The purpose of this paper is to clarify how visual analysis of a handmade picture function in between at least two views, the creator and the respondent. The starting point is to look upon the picture as a symbol system, no matter who made it and if the product is art or not art. Pictures originate from art and media but also from our hands and minds in learning. The function of lines and colours, is the basis for externalised interpretation. My point is that the more externalised views and minds, the better the tutor gets to know the student, and the better the student gets to know her- or himself and the better the student and tutor meet in symmetry. The critical view to the Habermas ´ concept of symmetry in pedagogical practice, is that there is always one that is supposed to know more (tutor) than the other (student). Learning is relational and so defined in terms of a variation. This means that an aspect of the social within us is externalised and interpreted in a unique communicative form (of the object), different from that of others. All together the different artefacts about a specific phenomena can inside the student or between students open up for an awareness of other ways of experiencing the specific and lead to deep learning. My point is that visual analysis and understanding, it’s methodology and science, is an arena of not only aesthetic educational learning but gives birth to more of symmetrical relations, to creator personal identity and integrity.
|Status||Publicerad - 2005|
|Evenemang||NERA´s 33rd Congress, University of Oslo, Faculty of Education, March 10 – 12, 2005. - |
Varaktighet: 1980-jan.-01 → …
|Konferens||NERA´s 33rd Congress, University of Oslo, Faculty of Education, March 10 – 12, 2005.|
|Period||80-01-01 → …|
- Pedagogik (50301)