Art Learning

For example, Dewey's notion of a continuum of follow up in which fraud is an ultimate expression of ordinary find underlies the fundamental idea in visual-arts education that the process of fashioning art "is a complex one in which children transport together diverse elements of their experience to make a cutting and meaningful whole" (Lowenfeld & Brittain, 1987, p. 2). This process of interaction with the environment is held to be essential to "developing the urge and attitude toward exploring and investigating different forms and in voicing preferences or being able to split up differences much easily at a later mature" (Lowenfeld & Brittain, pp. 120-121). To be sure, Dewey does not hold that it is "possible to proceed at once from direct esthetic experience to what is involved in [the] judgment" of works of art (1934, p. 298). But it is an essential horizontal surface in his theory that, while the work of art is judged by standards that incorporate more than the everyday experience of aspects of the aesthetic, it is necessary to witness how the aesthetic is part of ordinary experience in edict to understand how art is experienced.

claim's contributions, especially his early synthesis of psychological findings about art and cultivation, have had a broad yield as well. Read's interest in education per se meant, of course, that more of his ideas ar reflected in today's approaches to art education. The moral,

Read convincingly demonstrates some of the broader applications of an aesthetic education that emphasizes the development of both perception and imagination. Perception in its simplest forms is an everyday occurrence, of course, and Read, without circumstantial reference to Dewey, defines the aesthetic in everyday experience not merely as the perception of individual elements such as movement, color, or former(a) sense-perceptions, but as the ability of the benignant mind to identify a regulation in events. The reactions that are provoked by such perceptions generate a solvent that takes in the whole of the experience and develops a pattern at bottom the response.

Like the connected series of movements of premises toward consummation in a conclusion described by Dewey, therefore, Read sees the "pattern of [a] reaction" to a perception as aesthetic (1958, p. 37). thus Read sees the impulse toward selectivity operating in a realistic fashion within everyday life (something Dewey would not, of course, deny) but for Read it is the selectivity in ordinary experience--rather than just the pleasure or other sensations evoked by the stimulus--that constitutes the aesthetic. Imagination is the clement faculty for recalling visual, which are "the most perfect form of mental representation wheresoever the shape, position and relations of objects in space are concerned," and putt such imagery to creative use (p. 52).

But on a more practical level Read viewed art as involving two tenets--both of which were essential components of human development. The first was the principle of form, which derived from the organic world. His belief was that all essential forms develop from the " mathematical operation of mechanical laws under the impulse of growth" and that the logic of form, which derives from these natural forces, is the source of beauty (1958, p. 20). The satisfaction of the logical imperatives of these forces is the source of the "human emotion of beauty" (p. 20). This is similar to Dewey's
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