This paper argues that in foregoing the questions that emerge from the dialectical relationship between form and meaning, an intrinsic fallacy mistakes the relationship between the arts and education for a simplistic mechanism of signification—a false “ease”—where empty forms are supposedly given meaning by ethical and aesthetic givens as if the pedagogy of art were analogous to an empty room that was (or still needs to be) inhabited. Art’s false “ease” presents a tautology that presumes the relationship between the arts (...) and learning on assumptions that force a false equivalence between (a) the perception of implicit causes that constitute a number of externalised artistic attributes (such as creative, critical, and intuitive forms of thinking and making) by which the arts are instrumentalised, and (b) a number of desired effects that are seen as being equal to the relative value that an arts subject (or discipline) commands in a perceived relationship with the world in terms of its use and therefore function. To counter this distortion this paper makes a case for a pedagogical aesthetics that would unlearn—and thereby exit—the educationalist tautology of art’s false ease. While politically this would mean that the arts are recognized in their ability to think and act outside the traditional notion of schooling as a walled polis, philosophically this represents a challenge to move arts education away from the “spatial” concepts by which dialectical narratives, such as those of form and content, have been hitherto assumed as constructivist signifiers. (shrink)

Normal 0 21 false false false ES-CO X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tabla normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} Este estudio tiene la intención de profundizar en la estética de la ciencia de la Hemotafonomía (HTN), mediante la identificación de sus pa­­ralelos estilísticos con la Literatura y las Artes Visuales. El objeto de estudio de esta ciencia (...) es la citomorfología de las células sanguíneas en manchas de sangre. Sus sujetos de estudio son especímenes manchados de sangre, mientras que su método de estudio es el análisis de imágenes en claroscuro obtenidas por Microscopía Electró­­nica de Barrido. Literariamente, la HTN es estilísticamente paralela a la estética del Tremendismo y el Deca­­dentismo. Visualmente, la HTN es estilísticamente paralela a la estética de la decoración arquitectónica chu­­rrigueresca y al Tenebrismo pictórico. De acuerdo con los resultados de este estudio, la HTN puede también con­­siderarse estilísticamente como un Realismo literario y un Naturalismo visual. Además, puesto que Tremen­­dismo, Decadentismo, Churrigueris­­mo y Tenebrismo convergen en la cultura del Barroco, debe concluirse que, estéticamente, la HTN es una ciencia barroquista. Normal 0 21 false false false ES X-NONE X-NONE MicrosoftInternetExplorer4. (shrink)