Details

Autor(en) / Beteiligte

• Bering, Kunibert
• Niehoff, Rolf

Titel

Visual proficiency - A perspective on art education [electronic resource]

Ist Teil von

• Artificium - Schriften zu Kunst und Kunstvermittlung : 48

Auflage

1st ed

Link zum Volltext

• UTB Scholars Vollzugriff 2024

Beschreibungen/Notizen

• Description based upon print version of record.
• Includes bibliographical references.
• Preliminary remarks: 24 hours on flickr; 1 Introduction: After the pictorial turn; 2 The Currency of the Image; 3 "Visual Proficiency" at the Intersection of Different Approaches; 3.1 Images and cultural contexts; 3.2 The science of the image and the science of art; 3.3 Visual proficiency and perception; 4 Foundations of the Concept of Proficiency; 4.1 Basic trends in the history of education; 4.2 Klafki's "categorial education"; 4.3 Robinsohn's curricular approach; 4.4 A paradigmatic shift in educational policy; 4.5 On the concepts of "competency" and "proficiency"
• 5 "Visual proficiency" from the perspective of art education5.1. Visual culture; 5.2 The concept of the image in art education; 5.3 Dimensions of visual proficiency; 6 An exemplary case: the reception of Caspar David Friedrich; 6.1 The history of the reception and influence of Caspar David Friedrich's paintings; 6.2 Friedrich's Rückenfiguren; 6.3 Friedrich's influence on modern painting: Mark Rothko and Gotthard Graubner; 7 Conceptions of history and the historicity of images; 7.1 Historicity and Meaning; 7.2 The construction of history versus ahistoricity
• 7.3 Images generate images - and ideas of the past7.4 The reception of historical models in advertising: the catalogue of the textile company Jack Wolfskin; 8 The functions of images; 8.1 The beginnings of images; 8.2 Shamanism - voodoo - altars; 9 Architectures generate images; 9.1 Skylines: The setting for urban lifestyles; 9.2 Berlin: Images of and designs for a capital city; 9.3 Architecture and globalisation; 9.4 Metaphysical spaces; 9.5 "Delimitations": Sacred areas and profane places; 9.6 Conflicts and cultural transfer; 9.7 Places of death; 10 Paradise and Hell
• 10.1 "Zum Glück berät Sie Wüstenrot" - "Luckily you're with Wüstenrot"10.2 Realising utopian ideas of happiness; 10.3 Dao - Paths through Chinese gardens; 10.4 The dialectics of beauty; 11 Habitual ways of seeing; 11.1 Visual traditions and productions in theatre - photography - film - performance art; 11.2 Historical art as a pool of images; 11.3. Visual culture and advertising strategies; 12 Images and political staging; 12.1 Obama and Schwarzenegger: political performances and stagings; 12.2 Portraits of politicians and contemporary art: "creativity" and "assertiveness"
• 13 Images and "reality": imitation - contradiction - illusion13.1 The "aesthetic borderline" (Ernst Michalski) as a didactic category; 13.2 Evaluating relationships between image and reality; 13.3 Pioneering 19th-century methods: the panorama; 13.4 Invisible images; 14 Images and metamorphoses of everyday reality; 14.1 Metamorphoses of everyday reality: the invention of central perspective in its historical context; 14.2 "...an image of what is, or of what may be": classical antiquity's concepts of the image and their far-reaching consequences; 15 The human face
• 15.1 "On the concept of the face, looking at the Son of God" - a performance by Romeo Castellucci (2011/12)
• Every day, over a million images are uploaded to flickr. This is a striking example of the so-called »flood« of images that emerged with the beginning of the digital age. A generation of adolescents has already been socialised with this flood of images and deals with it on a daily basis, both in their networks and elsewhere. Art education thus faces significant challenges: art is the only school subject that deals with the problems inherent in images as images, making them the focus of pedagogic activity. This volume presents both the foundations for engaging with the phenomenon of the »image« in a competent and historically informed manner as well as the perspectives for art education that arise from these foundations. It is based upon the conviction that providing orientation in a world defined by images does not mean following solely a technocratic, functionalist or even neoliberal »concept of education«. Quite the contrary: »providing an orientation« for how to deal with images in a world that is dominated by them is a crucial part of the holistic development of young people's personalities. The volume's main focus lies upon the new functions taken on both by the image and by art more generally. It takes into account aspects of globalisation and participation and also includes more unusual views (often from a cross-media perspective) of art and its historical repertory, which even current image creation is unable to dispense with. The volume also deals extensively with architecture and the images it conveys.