NOTES ON 2/8

When we make things we use ourselves. Who we are gets reflected, in some embodied sense within the art we make. 

There is an embodied self attached to it. 

WHERE DOES EVIDENCE COME FROM? 

• Historical Studies: UK, GERMANY, FRANCE, USA
• Observational Studies: Teachers, Family, Researchers (Helga Eng, studied her niece over entire life) 
• Qualitative Studies: Collection of case study materials, interviews descriptive texts
• Quantitative Studies: Collection and analysis of empirical evidence. 

Basic Assumptions about Artistic and Aesthetic Development

• Children make versions of adult art 
• Children express their feelings 
• Artistic development ends for most young people t the onset of adolescence 
• Development is the search for beauty 
• Development is problem solving (not the same as construction of meaning) 
• Development is shaped by the social cultural environment
• Development involves the construction of meaning
• Development engages feelings, thinking, sensory responses (cognition) and is sensitive to the social-cultural environment context.
• YOU CANT HAVE THINKING WITHOUT FEELING
• This is shaped by our culture and society in which we live (AL HUROWITZ)

ARTISTIC-AESTHETIC DEVELOPMENT AND LEARNING/TEACHING

• Development is spontaneous and unaffected by schooling
• Teachers should teach to psychological stages of development 
• Teachers should help children model learning on great works of art (They should learn how to be in dialogue) 
• Teachers should engage children with works of popular culture (Broadening children's minds) 
• Teachers should engage children in reflective dialogue drawing on the content of everyday life
• ITS ABOUT STAGES NOT PHASES THE LINES ARE BLURRED TOGETHER
• It's about external stimuli and external experiences that provide the impetus for development
• We have a natural urge to make sense of our experience, in a way to share it with the world 
• ITS THE DIALOGUE THAT IS IMPORTANT. HOW DOES A TEACHERS DIALOGUE WITH KIDS? HOW TO WE GET KIDS TO DIALOGUE WITH EACH OTHER? WHAT IMPACT DOES DIALOGUE HAVE? 

IT ALL BEGINS IN THE BODY AND STAYS IN THE BODY

• Our conception of engaging with material engages with the body
• Drawing: Arm is responding to the surface 
• We are not born knowing that paint doesn't go on the body 
• Infant takes note of what they are making. Hand eye coordination. 
• Conscious creativity, they have made something where there was nothing before. 
• Understanding how to make a line. Quickly, slowly, pressure, color, overlapping
• A line has the properties of continuity. 
• Lines can stop and start. Directionality of lines 
• Re-emerging in adolescence via DOODLES 
• Materials themselves invite actions. It adds repertoire. 
• Mushing colors. 
• Paint runs out, line stops. Thin and thick lines. 
• Conscious efforts to explore. How many splotches of paint can I make? 
• Stuff; the presence of something, everything is underpinned by something else
• The beginnings of kids becoming little explorers, a sense of organization. 
• Bang dots. 
• GROUPING AND CATEGORIZING
• YOU LEARN THAT PAINT CAN COVER A SURFACE. A SURFACE IS CONTINUOUS  
• An enclosure, the presence of a place where there wasn't a place before and you can put things inside and outside. 
• Learning about contiguous boundary between colors.

PRE-SYMBOLIC DEVELOPMENT 

• Sensory motor learning in materials 
• Materials as targets for action.
• Expressive concepts. 
• Exploring contiguous boundaries 
• Considerable repertoires. 

IT'S A PAINTING OF ......

Me and my bed on a day I was sick. 

PHYSIONOMIC PERCEPTION.

As teachers: TELL ME ABOUT IT...

The vehicle in which meaning is constructed. 

A LADY WITH A FRIENDLY SNAKE 'ROUND HER NECK 

PROTOSYMBOLS 

• naming after making 
• naming during making 
• naming before making 
• subject matter: affective, holistic, dynamic 
• learning
• connecting ideas materials/ experience 
• materials express ideas 
• ideas originate in experiences of the real world, fantasy, and imagination. 
• PERSON --> SELF --> RELATIONSHIPS (MOM DAD FRIENDS)
• PEOPLE AND HOUSES ARE IMPORTANT
• Verticality of image because paper is continuous. 
• Child has to have intuitive perspective of space.

EARLY IMAGES

• People 
• Houses 
• Vehicles 
• Creatures
• Learning:
• Basic CATEGORIES 
• Identity: I, me, and mine
• Function: Characteristics and action. 

OUR PERSPECTIVE OF WORLD ISN'T STATIC 

R E L A T I O N S H I P S 

S T O R Y  T E L L I N G (5YRS - 7/8YRS) 

THE IMPORTANCE OF A MAKER OF MEANING

INTERACTIVE EVENTS 

• With friends 
• With family 
• In neighborhood 
• Fantasy-imagination
• Learning
• Relationships among and between things
• Action-doing and happening
• Places and Spaces
• Objects and positions
• Materials re-present important personal experiences