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in Art â Ethics â Education

Herausgeber:innen:

Carl-Peter BuschkÃ¼hle

Carl-Peter BuschkÃ¼hle
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Dennis Atkinson

Dennis Atkinson
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Raphael Vella

Raphael Vella
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Seiten:: xiiiâxvi

Angemeldet Ã¼ber:

Dar Hadith al Hassania

Figures
5.1	âDie Flugbereitschaft der deutschen Zivilgesellschaftâ (âThe flying readiness of German civil societyâ). (Â© Alexander Lehmann, Zentrum fÃ¼r Politische SchÃ¶nheit, Berlin 2016)	78
5.2	âFlÃ¼chtlinge fressenâ (âFeeding refugeesâ). (Â© Patryk Witt, Zentrum fÃ¼r Politische SchÃ¶nheit, Berlin 2016)	80
6.1	An ethical concern (2018). Crayon and acrylic on paper, John Baldacchino.	93
6.2	Saudade (2017). Enhanced iPhone photograph, John Baldacchino.	94
6.3	Grid (2018). Enhanced iPhone photograph, John Baldacchino.	97
6.4	Mosaic (2018). Enhanced iPhone photograph, John Baldacchino.	98
6.5	The agÃ´n as paideia (2018). Acrylic and ballpoint on paper, John Baldacchino.	99
6.6	Conviviality (2017). Enhanced iPhone photograph, John Baldacchino.	101
6.7	Being situated.	102
6.8	A chiasmic afffair.	102
11.1	From the series Tito in War (1992â1995), M. KovaÄeviÄ (courtesy of the artist).	176
11.2	PuÅ¡ija, N. Bistrik Sarajevo (2013) (courtesy of the artist).	177
11.3	From the series Children in War (1992â1995), M. KovaÄeviÄ (courtesy of the artist).	178
11.4	Dobrinja. From the series DUM-DUM (1992â1995), A. DjerkoviÄ (courtesy of the artist).	180
11.5	Memory Lane. Family Photo Archive (2012), A. JuÅ¡iÄ (courtesy of the artist).	181
11.6	From the series Omegapolis (2012), K. HadÅ¾iÄ (courtesy of the artist).	183
12.1	Page from Sacco, Palestine, 2003.	187
12.2	Page from âThe War Crimes Trialsâ, in Journalism, 2012.	190
12.3	Page from Sacco, Palestine, 2003.	192
12.4	Detail from Sacco, Palestine, 2003.	193
12.5	Detail from Sacco, Palestine, 2003.	194
12.6	Sacco, On Satire, 2015.	196
12.7	Page from Sacco, Bumf Vol. 1, 2014.	197
13.1	Authorâs winter art based on local traditions, symbols and patterns. This artistic work took part in a discussion on indigenous and non-indigenous rights and ethical principles of ownership of the regionâs visual culture. Details of huge snow installation on Levi Fell in Lapland, Finland (photos: Timo Jokela, 1999 and 2000).	204
13.2	The local peopleâs participation in design processes of the authorâs community-based environmental art was essential for raising awareness about ethical principles in artistic work. The authorâs wooden public artworks in northern environments are often based on traditional construction techniques and local folklore, where indigenous and non-indigenous storytelling merge (photos: Timo Jokela, 2009 and 2010).	205
13.3	In the ArctiChildren Psychosocial Wellbeing project guided by the author, school children from Russian, SÃ¡mi, Komi and Nenets groups worked together in a schoolyard in Lovozero in northern Russia. Northern forms of culture and cultural identities have emerged and grown in a close relationship with nature and winter. During the schoolyard workshops, ethnic differences were not emphasised. The workshop content was borrowed from village traditions and approached through indigenous art and folk belief stories relating to the environment and reindeers (photos: Timo Jokela, 2009).	207
13.4	Winter art and place-making activities forming part of the ArctiChildren project work on decolonialisation in a schoolyard in Jokkmokk SÃ¡mi school in Sweden. Winter art transforms the schoolyard into a showcase for the schoolâs principles of learning and its community spirit, a meeting place for the school, parents and the whole village community and a forum for symbols that build up cultural identity and democracy. the project encourages participation, a feeling of togetherness and engagement (photos: Timo Jokela, 2008).	209
13.5	In Salla village in Lapland, Finland winter art served as a tool to encourage schools, teachers, pupils and their parents to get involved in community-based creation. Taking place in the village centre, this kind of activity helps to explore the space from a new perspective, as a space for experiencing the annual cycle of northern nature (photos: Timo Jokela, 2009).	211
13.6	At the joint workshops run by the authors, contemporary art and traditional principles of SÃ¡mi craft were integrated. Student of art education from Finland and SÃ¡mi handicrafts (duodji) student from Norway collaborating and using snow and ice, learning from each other and discussing ethical principles when using indigenous cultural symbols and visual patterns in art (photos: Timo Jokela, 2012).	213
13.7	The MA level Winter Art Course was organised and guided by the author in collaboration with the University of Lapland and SÃ¡mi University of Applied Sciences in Kautokeino, The implementation of the course sought ethically sustainable, artistic-pedagogical ways of combining the principles of the Sami handicrafts (duodji) and community-based working methods in environmental art. The result of the course was Muohtagi â Lumen Kanssa â With Snow winter art entity in the yard of the Thon Hotel Kautokeino (photos: Timo Jokela, 2018).	214
14.1	A picture of Helena BerghÃ¤ll (photo: Leena Hannula).	221
14.2	Head of education Leena Hannula testing Portuguese porcelain colours at the workshop (photo: Anna Ahtola).	225
14.3	Siff senior club members crocheting in the 18th century way. Heidi Kallioinen assists at the workshop (photo: Leena Hannula).	228
14.4	High school students of Kallio School participate in the dramatic performance entitled Kotoa kasin (transl. From Home) with Senior Club People (photo: Leena Hannula).	230
15.1	School No. 1. Santiago de Chile, Metropolitan Region. (Â© Francisco Schwember, 2016)	236
15.2	Municipal school No 2. Santiago de Chile, Metropolitan Region. (Â© Francisco Schwember, 2016)	236
15.3	Private subsidised school. Roof and view of urban environment. Metropolitan Region. (Â© Francisco Schwember, 2017)	243
15.4	Municipal school. North Hall. Pre-intervention Metropolitan Region. (Â© Francisco Schwember, 2016)	245
15.5	Municipal school. North Hall. Post-intervention Mixed technique. Metropolitan Region. (Â© Francisco Schwember, 2017)	245
15.6	Subsidised private school. Roof, post-intervention, Metropolitan Region. (Â© Francisco Schwember, 2017)	246
15.7	Subsidised private school. Entrance hall, post intervention, Metropolitan Region. (Â© Francisco Schwember, 2017)	247
16.1	ArÄipelagu, 2018, video, classroom furniture, photographs, artistâs books. St Elmo examination centre, Valletta, Malta.	263
17.1	Mimesis II, coloured sculpture, oil, acrylic and mass on papier-mÃ¢chÃ©, 150 Ã 140 cm, 2014.	278
17.2	Mimesis III, coloured sculpture, oil, acrylic and mass on papier-mÃ¢chÃ©, 180 Ã 60 cm, 2014.	279
17.3	Transformation I, coloured sculpture, oil, acrylic and mass on papier-mÃ¢chÃ©, 200 Ã 120 cm, 2012.	281
17.4	Searching bird, coloured sculpture, oil and acrylic on papier-mÃ¢chÃ©, glasses and stuffed bird. 110 Ã 70 cm, 2017.	283
18.1	Refugees, mixed media on aluminium sheet, 160 Ã 110 cm.	288
18.2	Afghan Woman, overpainted photography, 40 Ã 29 cm.	288
18.3	Passport portrait, mixed media, 70 Ã 50 cm.	290
18.4	Petrol Ofisi, overpainted photography, 100 Ã 70 cm.	292
18.5	Death of Alan Kurdi, photography, 10 Ã 10 cm.	293
18.6	Family, overpainted photography, 12 Ã 10 cm.	294
19.1	Lorry tarpaulin for an Albert Schweitzer Foundation vegan advertising campaign, 2012â2016. (Â© Albert Schweitzer Stiftung fÃ¼r unsere Mitwelt photo archive, Berlin)	303
19.2	Albert Schweitzer Foundation vegan advertising campaign, 2012â2018. (Â© Albert Schweitzer Stiftung fÃ¼r unsere Mitwelt photo archive, Berlin)	303
21.1	Terminator 2.	338
21.2	Albrecht DÃ¼rer, Self-portrait at twenty-eight, 1500, oil on panel, 67.1 Ã 48.9 cm, Alte Pinakothek Munich.	340
21.3	Frauke Zeller, David Harris Smith: Hitch-Bot (2014).	345
22.1	PaweÅ Althamer, Goshka Macuga, Venice Biennale in BrÃ³dno. Photo by W. RadwaÅski, 2018, courtesy of Museum of Modern Art in Warsaw.	350

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Art â Ethics â Education

Reihe:Â Doing Arts Thinking: Arts Practice, Research and Education, Band: 7

ISBN:: 9789004430716

Verleger:: Brill

Print-Publikationsdatum:: 27 Jul 2020

Fachgebiete
- PÃ¤dagogik
  - Allgemein

Front Matter

Preface

List of Figures

Notes on Contributors

Chapter 1 Introduction

Part 1 Neoliberalism, Education and Creativity

Introduction to Part 1

Chapter 2 The Fabrication of the Chameleonic Citizen of the Future through the Rhetoric of Creativity

Chapter 3 Ethics in Higher Art Education

Part 2 Moral Inquiry and Political Correctness

Introduction to Part 2

Chapter 4 Art for Democracy in Crisis

Chapter 5 Ethics in Aesthetics? How Much Ethics Can Art Tolerate?

Part 3 Non-Sense, Disobedience and Alterity

Introduction to Part 3

Chapter 6 A âMOST AMIABLE UNIONâ

Chapter 7 Meditation on a Glow Stick

Chapter 8 The Illumined Mind

Part 4 Abstention and Disappearance

Introduction to Part 4

Chapter 9 On the Aesthetics of Abstention

Chapter 10 Not in the Name Of: Time and Disappearances in Ethics of Art Education

Part 5 Documenting a Politics of Hatred

Introduction to Part 5

Chapter 11 Photography as Cultural Symptomatology within a Post-Yugoslav Condition

Chapter 12 The Work Speaks for Itself

Part 6 Arts-Based Research, Community and the Environment

Introduction to Part 6

Chapter 13 Ethics of Arctic Sustainable Art

Chapter 14 Lifelong Learning in a Non-Formal Cultural Environment

Chapter 15 Art-Based Research in Vulnerable Educational Contexts

Part 7 Contested Geographies

Introduction to Part 7

Chapter 16 An Ethics of the Archipelago

Chapter 17 Sculpture as Transcultural Education

Chapter 18 The Aesthetics of Migration

Part 8 Animal Ethics, the Anthropocene and Transhumanism

Introduction to Part 8

Chapter 19 Art Pedagogy and Animal Ethics

Chapter 20 Death after Life

Chapter 21 DÃ¼rer as Machine

Part 9 Conclusions

Chapter 22 How to Explore Something Nobody Will Notice

Chapter 23 Art, Ethics and Education

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Art â Ethics â Education

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Art â Ethics â Education