The relationships among giftedness, talent development, and creativity are challenging areas of research. Because researchers lack consensus about what constitutes creativity itself, progress in developing operational definitions of "creativity" has been slow (Clark & Zimmerman, 1992-page 344; Csikzentmihalyi, 1996; Hunsaker & Callahan, 1995-page 2). Although some scholars agree that creative achievement is reflected in the production of useful, new ideas or products that result from defining a problem and solving it in a novel way (Hunsaker & Callahan, 1995-page 98; McPherson, 1997-page 201; Mumford, Wakefield, 1992), others distinguish between expert creative acts and those of novices. Csikszentmihalyi (1988, 1996), Feldman (1982), and Winner and Martino (1993) referred to creativity as inventiveness within a domain of knowledge, where a creative individual's work is recognized as a significant addition to that domain, by the social institutions (or field) that monitor the domain. No talented children, they claim, have "effected reorganization of a domain of knowledge" (p. 253). If we apply these criteria to student art, it would be rare that a student would create a work of art that is original, appropriate, and recognized by members of a disciplinary field. Fineberg (1997) has shown that numerous modernist artists appropriated motifs, images, and spatial organization from drawings and paintings of young children that these artists themselves collected. This appropriation does not, however, confer on the works of the children the title of "creative innovators" any more than the artisans who created the urinal used in Duchamp's "Fountain" were path; breaking creative sculptors.
Educators have suggested a number of strategies for developing curricula in different subjects that support creativity and talent development. Some of these suggestions include having students: (a) practice problem; finding as well as problem; solving techniques; (b) use unfamiliar materials that elicit more novel thinking and lead to new ideas, (c) experience convergent (structured) and divergent (unstructured) tasks because they need knowledge and information for skill building and open; ended tasks for self; expression; (d) rely on both visual and verbal materials; (e) be exposed to curricula with open; ended outcomes that allow for unforeseen results; (f) follow their own interests and work in groups, as well as independently; (g) choose environments that support their talents and creativity; and (h) encounter a wide range of tasks intended to encourage, reinforce, and enhance emerging talents (Feldhusen, 1995; Mumford et al., 1994; Runco, 1993; Runco & Nemiro, 1993; Sternberg & Williams, 1996).
C. What are the economic, legal, and ethical issues, implications and ramifications of a plan as related to staff and a diverse student body?
Since 1969, the National Assessment of Educational Progress (NAEP), also known as "the Nation's Report Card, " has been the only nationally representative and continuing assessment of what America's students know and can do in various subject areas, including reading, mathematics, science, the arts, writing, U.S. history, civics, and geography. Under the current structure, the Commissioner of Education Statistics, who heads the National Center for Education Statistics (NCES) in the U.S. Department of Education, is responsible by law for carrying out NAEP projects. The National Assessment Governing Board, appointed by the Secretary of Education, but independent of the department, governs the program. NAEP does not provide scores for individual students or schools. Instead, the test offers results regarding subject matter achievement, instructional experiences, and school environment for selected national populations of students (e.g., fourth; graders) and subgroups of those populations (e.g., female students, Hispanic students).
The NAEP 1997 arts assessment was the result of a multi; year process, described briefly in this volume (Myford & Sims; Gunzenhauser, 2002). Myford and Sims; Gunzenhauser discuss the collaboration among arts educators, artists, policymakers, and members of the public in the creation of the voluntary National Standards for Arts Education and the 1997 NAEP Arts Education Assessment Framework. This collaboration resulted in two documents that share a set of ideas, although the standards describe what ought to be taught in the arts, and the framework describes what and how to assess. Both documents assume that an arts education is not just for the talented or the privileged, but is instead an integral part of education. As stated in the framework:
Throughout their lives, [children] will draw from artistic experience and knowledge as a means of understanding what happens both inside and outside their own skin, just as they use mathematical, scientific, historical,...
Fine Arts Los Angeles Fine Arts Building "Form follows function" may be a cliche nowadays, one that's parroted in chic commercials for high-end, luxury sedans, but at some point, before the phrase devolved into a catchphrase for Cadillacs, it had real meaning. The architects who designed and built the Los Angeles Fine Arts Building knew what it meant, and they applied that philosophy to their stunning 12-story masterpiece in the city of
The line that forms the corner of the wall behind her is much more definite and concrete, but it almost appears as though there has been an attempt to obliterate notions of line in the woman herself -- the folds of her clothes resist any distinguishability. The different uses of line by these two artists also show up in their simple geometry. In his self-portrait, Picasso uses almost no curved
Henri Matisse Still Life after Jan Davidsz. de Heem's 'La Desserte' Henri Matisse was one of the great "colorist of the 20th century" and is one of Picasso's rivals in the area of innovations. Matisse is reported to have "emerged as a Postimpressionist, and first achieved prominence as the leader of the French movement Fauvism." (The Art Story, 2011) Matisse was interested in Cubism but rejected this seeking rather to use color
At this level, focus should be on meeting the needs of the graphic design industry. It is at the graduate level where intense discussion of theory should be developed. I agree with Frascara on this point. In most disciplines, such discussion is typically conducted at the graduate level. The average graphic design student can benefit from this work where applicable, especially if Frascara's proposed reference centers are created. One of
Still, Mohist impact was considerable. The Legalists embraced the Mohists' authoritarian concepts. The Confucians and Taoists both acquired meaning and intensity from responding against Mohist rulers. And the universalistic social vision of Mohism helped motivate comparable propensities in later on, post-classical Taoism. In addition, Chinese reformers of the nineteenth and twentieth centuries, typically discovered Mozi an interesting exemplar of the committed social reform (Kirkland, p. 4-5). The idea of reform
," goes on to say that one gallery almost sold all of its prints and a rival site also took 100 orders for prints. (Selling, 1) Also, in the second article cited, "Art and the Internet," an article found in BusinessWeek on 24 January, 2001, it claims that only 2% of international art sales, valued at $7 billion, are actually well-known and sold in public auctions with the help of the
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