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Lesson Plans


Re: SCOPE and SEQUENCE

[ Thread ][ Subject ][ Author ][ Date ]
henry taylor (taylorh)
Thu, 22 Jul 1999 14:00:25 -0700

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RE: ".the problem is compounded by the discontinuity in the teaching of =
the arts"=20

If there was no discontinuity things would be easier, of course.

Whats different about sports and music?

Does the performance of a Bach oratorio sound very similar in any way to =
another perrformance of the same piece? When was the last time you saw =
an coach come out with a new and original sport?

Football is always football and Jai lai always jai lai you don't want to =
get original on the field. Seeing what a baseball bat would accomplish =
on the soccer field is not a favored kind of experimentation.

The Magnificat is always the Magnificat. I suppose one could teach =
students to perform the Last Supper or David in search of the same kind =
of perfection in it's production but so far there isn't a big call for =
that in the visual arts.=20

The pedagogic processes so effective in the performing arts and in =
sports could be effective in the vvisual arts as well but there would be =
little resourse to draw upon to encourage the unique perspective on the =
world. In such a context, parts of the visual arts would be hard pressed =
to find much more than verbal support.

A coach could encourage a kid to put more of himself into a play but the =
rigid formal structure of the game wouldn't offer the same leeway for =
personal expression as painting.

The Chinese approach to painting IS formal in this way. The artist, as a =
result is much more subsumed into the form of the work. The risks taken =
are much narrower and circumscribed. Change comes slowly, over thew =
course of centuries. The Impressionist revolution would still have a few =
centuries to go befor turning over the reigns to Surrealism or Abstract =
Expressionism or what have you. This would be natural because the formal =
structure of the educational process would impose the form.

In the course of a century, how far has Baseball evolved? Golf?

There remains a huge black box to your thesis. "Here a miracle occurs". =
How do you escape formalism? or is it unimportant? How does your process =
insure the novel and the original. Things never before seen, Ideas whos =
lineage comes form outside the field? Beyond art.

You offer a great basic process for learning skill. At a commercial arts =
school like I attended its the perfect vehicle. I became an Interior =
designer and even made a living as an illustrator. Thats fine. I just =
can't confuse that with the other side of the equation. Origination as =
opposed to referentiality and skill with media. There are a ton of =
successful artists these days with little or no skill or interest in =
skill where it pertains to art; just the opposite. Art Brut. What do we =
do about that? Disqualify their approach to art by fiat?

scope and sequence is all well and good... in an appropriate context.

-henry

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RE: ".the problem is compounded by the = discontinuity in the=20 teaching of the arts"

 
If there was no discontinuity things = would be=20 easier, of course.
 
Whats different about sports and music?
 
Does the performance of a Bach oratorio sound very = similar in=20 any way to another perrformance of the same piece? When was the last = time you=20 saw an coach come out with a new and original sport?
 
Football is always football and Jai lai always jai = lai you=20 don't want to get original on the field. Seeing what a baseball bat = would=20 accomplish on the soccer field is not a favored kind of=20 experimentation.
 
The Magnificat is always the Magnificat. I suppose = one could=20 teach students to perform the Last Supper or David in search of the same = kind of=20 perfection in it's production but so far there isn't a big call for that = in the=20 visual arts.
 
The pedagogic processes so effective in the = performing arts=20 and in sports could be effective in the vvisual arts as well but there = would be=20 little resourse to draw upon to encourage the unique perspective on the = world.=20 In such a context, parts of the visual arts would be hard pressed to = find much=20 more than verbal support.
 
A coach could encourage a kid to put more of himself = into a=20 play but the rigid formal structure of the game wouldn't offer the same = leeway=20 for personal expression as painting.
 
The Chinese approach to painting IS formal in this = way. The=20 artist, as a result is much more subsumed into the form of the work. The = risks=20 taken are much narrower and circumscribed. Change comes slowly, over = thew course=20 of centuries. The Impressionist revolution would still have a few = centuries to=20 go befor turning over the reigns to Surrealism or Abstract Expressionism = or what=20 have you. This would be natural because the formal structure of the = educational=20 process would impose the form.
 
In the course of a century, how far has Baseball = evolved?=20 Golf?
 
There remains a huge black box to your thesis. = "Here a=20 miracle occurs". How do you escape formalism? or is it unimportant? = How=20 does your process insure the novel and the original. Things never before = seen,=20 Ideas whos lineage comes form outside the field? Beyond = art.
 
You offer a great basic process for learning skill. = At a=20 commercial arts school like I attended its the perfect vehicle. I became = an=20 Interior designer and even made a living as an illustrator. Thats fine. = I just=20 can't confuse that with the other side of the equation. Origination as = opposed=20 to referentiality and skill with media. There are a ton of successful = artists=20 these days with little or no skill or interest in skill where it = pertains to=20 art; just the opposite. Art Brut. What do we do about that? Disqualify = their=20 approach to art  by fiat?
 
scope and = sequence is all=20 well and good... in an appropriate context.
 
-henry
 
 
 

 

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