Works of art are implemented during lessons in school usually in order to mediate ideas and theories about subjective realities. Pictures, sculptures, installations are then meant to be representations of insights or illustrations of certain imaginations.
I interpret works of art in another way. I look at them as if they were translations of theories in special settings of experience. My result is, that paradoxically especially art installations, performances, context art or other efforts and styles that infiltrate or thematise the object character of a work of art can be interpreted in this manner. One could think that such, in a way self-referential artworks have an only subversive character. In this regard it is thinkable that referring to such works of art makes it easier for the pupils to understand certain subjects in school. In my presentation I will show that on the basis of elected works and action modi in the frame of art ways to deal with certain experiences can be traced and found. These works and action modi can in special serve to generate theories. My hypothesis is, that such references to art could principally be possible every time interdependencies and contexts are to be learnt. In school these dimensions can only be experienced by including all the senses and the deep experiences of the own body.
In order to develop a didactical-methodical interdisciplinary concept to integrate artistic procedures in school teaching I will first mark out some clues in pedagogical learning theories. I will show that the unforeseeable is a central focus on learning seen from the perspective of the learner and of the teacher as well, even if it is no doubt that both perspectives and their dealing with the unforeseeable differ a lot. For pupils it is a great effort to get on with all the uncertainties, as for example the lack of knowledge about their future, about the things they have to know, about the functioning of social relations in their complexity etc.
So: How to gain competencies in dealing with the unforeseeable in its multiple aspects? How does a didactics looks like that fulfil this primarily pedagogical purpose?
In the end of my presentation I would like to discuss a medium of teaching and learning (the "Sensible Thresshold") that is thought to serve to achieve this objective.
2010. -7 p.
38th Congress der Nordic Educational Research Association (NERA) “Active Citizenship” University Malmö