学院学报》2010,9(4):117-118
现代教育要全面推进中学生的素质教育,最为首要的是创造性思维能力的培养。美术教学过程正是认知转化为能力的最直接方式,它能给予学生更广阔的自由空间,和培养创造性观念的基础。然而现在的学生大多有表达美的愿望,没有表达美的方式和途径,这些都与审美素养水平紧密相关。审美的素养是美术创造力的源泉,也是艺术创新型人才创新能量的蓄积地,关系着美术专业人才的艺术生命,也关系着社会全民素养的水平。从高校美术生源现状,重新认识中学阶段美术素养教育的重要性有利于美术教育目标的统一与连贯。 相似文献
17.
张科海 《河北能源职业技术学院学报》2007,7(4):15-17
基于新时代对人才综合素质的更高要求，结合陕西工业职业技术学院的多年实践，指出高职院校需要艺术教育，提出了“艺术与技术完美结合，美育与智育相融并进”的办学理念；探索出精品艺术课程课堂教学是兰渠道；大学生艺术社团是窗口；专题艺术讲座是补充；学校网络艺术教育新阵地；艺术教育与艺术创作相结合；大力开展各种校园文化活动，营造积极向上的校园文化氛围的艺术素质教育模式，取得了积极的效果。 相似文献
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19.
Lucy Howarth 《The International Journal of Art & Design Education》2014,33(2):258-271
In the wake of the recent demolition of the 1965 Chelsea School of Art building on Manresa Road in London, this article seeks to explore the relationship between art school architecture and art school pedagogy. Research on art school buildings, both national and international, and British art school education of the 1960s, is brought to bear, on the former ‘New School of Art in Chelsea’ building. In addition to an account of how this building came about, drawn from archival records and interviews with architects and former Chelsea students and staff, the correlation of utopianist values in post‐war British society, modernist architecture and higher education in art is examined. The reports of the National Advisory Council on Art Education (NACAE), which, in the 1960s, ushered in fundamental changes to British art education, are touched upon, and an account of the building design developed between art educationalists (including Chelsea Principal Lawrence Gowing and Chairman of the NACAE William Coldstream) and architects of the London County Council, is given. Photographs of the building, in the 1960s and during its demolition in 2010, are included. In addition to a historical account and case‐study, and despite the difficulties inherent, art school building is approached as an imaginative and socio‐political gesture, as a utopian act; ‘art school building’ in both senses (‘building’ as a verb and as a noun). 相似文献
20.
Developing Design through a Creative Problem‐Solving Process: A Group Community Art Project 
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下载免费PDF全文 Chia‐Ying Hsieh 《The International Journal of Art & Design Education》2018,37(3):541-553
For the past few years, creativity has gradually become an important element in the national cultivation of talent in Taiwan. Although traditionally art education is closely linked with creativity, the academic research on general art education is very insufficient. Therefore, the goal of this research is to investigate how creativity could be cultivated in curriculum planning for general art education at technology universities as well as what students’ learning process was when they participated in a course's creative activity. The research applied the theory and steps of creative problem‐solving (CPS) on a general art course to design a group practical activity combining with the local community. This involved converting the steps of creative problem‐solving into different stages of group design activities with the goal of constructing a design process equivalent to the process of problem‐solving. The main research results revealed that students could experience the problem‐solving process through group design activities and develop their divergent and convergent thinking at the same time. Moreover, the cooperative learning model is the most appropriate teaching strategy for students from non‐art‐related departments when cultivating their creativity. 相似文献