A Case for an Art Education of Everyday Aesthetic Experiences

The role of beauty for sustainability: a discussion on responsible consumption, aesthetics attitudes and product design

“…The main points expressed were that "the democratization of beauty has become an ongoing concern" in which "everything is supposed to 'look good'" and where "everything and everybody has become beautiful." Although the phenomenon is applauded by some for " […] offering both immense pleasure and rich resources for the construction of identity" (Duncun [24]), its economic purposes and foundations cannot be ignored (Welsch [14]). In turn, one could argue that it serves the interests of multi-and transnational corporations which tend, at the global scale, to reduce diversity of expressions through an unvarying 'corporate aesthetic' or 'style' notwithstanding cultures, people and places.…”

Arts, Aesthetics, and Citizenship Education: Democracy as Experience in a Postmodern World

“…While there have been countless contributions during the latter half of the last millennium, it is important to note that there are limits to what can be accomplished within the confines of the modern perspective (e.g., Duncum, 1999). Regardless of the merits, it must be acknowledged that destructive elitism and self-serving manipulation are often been associated with the arts.…”

“…Regardless of the merits, it must be acknowledged that destructive elitism and self-serving manipulation are often been associated with the arts. Within the modernist paradigm, the arts have served as means of political propaganda, cultural and economic mechanisms for the manipulation of taste, and economic devices for the maintenance of class distinctions (e.g., Berger, 1972;Bourdieu, 1984;Duncum, 1999). Moreover, the arts, as traditionally practiced, share responsibility for many universalist assumptions prevalent in contemporary Western societies.…”

Telling Story! Voice in Photography: An online visual art critical studies program evaluation

“…Third, if knowledge from each of the four areas of aesthetics, art criticism, art history, and art production are valued in visual art education (Darts, 2004;Duncum, 1999Duncum, , 2001Duncum, , 2002Freedman, 1997Freedman, , 2002Freedman, , 2003Garoian and Gaudelius, 2004;Stuhr, 2003;Tavin, 2000Tavin, , 2002Tavin, , 2003, online curricula needs to be developed that reflect contents from each that facilitates the building of knowledge in a constructivist format. With the usual focus of online learning communities on the dialogic nature of learning, coupled with the challenging nature of hands-on skill development in virtual spaces, a balanced curriculum can be difficult to develop in online learning communities.…”