Jorge R. Lucero, Ways of Being

WAYS OF BEING: CONCEPTUAL ART MODES-OF-OPERATION FOR PEDAGOGY AS CONTEMPORARY ART PRACTIC

Lucero, J.R. (2011) Ways of being: Conceptual art modes-of-operation for pedagogy as contemporary art practice, Dissertation of The Pennsylvania State University, The Graduate School College of Arts and Architecture

https://www.academia.edu/25030377/Ways_of_being_Conceptual_art_modes-of-operation_for_pedagogy_as_contemporary_art_practiceE

“‘As John Dewey identified in the words of British biologist C.D. Darlington, the teacher as scientist or – as I would put it, contemporary artist – is an agitator, one who performs ‘a ministry of disturbance, a regulated source of annoyance, a destroyer of routine, and underminer of complacency’ (cited in Dewey, 1920, p. 263) And it is in this rupture that many of the ideals of progressive educational theorists can emerge.” p. 18

“Curriculum as “currere”; conceptualized first by William Pinar and Madeline Grummet (1976) and later elaborated by Pinar (2004) as, “not an instructional device” (p.36), but rather as “an intensified engagement with daily life” (p.37) is a situational mode of conducting a pedagogical endeavor that finds a kinship with conceptual art modes of operation. Currier as enactment, rather than mere implementation, can be examined in order to further understand what it might mean to do contemporary art practice as pedagogy and vice versa. Enacting currier can be understood first and foremost as a process, a work unfolding amongst the learners, which includes both student(s) and teacher(s).” 

‘Durational art occupies itself with how time is used in the actual presentation of the work, time-bomb-art is not always blatantly dealing with time, but nevertheless depends on time for the artwork to have its full effect. The time-bomb approach, put simply, initiates a moment but then waits for that moment’s effect to take at a later time.’ p. 49

‘We can call those known components, “sources” since they act as beginnings, or moments from which all the meaning is constructed. In the pedagogical situation, the sources are often seen as what the teacher or facilitator brings to the rest of the students. It could be a video, a picture, a lesson, a question, or a directive.’ p.66

‘Conceptual art, much like progressive education, lives most vibrantly as an “anti-“, an agitator, and a provocateur of cultural and educational assumptions.’ p. 99

“ Curriculum theorist Dalke en Lesnick (2011) describe “surprise” in the enactment of curriculum as    ‘Vulnerable, destabilizing, [and a] dynamic state. It can apply to attack or failure, but also to astonishing, wonder and delight. Surprise … is [an] ingredient to learning: a sudden, unexpected shift – truly a change- of perspective, awareness, or connection that comes about when new knowledge interacts with what we knew before. Without openness to surprise, we struggle to give and take what is not already planned, scripted, or encoded in the prescribed roles we assume in communities and in classrooms. We do not easily change the program; we find it hard to exceed expectations except along predetermined channels. We become more mechanical, and perhaps less inclined to notice new possibilities (p.77)” p.107

‘If we all then have this experience and we can remain conscious of the fact that everyone else also experiences limitlessly, although still limited, then we dan remain aware that everyone can act as both a teacher and a student because everyone is their own center and everyone else is in everyone else’s field of perception, meaning they are part of other’s peripheries. Although at the actual time of “looking” some of us may be unperceivable to each other, it only takes a simple maneuver, through an act of will and courage, in order to notice each other.’ Lucero, 2011, p. 229

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