rss_2.0Sciendo RSS Feed for Review of Artistic Educationhttps://sciendo.com/journal/RAEhttps://www.sciendo.comhttps://sciendo-parsed.s3.eu-central-1.amazonaws.com/647351b64e662f30ba539faa/cover-image.jpghttps://sciendo.com/journal/RAE140216https://sciendo.com/article/10.2478/rae-2023-0028<abstract> <title style='display:none'>Abstract</title> <p>Appropriation is one of the determining concepts of the post-productive theory, denoting the choice of an object and its use or modification according to a specific intention. Operating in an index of famous images from universal art, the photographer artist calls upon the performative strategies of the environment to structure behavioral positionings observed in social space. The series of examples accesses a segment of these artistic practices in which the biblical icon plays the role of the symbolic reference, but especially of the pretextual condition within the author's conceptual construction.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/rae-2023-00282023-04-06T00:00:00.000+00:00https://sciendo.com/article/10.2478/rae-2023-0030<abstract> <title style='display:none'>Abstract</title> <p>Iași Art Residency is an artistic residency program that takes place in Iasi and involves the monthly invitation of an international visual artist, in order to materialize a specific art project related to the experience lived in the cultural space of Iasi. The program aims to connect the students of the Faculty of Visual Arts and Design within “George Enescu” National University of Arts in Iași with the invited artists, in order to exchange artistic experiences. This article will briefly present the activity of the American resident artist Emery Hall which took place here, in Iasi,in May and June 2022.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/rae-2023-00302023-04-06T00:00:00.000+00:00https://sciendo.com/article/10.2478/rae-2023-0038<abstract> <title style='display:none'>Abstract</title> <p>The given article focuses on the study of the dramatic literary text as an art object used in the process of the teaching/learning French as a foreign language. The dramatic literary text, being one of the main elements of the dramatic art, which in turn is a syncretic one, requires an integrated approach in the interpretation process, both as a literary product and as a performance.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/rae-2023-00382023-04-06T00:00:00.000+00:00https://sciendo.com/article/10.2478/rae-2023-0039<abstract> <title style='display:none'>Abstract</title> <p>Digitalization trends have moved forward with accelerated steps, surrounding all spheres of our lives with the provision of light services, faster and less expensive communications, more functions, and a great influence on increasing quality of life. In developed countries, digitization of education is seen as one of the priority goals for achieving sustainable development. Higher education is an essential pillar in developing new knowledge economies for the twenty-first century, and Kosovo national authorities are strategically oriented toward the digitalization of higher education. Digitization includes a wide range of activities ranging from lecturers, group work lectures, and inclusion in individual or group study, and exams as an integral part of the revolutionization of higher education. The period of COVID19 has pushed forward the digitization of education in many countries of the world. In Kosovo, this was the period that established the dividing boundaries between the traditional multi-century teaching eras with the new digital era. This period is also characterized by the challenges faced by teaching and learning in the use of efficient digitized methods. This paper explores the impact of digitization on teaching and learning, specifically in medicine and architecture. Also, this work is intended to offer a model of how digital transformation can be used to build competitive advantages for universities. Based on the condition of the accreditation agency and the standards of the International Society for Technology in Education, we can say that the use of software and artistic methods in teaching processes affects the development and advancement of young people.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/rae-2023-00392023-04-06T00:00:00.000+00:00https://sciendo.com/article/10.2478/rae-2023-0021<abstract> <title style='display:none'>Abstract</title> <p>Monoliths of impressive dimensions, menhirs, dolmens and cromlechs are examples of the megalithic civilization which existed in the area of Afro-Eurasia, from Neolithic up to the Bronze Age included. And in the case of menhirs and dolmens, it is also about isolated presences, and about groups. Alignments are groups specific to menhirs: parallel catenations, equally distanced, of organized stones forming a true spacial composition, with the purpose of symbolizing solemn processions. The cromlech is a complex where many menhirs or/and dolmens were placed in concentric circles, here the spacial composition is even more obvious. The present material will refer also to the most complex and coherent megalithic ensemble in the world: Stonehenge Assembly.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/rae-2023-00212023-04-06T00:00:00.000+00:00https://sciendo.com/article/10.2478/rae-2023-0035<abstract> <title style='display:none'>Abstract</title> <p>In this presentation I will discuss the potential of artistic practices to amplify ecological awareness. I will describe a specific art practice that can be replicated in the classroom by other teachers: Ecology of an Embrace. This is an ecoartivist project (ecology, art and activism) that recalls the eco-feminist spirit of the Chipko women. It presents a participatory approach involving social and human networks (human capital in a 2.0 context). It articulates a dialogue between real bodies / real space and social profiles / virtual space, broadening our capacity for analysis in the current environmental and civilisational crisis. The objectives and / or effects to be achieved are: <list list-type="simple"> <list-item><p>- To be able to see the other in ourselves and ourselves in the other.</p></list-item> <list-item><p>- To promote empathy.</p></list-item> <list-item><p>- To amplify our perception (plurisensoriality).</p></list-item> <list-item><p>- To feel the connection with the cosmos.</p></list-item> <list-item><p>- To encourage the growth of mycorrhizae: making existing mycorrhizae visible and encouraging the emergence and growth of new ones through narrative formulas.</p></list-item> </list></p></abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/rae-2023-00352023-04-06T00:00:00.000+00:00https://sciendo.com/article/10.2478/rae-2023-0024<abstract> <title style='display:none'>Abstract</title> <p>Based on the recent sculptural projects of Mihai Verestiuc, we will establish a conceptual connection of with the practice of post-minimalist sculpture, using as argument certain lines developed by artists such as Joseph Beuys and Rachel Whiteread in their works analysed in this article. The course of the works, in itself, offers us the opportunity to reflect on the assumed responsibility towards the formative impact that any artistic object offers in relation to the environment in which it is produced (social, cultural, economic or political) and that starts from the artist through all the elements implicit of his approach - the concept, the specificity of the material and the space, the socio-cultural reality.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/rae-2023-00242023-04-06T00:00:00.000+00:00https://sciendo.com/article/10.2478/rae-2023-0029<abstract> <title style='display:none'>Abstract</title> <p>The article defines evaluation as a strategy for the development of school competencies in plastic education classes. Reveals the advantages of the criterion assessment through descriptors of the educational products, carried out based on the evaluation objectives through traditional and complementary evaluation samples.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/rae-2023-00292023-04-06T00:00:00.000+00:00https://sciendo.com/article/10.2478/rae-2023-0037<abstract> <title style='display:none'>Abstract</title> <p>In the context of the globalization of learning, schools must become learning organizations in order to reconfigure the way of learning towards an integrated one and to value the functional dimension of education/learning through its contribution to the formation of key skills. In this article, the learning process in the subjects of the Arts curriculum area is researched in order to support and promote a learning process in accordance with the new orientations in education at the European level. The specifics of learning in Musical Education, Visual and Plastic Education are revealed by concretizing the types of learning, establishing the internal and external conditions of learning, characterizing knowledge and artistic experience, harnessing the potential values of works of art, identifying knowledge through art as an inner experience, integrating the arts through aesthetic education and extra-aesthetics, the description of the stages of awareness of the artistic experience in the learning process. Arts integration is a process that requires a multi-year commitment and requires exploring new ways of teaching and learning. The integration of arts in STEAM learning projects is conditioned by the fundamental values of art discovered and acquired through artistic activities, the integrative nature of spiritual intelligence in the act of learning through arts, the holistic approach, building connections between arts and sciences, etc. The profound benefits of integrating the arts into STEAM learning projects will come with consistent implementation over time.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/rae-2023-00372023-04-06T00:00:00.000+00:00https://sciendo.com/article/10.2478/rae-2023-0022<abstract> <title style='display:none'>Abstract</title> <p>The pedagogical conception that each teacher assumes when referring to the teaching profession will guide his strategy for working with students. A teacher equally concerned with forming the competencies inscribed in school programs and helping the full flowering of the personality of the students with whom he works could adopt positive pedagogy as a frame of reference. The present work aims to review the principles of positive pedagogy, to nuance the roots of this paradigm in the light of current research and to bring to the fore its potential in terms of educational strategies that can be successfully adapted in the training of art teachers.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/rae-2023-00222023-04-06T00:00:00.000+00:00https://sciendo.com/article/10.2478/rae-2023-0032<abstract> <title style='display:none'>Abstract</title> <p>Along with the specific skills developed during psycho-pedagogical training programs of future teachers, the expected attitudes that a teacher should perform are also relevant. These attitudes can outline the area of social competence - without which the activity of a future teacher is ineffective. This socio-emotional behaviour is based on the ability to listen and learn from the other, to understand what the child feels by supporting and respecting him at the same time, the ability to create relationships. In this context, we consider that the option for the teaching profession, along with the logical arguments invoked by each applicant, is also based on justifications such as: it suits my way of being, I like to explain, I help others to understand, I was told that I know how to listen, I feel good around others, I am a person willing to offer support to others, etc. Starting from these aspects, we set out to investigate the profile of the student following the psycho-pedagogical module regarding the following dimensions - assertiveness, empathy, self-presentation and the ability to develop positive interpersonal relationships. The working hypothesis is that in the profile of the student preparing for the teacher profession we find these dimensions or specific elements. We also hypothesized that a high level of assertiveness would also result in a high level of problem-solving skills. The conducted investigation highlighted the fact that indeed the choice of a training path in the teaching career is based on an above average level of the variables assertiveness, self-presentation and the ability to develop positive interpersonal relationships with others. It can be observed, however, that the ability to resolve conflicts is at a low level, which may indicate the difficulty of students to effectively apply communication strategies in managing difficult relationships. We conclude that the activities of self-knowledge and personal development integrated in the psycho-pedagogical training programme are essential for the development of self-evaluation skills and for applying the self-perceived potential of students in effective social interactions.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/rae-2023-00322023-04-06T00:00:00.000+00:00https://sciendo.com/article/10.2478/rae-2023-0031<abstract> <title style='display:none'>Abstract</title> <p>Communication is a complex process that always involves the exchange of communicative intentions. This paper is one of the efforts to contribute to the shaping of a hybrid theory of interpersonal communication that takes into account various perspectives. The basic approach is that successful communication always involves the exchange of communicative intentions. From this perspective, words do not have an equal relationship, identical to the ideas that a speaker tries to express. The paper presents the different essential characteristics of communication: <list list-type="simple"> <list-item><p>➢ it is directed towards objectives;</p></list-item> <list-item><p>➢ it is a cooperation effort;</p></list-item> <list-item><p>➢ consists of exchanges of ideas between speaker and listener;</p></list-item> <list-item><p>➢ is socially anchored.</p></list-item></list></p> <p>The paper analyzes the three types of communication intentions: <list list-type="bullet"> <list-item><p>high-level intentions (beliefs, emotions, etc. that a person wants to provoke in someone else);</p></list-item> <list-item><p>medium-level intentions (come in support of the means planned to achieve high-level intentions).</p></list-item> <list-item><p>low level intentions (directed towards the means of achieving medium and high level intentions).</p></list-item> </list></p> <p>Another important aspect, analyzed in the paper is the coordination of intentions in nonverbal communication as well as skepticism in communication. Finally, a person has to make decisions about how to produce certain emotional experiences for others. Whatever the final answer to questions about the roles of intentions in interpersonal communication, researchers must recognize the diversity of ways in which intentions are communicated, highlighting the multitude of possibilities in which meaning can be expressed and understood.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/rae-2023-00312023-04-06T00:00:00.000+00:00https://sciendo.com/article/10.2478/rae-2023-0033<abstract> <title style='display:none'>Abstract</title> <p>As for the phrase “artistic education”, in this paper work, it was used in the way of cultivating individual, authentic artistic talent, of acquiring individual skills, abilities and techniques, with the aim of training artists in different fields of arts, as well as the assimilation of theoretical and practical knowledge from the fields of theory, aesthetics, criticism and history of arts etc., adapted to natural, innate capacities with a view to non-verbal creative expression and development plastic expressiveness. Art education and art therapy have in common the fact that they are forms of applications of art that integrate theories and practices of art pedagogy in a supportive environment: museums, art galleries, ambient art - street or interior - nature, classrooms or creative studios, where artists use the influences offered by the environments specific to the practice of the arts, which by their pluri/inter/trans-disciplinary character, encourage freedom of creation, thought, expression and imagination. Being “postmodernist” in art therapy, as Shirley Riley sees it, assumes a renunciation of programmed knowledge. For the art therapist it is essential to become the “student” of the client and to “learn from each client the meaning of the situation that he brings”. Through “co-constructive” therapy with the client, the art therapist becomes a collaborator in the therapeutic activity. Art therapy, as a component of occupational therapy, aims to correct the consequences of the disease that caused the disability or handicap, the development of adaptive skills, so that a person with a certain degree of incapacity can make the most of his or her remaining potential, in order to recover (both at family and professional level), by integrating into a useful activity at the highest level accessible to him. The therapeutic methods of the current era experiment with ways specific to each art, to achieve interdisciplinary exchanges. They connect to disciplines such as psychology or psychiatry, anthropology, history, religion, to experience the primary therapeutic values of contemporary art.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/rae-2023-00332023-04-06T00:00:00.000+00:00https://sciendo.com/article/10.2478/rae-2023-0040<abstract> <title style='display:none'>Abstract</title> <p>Recent research carried out in various fields of knowledge have led to significant results, which are also decisively imposed in the sphere of the arts. These contributions expand not only the area of artistic practices (new means of artistic production are established), but also the range of approaches from art theory, related to these practices. Our study illustrates this fact through a review of the scientific literature: articles, specialized publications, monographs and programmatic documents of some relevant institutions. The complexity of the information constellation in which the practice and theory of art are circumscribed, in the recent period, is thus highlighted, which necessarily leads to new specific requirements regarding the instructional design in the field of arts higher education.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/rae-2023-00402023-04-06T00:00:00.000+00:00https://sciendo.com/article/10.2478/rae-2023-0034<abstract> <title style='display:none'>Abstract</title> <p>In efforts to design the implementation process of innovative artistic praxeology we emerged from the assumption that TDA (teacher’s didactic action) and PAA (pupil artistic action) become fundamental values of the integration of theory and praxeology in perspective of an effective education, provided that they be widely used both horizontally and vertically, according to the pentagonal model consisting of principles: proactivity, artistic intro-opening, creation/creativity, of success, re-conceptualizing and instrumented in modern theoretical and methodological perspectives.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/rae-2023-00342023-04-06T00:00:00.000+00:00https://sciendo.com/article/10.2478/rae-2023-0026<abstract> <title style='display:none'>Abstract</title> <p>This article discusses the issue of curricular adaptation of subject content for students attending courses in Clothing Design and Visual and Decorative Arts in which the content of the national curriculum components is correlated with the student’s real possibilities to prioritize and compare their individual vocational performance and accumulated acquisitions during the development of design projects, following the individualized and differentiated curriculum in Clothing Design courses through algorithmic teaching strategies or heuristic strategies that require creativity in order to achieve global or sequential learning tasks.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/rae-2023-00262023-04-06T00:00:00.000+00:00https://sciendo.com/article/10.2478/rae-2023-0027<abstract> <title style='display:none'>Abstract</title> <p>This article brings into the discussion one of the important components of the cultural and educational infrastructure - the art gallery. In the paper, we will analyze the transformations that occurred in the offer of exhibition spaces in the contemporary artistic dynamics of Iasi. Along with an radiography of the Iași art galleries and the relational dimension they exercise, we will expose some of the comments of some Iași visual artists, on the side of this topic, extracted from the interviews which I realized in my doctoral research and which I published in the book Ieșeni ai artei vizuale contemporane. In shaping a dynamic artistic context, the art galleries constitute a factor of relational consolidation between the artist and the public, an aesthetic and active environment for the promotion of local, national and international artistic values. The space where visual artists exhibit their artistic projects either in personal, group or collective exhibitions is the place where a special connection is created, an aesthetic and educational means of communication between artists, critics and viewers, from the perspective of the dynamics of new structures, styles and forms of visual expression.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/rae-2023-00272023-04-06T00:00:00.000+00:00https://sciendo.com/article/10.2478/rae-2023-0025<abstract> <title style='display:none'>Abstract</title> <p>The nowadays communication paradigm shifts in the context of new media emergence, as we consider the internet and social media as sovereign communicative mediums. From cinema to press, advertising, art, or new-mediatic context, we assist to a global communication process which encompasses both the technological virtues of digitality, and the subjective truths of a collective cultural memory process. Based on the active principle of “the Rashomon effect,” we will investigate the advertising patterns, the news dissemination, and the everyday culture of images, and we will attempt to summarise the outcome of our position as (inter)active players in this globalised media environment. Since we are both creators and consumers of cultural information in the “global village,” we work with a wide array of communication supports which define our very identity as “information matrix processors.” We are creating both the context and the vehicle of this paradigm where the information is the main currency, and the visual communication become a medium by itself which opens a variety of directions of analysis for critical understanding of today’s cultural phenomenon</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/rae-2023-00252023-04-06T00:00:00.000+00:00https://sciendo.com/article/10.2478/rae-2023-0036<abstract> <title style='display:none'>Abstract</title> <p>Through the reforms launched during 2009-2020 by the Ministry of Education, Culture and Research of the Republic of Moldova, in cooperation with development partners, they changed their emphasis in education in favor of quality and, respectively, the process of evaluating student results. Updating the National Curriculum made in accordance with the fundamental support Reference framework of the National Curriculum, Basic Curriculum: competency system for general education, analytical support School curriculum evaluation report, etc. and the managerial support provided by the Ministry of Education, Culture and Research of the Republic of Moldova, favored a modern educational system with obvious results in national evaluations.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/rae-2023-00362023-04-06T00:00:00.000+00:00https://sciendo.com/article/10.2478/rae-2023-0023<abstract> <title style='display:none'>Abstract</title> <p>This paper examines the use of oblique parallel perspective as a method of structuring pictorial space in Far Eastern art. Unlike the conical perspective of the Renaissance, this type of perspective is not grounded on a scientific foundation; and yet, it follows a series of well-defined principles that offer a rational solution to the problem of representing space. Inspired by the philosophies of the Far East, Asian perspective is a completely different phenomenon, if we compare it to the types of perspective used by European artists. In the 17^th century, Asian artists begin experimenting with convergence – an element that is typical of conical perspective. This phenomenon did not take hold, as the attempts to adapt conical perspective did not have an impact on the deeply traditional cultures of the Far East.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/rae-2023-00232023-04-06T00:00:00.000+00:00en-us-1