The educational use of daily-life contexts is considered a valuable strategy to promote meaningful science learning, since it facilitates the establishment of connections between previous knowledge, personal interests, and new learning. The aim of this work is to provide evidence to support the presence of gardens at educational centers, by assessing key science topics whose learning is promoted at the preschool, primary, secondary, and university stages. To this end, we analyzed the paired graphic representations of "a garden" that students drew both before and after their participation in a garden-based learning program. Firstly, we obtained the frequency of appearance of every represented element, and afterward characterized the level of change between paired graphic representations. Sample size was of 24-19-25-29 pairs per stage, respectively. Across all stages, an overall improvement in students' graphic expression was observed, which can be attributed to their experience in the space. At the preschool stage, the garden favored the establishment of some simple cause-effect relationships which were consolidated at the primary stage, and provided a climate of motivation and affectivity that was evident in the final drawings, given the enormous quantity of details represented, the level of the finished product, and the careful combination and variety of colors. The presence of elements related to water notably increased in final graphic representations from preschool , primary, and secondary education, thus evidencing that the use of gardens facilitates an approach to responsible water management. At the university stage, students initially demonstrated good knowledge of conventional agriculture, while the gardening experience-which was based on permaculture practices-helped evolve their ideas toward an alternative model of cultivation. The most prevalent science learning across all stages was related to plant knowledge, particularly to their anatomical traits and diversity. Finally, the role of educational gardens as models for students was evidenced, which suggests the importance of teachers and institutions carefully considering which model to offer.
Resumen. En este artículo se aborda la posibilidad de realizar actividades didácticas, dirigidas a un público amplio, en galerías españolas de arte contemporáneo. Como referente inmediato, se contempla la función educativa de los museos y, para profundizar en el análisis, se estudian galerías de Gran Bretaña que ya llevan a cabo acciones didácticas como parte de su programación habitual. El objetivo es detectar rasgos comunes en las actividades que realizan, observar los colectivos a los que se dirigen y tratar de desvelar el pensamiento subyacente que rige su funcionamiento, además de determinar diferencias sustanciales entre la educación en galerías y la educación en museos. Finalmente, y a partir de los datos extraídos, se establece una comparación con las galerías de arte nacionales y se determinan las características fundamentales de lo que hemos denominado "didáctica galerística", concluyendo que las galerías de arte contemporáneo que aúnan una función comercial, junto con labores de difusión y educación, constituyen un contexto emergente para la educación artística. Palabras clave: Galerías de arte contemporáneo; educación artística; público.[en] Education in art galleries as an emerging field of artistic education in non-formal contexts Abstract. This article deals with the possibility of performing didactic activities, directed to a wide audience, in Spanish contemporary art galleries. We consider the educational function of museums as a close field, and in order to accurate the analysis, we study several galleries across Britain that already carry out didactic actions as part of their regular activity. The goal is to detect common features in the activities they perform, to observe the groups to which they are addressed and to unveil the underlying thinking that governs their functioning, in addition to determining substantial differences between galleries education and museum education. Finally, from the extracted data, a comparison with the national art galleries is established and the fundamental characteristics of what we called "didactics in the art gallery" are determined, concluding that the contemporary art galleries that combine a commercial function, together with publicity and education, constitute an emerging context for art education.
ResumenEn los últimos años se ha podido detectar un creciente interés por el arte marginal. Dicha atención no se debe únicamente a que las obras situadas en los límites del arte profesional actúen como referentes estéticos de influyentes artistas contemporáneos, sino que, a nuestro juicio, constituye un movimiento mucho más amplio. Hoy en día es fácil apreciar un claro afán por difundir las expresiones artísticas marginales, las cuales, poco a poco, parecen estar saliendo del restringido ámbito de los centros y museos específicos para conquistar nuevos espacios y audiencias más generalistas. En este artículo se analiza la difusión de obras a través de exposiciones, pero, especialmente, trata de profundizarse en el discurso teórico que respaldaría su inclusión como expresiones de pleno derecho dentro de la historia del arte. Esta labor crítica de revisión se materializa en una serie de narrativas museológicas, más o menos novedosas, en las que centraremos nuestra atención. Para ello, se considerará el trabajo reciente de promoción y difusión de los pioneros estudios progresivos de la Bahía de San Francisco y del joven Museum of Everything, con base en el Reino Unido, todas ellas instituciones destacadas en el actual fenómeno de irradiación del arte outsider. Palabras Clave: arte marginal, exposiciones, narrativas museológicas.Ortega, Inés (2014): Nuevas Visiones del Arte outsider. Arte, Individuo y Sociedad, 26 (2) 287-299. AbstractRecent years have witnessed a growing interest in outsider art. This is not only because works of art located on the fringe of the professional art world serve as aesthetic references for influential contemporary artists but also because, in our opinion, they form part of a much wider movement. Today there is a marked interest in publicizing outsider art and, little by little, these works seem to be abandoning the restricted confines of specialized museums and centers as they conquer new spaces and attract wider audiences. This article analyzes the role of exhibitions in publicizing these works but, more importantly, it studies the underlying theoretical discourse that leads to their consideration as genuine works of art that merit a place in art history. This critical revision has taken place in a series of novel, more or less sound museological narratives on which we will center our attention. We shall consider the recent promotion and dissemination of the pioneering progressive studies from San Francisco Bay Area and the new Museum of Everything located in the United Kingdom, institutions which play a key role in the present dissemination of outsider art.
En el presente artículo se aborda el estudio del modelado de figuras en arcilla producido por niños de entre tres y cinco años. Para ello, se crea un marco teórico que repasa los avances de las principales autoridades. Además, se hace acopio de una muestra de unas 170 piezas de modelado y de otros tantos dibujos que representan los mismos temas, y se registran las características principales de todas las creaciones. Los datos son analizados tanto cuantitativa como cualitativamente. El análisis cuantitativo permite testar la solidez de las hipótesis de partida, dirigidas a correlacionar las variables volumen (o ausencia de volumen), edad y tema representado. Después, el análisis cualitativo posibilita una mirada más cercana, permitiendo la profundización en aspectos emergentes y puntos críticos del marco teórico. La investigación constata la heterogeneidad de los estudios previos, las discrepancias entre autores y la pertinencia de entender el modelado como un lenguaje específico y diferenciado de otras manifestaciones artísticas. De ello se deriva la necesidad de crear herramientas metodológicas más precisas y de proseguir las investigaciones con muestras más amplias, variadas, y que abarquen otros rangos de edad.
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