The purpose of the paper was to substantiate the essence of metaculture as a way of recognizing yourself as a person in the maze of free will and action; determination of the structure, morphology and functional typology of metacultural metaphors and epistemological conditions for their contemplation. The introduction of this typology into the theory and practice of contemporary cultural pedagogy makes it expedient: 1) to avoid the practice of "imposing" and "adjusting" the process of metaphorizing the cultural artifact to a "ready" model of classical or non-classical rationality; reduction of the cultural metaphor to the semiotic interpretation of the sign; 2) to organize the "co-creation" of historical forms of the "I" and "you" dialogue in the metaphorical modeling of cultural artifacts on the basis of social and cultural pluralism and relativism. The systematic mentality methodology of the presented research implemented phenomenological-hermeneutic and semiotic approaches, methods of coherent modeling and expert evaluation of conceptual integration theory, connective theory of metaphorical interpretation, concept of nonlinear epistemology, principles of antinomy, verification, complexity, disjunctive synthesis. The scientific novelty of the material is to discover the peculiarities of the metacultural metaphor and determine epistemological strategies for contemplating its essential meaning. Conclusions. Epistemic metaculture implies a reflective use of the cultural experience of the Other One for creative self-development. The performance of its semiotic subject is effectively realized in the process of metaphorical cognitive science. The metamodern epistemological strategy overcomes the elenctic cognitive irony by applying a methodology of nonlinear thinking.
Прилучення сучасного освітоздобувача до крос-культурного діалогу концепцій миру і воздаяння спонукає пробудження в ньому почуття відповідальності на рівні епіґенетичного правила. Отож, метою даної статті є обґрунтування педагогічної моделі реалізації сотеріологічної концепції миротворчої освіти як чинника розбудови культури миру заради осмислення цінності того, що слугує утвердженню богоподібної гідності людини і благу ближнього во славу Творця. Сутність пропонованої моделі становить методологія перформативної дидактики як майстерні душі. Її провідною ідеєю є метафоризація християнської семасіології миру як благочестивого одкровення, а основою постає коннективна теорія інтерпретації особою своєї миротворчої місії як ментального вчинку. У статті представлена епістемна карта самоорганізації перформером-миротворцем сотеріологічних компетенцій, в основу телеології якої закладено алгоритм апперцепції: коли освіта миру стає справою не просто професійного успіху, а особистої совісті. Напрям і конкретний довготривалий план такої перформативної діяльності визначає стратегія креативної кластеризації майбутніх миротворчих сценаріїв як «шляху серця». В онтогенезі традиції перформансу, зорієнтованого на благочестивий сценарій любові до ближнього, міцно укорінилася імпровізаційна природа. Тому регулюючу функцію в імплементації означеної стратегії виконують епіґенетично зумовлені чинники активізації ментальних ресурсів освітоздобувача-перформера: технологія перформативної імпровізації (методи аурального моделювання, сотеріологічного іміджування і смислової метафоризації прогнозованого майбутнього, медіаеленктики, -еристики і -еротематики) і контекстний підхід до перформансу. Багаторічний викладацький досвід на факультеті мистецтв доводить, що ефективність реалізації пропонованої педагогічної моделі забезпечує створення спеціального івент-майданчика в арт-лабораторії.
Aim. The aim of the article is to define the concept of aesthetic competence of the nomad teacher of postmodern era based on a comparative analysis of two aesthetic models (metis paraesthetics and soteriological aesthetics). Methods. The subject of study is anthropotemporal methodology of acquiring aesthetic competence as an act of spiritual transformation (approaches, paradigm, priorities, criteria of effectiveness). The analysis of the stages of nomad’s dianoic choice in the process of understanding beauty as a boon was carried out using the method of epistemological design, according to which emotions function cognitively in aesthetic experience. The technology of spiritual self-coaching was chosen to activate all the structural components of aesthetic competence – the intention to correct aesthetic apperception and the competencies of emotional-reflective, value-semantic, aesthetic and worldview revaluation. Results. The implementation of the chosen technology opened up the possibility of reorientation for the nomad teacher: from the drive of the performer-trickster to a humble and grateful anticipation of the beauty as transcendent – to overcoming the power of inertia of previous dependence, responses to the calls of a pure (still “adventurous”) mind. A cluster analysis of the results of the completed tasks was carried out for the regression description of the efficiency of the technology. Conclusion. The soteriological concept of the aesthetic competence of the nomad teacher focuses attention on the essential coexistence of the teacher with students throughout the entire process of his self-determination. The practical experience of its implementation can make a positive contribution to reforming postmodern aesthetic education.
The purpose of the paper is to substantiate of the pedagogical design of digital education of future art teachers, in particular, the study of art theory in a virtual art class. The essence of the author’s concept is manifested in the metadialogue (oscillation) of two approaches: cluster (focused on statistical visualization of neural a network of genre-style signs outside the spiritual context, i.e. on the “wealth of art”) and semasiological (focused on the anthropological interpretation of these genre-style signs as icons, indexes and symbols, i.e. “wealth of understanding of art”). The proposed project is based on the concept of research-oriented professional education (Inquiry Based Science Education) and technology of advanced learning (Technology Enhanced Learning), which provide bachelors with many opportunities to conduct art research as a performance. The organisation of the design environment of the virtual art class involves non-linear scaffolding in the process of remote virtual experiments on the portal Go-Lab (“Search Facility”, “Inquiry Spaces”, “Related Labs” or the link “Online Labs”); GRAASP environment for the implementation of author’s developments and pedagogically structured programs in the process of performative interaction between teacher and students. The systematic thinking and methodology of the proposed project — the methodology of performative action — implements the phenomenological-hermeneutic method of coherent modeling and expert evaluation of the theory of conceptual integration, connective theory of metaphorical interpretation,the concept of nonlinear epistemology, synthesis, principles of antinomy. The advantage of digital learning in creatively integrated art theory is that in the computer space the student feels unprecedented freedom of creativity and gets unique opportunities for performative action. Thus, the understanding of the causality of historical changes in the theory of art is the result of a performative act, in particular in the laboratory of errors. This requires the introduction of nonlinear logic of functional and meaningful expansion of artistic didactics, implementation of computational visualization technologies, network analysis, thematic intermedia modeling. The visualised results of the study demonstrated the successful integration of performative methodology of cognition as artistic creativity in the process of professional training of future art teachers.
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