By Richard Hickman
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Extra info for Why We Make Art: And Why It Is Taught
Responses to these are affective rather than cognitive. Throughout this initial phase, media and materials are introduced and psychomotor skills are developed. ‘Threshold skills’ could include grasping a crayon and making a mark in a deliberate way and responding to that mark by making further marks that have some relation to it. They could also include, at later phases, learning how to gouge into or build up a surface for the purposes of making a relief print, mix paint to achieve a particular shade or solder together wire to form an armature.
The third approach mentioned by Gilbert and Watts refers to the ‘relational’ view of concepts and is constructed from aspects of both the classical and the actional views. The relational approach emphasises the importance of the relational organisation of a concept, that is, its status relative to other concepts in a conceptual network, in addition to it having definable characteristics. This approach is implicit in Schaefer’s view described above. The move away from the ‘child as artist’ model for art education, with its emphasis on expression and creativity, towards an approach that emphasises the more cerebral aspects of art, necessitates clearly-defined goals that are related to bodies of knowledge.
Many researchers over the years have arrived at helpful definitions, some of these are summarised below. qxd 21/7/05 10:47 am Page 38 WHY WE MAKE ART AND WHY IT IS TAUGHT they provide a direction for activity they are essential for effective communication These characteristics indicate what concepts do and thereby help build up a picture of what they are. A general insight into the nature of concepts is provided by Peel . He stated that there are three parts to a concept: the intensive, the extensive and the name.