Reading Abstract
The article explores the concept of aesthetic learning in arts education, focusing on its goal and means. Aesthetic learning is defined through two dimensions: convergent versus divergent goals and medium-specific versus medium-neutral means. Convergent learning is goal-oriented and rational, while divergent learning is explorative and intuitive. Medium-specific learning emphasizes forms of representation, while medium-neutral learning focuses on instrumental aspects. The author suggests a framework for understanding learning about, in, with, and through the arts based on these dimensions. The article examines the framework’s applicability in different contexts, including temporary projects, sloyd (art & craft) education, teaching methods, curriculum balance, and assessment tools. It advocates for diverse assessment approaches aligned with the varied modes of learning and teaching identified.
Activity Questions
1.Who is it by? Find out some information about the author’s identity.
Lars Lindström is a Swedish researcher renowned for his contributions to the field of aesthetics. He has made significant strides in understanding the philosophical, psychological, and cultural aspects of beauty and art. Lindström’s work often delves into the subjective nature of aesthetics, exploring how individuals perceive and appreciate beauty in various forms.
With a background in philosophy and psychology, Lindström brings a multidisciplinary approach to his research, drawing insights from diverse fields to enrich our understanding of aesthetics. His studies often intersect with areas such as cognitive science, anthropology, and sociology, shedding light on the complex interplay between culture, perception, and artistic expression.
Lindström’s research has been published in multiple academic journals and has garnered recognition within the academic community for its depth and originality. His insights have not only advanced theoretical understandings of aesthetics but also have practical applications in fields such as art education, cultural policy, and design.
He is also actively involved in academic networks and collaborations, fostering dialogue and exchange within the broader intellectual community.
Overall, Lars Lindström’s work has left a significant impact on the study of aesthetics, shaping discussions and debates within academia and beyond. His commitment to exploring the nuances of beauty and art continues to inspire new generations of scholars and enthusiasts alike.
2. What are its key messages?
The article presents a conceptual framework for understanding aesthetic learning, delineating two dimensions: convergent vs divergent goals, and medium-specific vs medium-neutral means. By combining these dimensions, the framework defines four modes of aesthetic learning: learning about, in, with, and through the arts.
The article presents a conceptual framework for understanding aesthetic learning, delineating two dimensions:
- convergent versus divergent goals, and
- medium-specific versus medium-neutral means.
By combining these dimensions, the framework defines four modes of aesthetic learning: learning about, in, with, and through the arts.
The article also references sociological theories of aesthetic experience, contrasting ‘modest aesthetics’ with ‘radical aesthetics’ and emphasising the importance of medium-specific competence. The framework categorises aesthetic learning into four forms: learning about, in, with, and through the arts. Each form serves complementary roles, contributing to students’ aesthetic development:
- Learning About Aesthetics: This aspect involves understanding theoretical concepts, philosophical perspectives, and historical contexts related to aesthetics. Students may explore topics such as beauty, taste, perception, and the nature of art.
- Learning In the Arts: This dimension focuses on experiencing and creating art as a means of developing aesthetic sensibilities. Students engage in artistic practices such as painting, music, theatre, or dance, learning through direct participation and observation.
- Learning With the Arts: This aspect emphasizes interdisciplinary connections between aesthetics and other subjects. It explores how aesthetics intersect with disciplines such as literature, history, science, and technology, enriching students’ understanding of both aesthetics and the interconnectedness of knowledge.
- Learning Through the Arts: This dimension examines the role of the arts in fostering critical thinking, creativity, empathy, and cultural awareness. Students learn not only about aesthetics but also through aesthetic experiences, developing skills and perspectives that transcend traditional academic boundaries.
The article suggests a balanced approach to aesthetic learning, advocating for its integration across various aspects of education.
3. How did the piece influence your consideration of the aims and purposes of your teaching?
As my practice strongly focuses on the study and application of aesthetic and cultural trends, Lindström’s discussion is particularly relevant for developing my teaching practice.
By cross-checking my teaching design and planning so far with the suggested framework, I recognise that, to some extent, I tend to follow a similar approach to Lindström’s, in that it considers a holistic view and experience of aesthetics – from observation and analysis to contextualisation and interpretation. I see clear connections with Lindström’s forms of learning about and with the arts. However, the other two learning streams my have been overlooked, especially the learning in the arts form.
I am keen to explore further ways to develop my practice to cover aesthetic learning more comprehensively. For this, I am starting by looking at the standardised learning outcomes framework (at UAL) and its potential cross-over with Lindström’s for forms of learning, to help me shape specific learning aims that feed into both. In order to stay realistic and fair to students when it comes to establishing the assessment criteria for the unit, as well as maintaining the relevance and focus of the subject, I anticipate that some forms of learning might need to be deprioritised or simply remain implicit in the teaching and learning process as supportive streams contributing to learning outcomes that might better fall within some other Lindström’s categories. For instance, in the study of fashion trend analysis, it might be beneficial for students to engage with the relevant style in first person, for example creating and/or experiencing different outfits, gathering and generating inspiration in relation to the given trend, but it this might remain an underlying objective in the learning process rather than an ultimate aim to be considered and established as a learning outcome.
I am starting to consider if the cross-over of the two – Lindström’s framework and the standardised UAL assessment criteria and learning outcomes format could be the base for establishing the connections between the process and the outcomes, establishing hierarchic layers of knowledge and practical learning, based on the specifics of the content.
References
Lindström, L. (2012). Aesthetic Learning About, In, With and Through the Arts: A Curriculum Study. International Journal of Art & Design Education, 31(2), pp.166–179. doi:https://doi.org/10.1111/j.1476-8070.2012.01737.x.