TAILIEUCHUNG - Aesthetics and learning by Bennyé D. Austring, Merete C. Sørensen

TSC and DST have only recently entered into the general discussion about the mind and brain, and cannot be regarded as common ground. Several of the features that make the combination of the two a viable alterna- tive to connectionism and traditional theories of cognition based in symbol manipulation so far have not been widely recognised. The initial discussion of TSC and DST will present some of the elements that together provide a comprehensive and radically different view of the mind from the received one, and that might illuminate contemporary aesthetics | Aesthetics and learning Bennyé D. Austring Merete C. Sorensen bau@ mso@ University College Sj lland Denmark Abstract This paper is built on our book Aesthetics and Learning Hans Reizels Publishers Copenhagen 2010. In this book we describe the relationship between aesthetic creative activities and children s development and learning based on among other the theories of Malcolm Ross 1988 Hansjorg Hohr 2000 and Bj0rn Rasmussen 1998 . According to these theories aesthetic activities are an integrated and irreplaceable part of all children s socialization. Essential activities that develops creativity and enables the child to use the aesthetic languages to reflect and communicate feelings experiences and impressions and develop understanding of herself the others and the world she is a part of. In order to grasp this potential we need to deconstruct both the concepts of Aesthetic and Education to find new ways to organize what we shall label as cultural-aesthetic and playful education Rasmussen and Wright 2001 . We will in this paper based on a modern aesthetic comprehension present a theoretical background for using aesthetic learning processes as an integrated part of the curriculum. Introduction Throughout the pedagogical and didactic debate these days you often come across the concept of aesthetics expressed as the aesthetic dimension aesthetic learning processes and aesthetic practice for instance. When you examine these texts and statements closer you may get the impression that aesthetics have developed into an extremely airy concept a hooray word that covers anything tasteful artistic sensuous harmonic beautiful and experience-oriented. Obviously such a wide aesthetics concept is difficult to use as anchoring of the pedagogical and didactic work associated with the art-based subjects in the education system. If the concept is to be meaningful and operational within this area we therefore have to define it further. As a starting point we will .

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