BIBLIOGRAPHY Alpaslan. (2007). Aesthetic Understanding thr !gh "is!al #!lt!re. International Congress of Aesthetics $ %&7.

'Y(OP'I' (Alpaslan$ 2007) in his article c ncerned the !nderstanding ) aesthetic *ith iss!es in ed!cati n$ phil s phical aesthetics and art criticis+ at all instit!ti nal le,els. -he a!th r sh *ed the shi)t )r + te.t&/ased c ++!nicati n t re)lected in the )ield i+age sat!rati n t da0. -his shi)t is als dra+aticall0 ) art ed!cati n t da0. -hese articles in,estigate the changes )r + a

c nte+p rar0 and p st+ dern perspecti,e t !nderstand the changing ) r+s ) art /r !ght a/ !t /0 ne* techn l gies. -his is i+p rtant t /ec +e pen t the ne* c ncepti ns a/ !t the nat!re ) art. -his paper addresses the t pic ) art ed!cati n as ways of knowing and h * its c ncept changing c nstantl0. Art can /e !sed t enhance the st!d0 ) ed!cati n and can /e !sed int ,is!al c!lt!re. -his presentati n is n t a c +prehensi,e s!r,e0 ) either discipline1 rather it is intended t sti+!late ne* ideas relating t the stat!s ) art. -his appr ach * !ld help t !nderstand and appreciate the c!lt!re. In this *a0$ indi,id!als can de)ine ,is!al c!lt!re and art criticis+. "is!al in,estigati n as a c nte+p rar0 acade+ic )ield is c ncerned *ith the pr d!cti n$ ) r+ and recepti n ) past and present i+ages. In,estigating h * race$ identit0$ se.!alit0 and gender in)l!ence the h!+an ,is!al e.perience is a ) c!s ) the discipline ) ,is!al c!lt!re t da0. 2inall0$ a descripti n ) an applicati n ) an interdisciplinar0 c!rric!l!+ *as in, l,ed in as a high sch l ,is!al arts teacher that spar3ed disc ,eries the relati nships in ,is!al c!lt!re *hich ena/le st!dents t de,el p in depth 4!esti ns n art criticis+ thr !gh de,ising * r3sheets$ art ga+es$ r le&pla0s$ c perati,e learning acti,ities and /0 e.plaining the pr s and c ns ) +a5 r the ries. 2!rther+ re$ ed!cati n sh !ld c ncentrate n in,estigating the )act rs that )!rther the i+ple+entati n ) incl!si,e ed!cati n in sch ls. As c ncl!si n$ the !nderstanding aesthetic appreciati n deter+ines ne* *a0s ) r st!dents t critici6e gender$ and racial ,al!es. 2inall0 +!ltic!lt!ral !nit$ s cial and p litical ,al!es are re,ealed /0 e,er0da0 aesthetics$ techn l gical$ s cial and ec n +ic )act rs. 7!ring class art ed!cat rs can highlight s +e ) the +!ltic!lt!ral )!ncti ns ) art s!ch as its religi !s r ethnic pr p sal. -he i+p rtant in st!dents8 ,al!e !nderstands aesthetic appreciati n deter+ines ne* *a0s ) r st!dents t critici6e gender$ and racial ,al!es thr !gh ,is!al c!lt!re. -here) re$ has pla0ed an i+p rtant r le

in art ed!cati n since the late t*entieth cent!r0 in rder t e+phasi6e interdisciplinar0 dial g!e *hich ranges )r + art hist r0 t anthr p l g0. The Important point of discussions in the article %. Interpretation and understanding of art and visual culture created by today`s mass media.

Beca!se ) recent de,el p+ent in art ed!cati n$ ,is!al c!lt!re is in realit0 si+pl0 *hat is seen. 9arl0 * r3 n ,is!al c!lt!re has /een d ne /0 : hn Berger (Ways of Seeing$ %;72) and La!ra <!l,e0 (Visual Pleasure and Narrative Cinema$ %;7=) that ) ll *s n )r + :ac4!es Lacan>s the ri6ati n ) the !nc nsci !s ga6e. -*entieth&cent!r0 pi neers s!ch as G0?rg0 @epes as *ell as ic nic phen +en l gists li3e <a!rice <erlea!&P nt0 als pla0ed i+p rtant r les in creating a ) !ndati n ) r the discipline. <a5 r * r3 n ,is!al c!lt!re has /een d ne /0 A. :. -. <itchell$ partic!larl0 in his / 3s Iconology and Picture Theory$ and /0 the art hist rian and c!lt!ral the rist Griselda P ll c3. Other *riters i+p rtant t ,is!al c!lt!re incl!de 't!art Hall$ R land Barthes$ :ean&2ranB is L0 tard$ R salind @ra!ss$ Pa!l #r *ther and 'la, 5 CiDe3. # ntin!ing * r3 has /een d ne /0 Lisa #art*right. "is!al #!lt!re st!dies ha,e /een increasingl0 i+p rtant in religi !s st!dies thr !gh the * r3 ) 7a,id < rgan$ 'all0 Pr +e0$ :e))re0 and 2. Ha+/!rger. Beca!se ) the changing techn l gical aspects ) ,is!al c!lt!re as *ell as a scienti)ic +eth d&deri,ed desire t create ta. n +ies r artic!late *hat the E,is!alE is$ +an0 aspects ) "is!al #!lt!re ,erlap *ith the st!d0 ) science and techn l g0$ incl!ding h0/rid electr nic +edia$ c gniti,e science$ ne!r l g0$ and i+age and /rain the r0. In an inter,ie* *ith the : !rnal ) "is!al #!lt!re$ acade+ic <artin :a0

e.plicates the rise ) this tie /et*een the ,is!al and the techn l gicalF GIns )ar as *e li,e in a c!lt!re *h se techn l gical ad,ances a/et the pr d!cti n and disse+inati n ) s!ch i+ages at a hithert !ni+agined le,el$ it is necessar0 t ) c!s n h * the0 * r3 and *hat the0 d $ rather than + ,e past the+ t 4!ic3l0 t the ideas the0 represent r the realit0

the0 p!rp rt t

depict. In s

d ing$ *e necessaril0 ha,e t

as3 4!esti ns a/ !t

techn l gical +ediati ns and e.tensi ns ) ,is!al e.perience.H In rder t /e a*are ) the ,is!al c!lt!re and its p *er)!l i+pact$ creati,e indi,id!als need t de,el p pers nal en4!iries n the /asic practises. In a sense$ creati,e s l!ti ns and appr aches are$ there) re$ e.pected t /e s !ght. A pri+ar0 c ncern ) r ,is!al resp nse is dependent n s!/5ecti,e pre)erence arising !t ) di))erent ,is!al i+ages. 2. Understanding of Aesthetics is a branch of philosophy that mainly explains the nature and value of art experiences. Ae are )a+iliar *ith the *a0s in *hich the aesthetic resp nse t art is g!ided /0 )eat!res ) / th the * r3 and the indi,id!al s!/5ect$ /!t *hat g!ides !r ,is!al and i+aginati,e e.pl rati n !r aesthetic appreciati n ) nat!reI Ahen *e interpret and e,al!ate an art$ the percept!al )eat!res ) the * r3 g!ide ) the can,as$ and *e )ind ) /ac3&gr !nd +eaning thr !gh these )eat!res as ,ie*ed *ithin the )ra+e* r3 scienti)ic 3n *ledge is essential ) r appreciating nat!re aestheticall0. Aesthetics is a /ranch ) phil s ph0 that e.a+ines the nat!re ) art and !r e.perience ) it. It e+erged d!ring the %Jth cent!r0 in 9!r pe and de,el ped in 9ngland as phil s phers gr !ped t gether s!ch )ields as p etr0$ sc!lpt!re$ +!sic$ and dance. -he0 classi)ied all the arts int ne categ r0 and called the+ les /ea!. arts r the )ine arts. Phil s phers /egan t sa0 that reas n /0 itsel) c !ld n t e.plain /ea!t0. Bea!t0 +a0 ha,e s +e rati nal pr perties$ s!ch as G rder$ s0++etr0$ and pr p rti n$H /!t it is reall0 an e.perience n t e.plained /0 reas n al ne. It is !nderst d thr !gh int!iti n and e.perienced *ith h!+an )eeling and e+ ti n. An aesthetic e.perience c !ld incl!de a +i.t!re ) )eeling$ s!ch as pleas!re$ rage$ grie)$ s!))ering$ and 5 0. 3. The changes in art education In art ed!cati n an ther i+p rtant iss!e is the rec nstr!cti n ) the /alance /et*een !nderstanding and pr d!cti n. < re ,er$ re,ie*ing the ed!cati nal )!ncti n ) art

3n *ledge ) the painting$ )eelings$ and ass ciati ns. It stri3es +e as dd t clai+ that

ed!cati n in rder t deter+ine its ,al!e and i+p rtance ) r s cial rec nstr!cti n$ n ted prag+atist Richard R rt0 si+pl0 artic!lates it as Ka sel)&creati nK. -here) re$ in this perspecti,e the creati,e indi,id!al c !ld learn t disc ,er a ne* *a0 ) seeing and a di))erent appr ach t de,el ping ,is!al richness inside hi+sel) and ar !nd his en,ir n+ent. 9.periencing his pers nal in,enti n and )ree en4!ir0 sh !ld /e + re i+p rtant than technical +eth d andL r c!lti,ated s l!ti ns ) pr /le+s. 7e 'a!s+ares (2002) descri/e there is )i,e )act rs in partic!lar see+ t d +inate the changes that ha,e cc!red in ideas a/ !t creati,e acti,it0$ *hich +!st ine,ita/l0 a))ect ideas ) training. 2irst$ a re5ecti n ) c n,enti ns and an acceptance ) the idea that nl0 in) r+ati n *hich is deri,ed )r + !r *n e.perience can /e c nsidered ,alid ) r !s and ) r !r e.pressi,e res !rces. 'ec nd$ that in) r+ati n *hich the0 gain )r + an appreciati n ) the ph0sical nat!re ) !r +aterials and their ) r+al and spatial )!ncti ning is as i+p rtant$ i) n t + re i+p rtant than in) r+ati n restricted t the ,isi/le )acts ) nat!re. -hird$ that a ,is!al art is dependent !p n the e.pressi,e and c nstr!cti,e !se ) the speci)ic phen +ena ) ,isi n and that literar0 r ther ass ciati ns are essentiall0 ancillar0. 2 !rth$ that the t tal pers nalit0 is in, l,ed in +a3ing aesthetic decisi ns and that pers nal pre)erences ) r+ the inescapa/le /asis ) tr!l0 indi,id!al e.pressi n. 2i)th$ that art is n t /ased n a n!+/er ) static c ncepts /!t changes and e.tends its / !ndaries in resp nse t the shi)ts ) e+phasis in the intellect!al and e+ ti nal sit!ati n ) each peri d in hist r0. 4. e! conception of nature art. One t !ch ) nat!re +a0 +a3e the *h le * rld 3in$ /!t !s!all0$ *hen *eM nat!re$ d *e +ean t incl!de !rsel,esI Li3e s +e ther )!nda+ental ideas *hich e.press +an3ind>s ,isi n ) itsel) and its place in the * rld$ >nat!re> has a n +inal c ntin!it0$ ,er +an0 cent!ries$ /!t can /e seen$ in anal0sis$ t /e / th c +plicated and changing$ as ther ideas and e.periences change. I>,e pre,i !sl0 atte+pted t anal0se s +e c +para/le ideas$ criticall0 and hist ricall0. A+ ng the+ *ere c!lt!re$ s ciet0$ indi,id!al$ class$ art$ traged0. B!t it /etter sa0 at the !tset that$ di))ic!lt as all th se ideas are$ the idea ) nat!re +a3es the+ see+ c +parati,el0 si+ple. It has /een central$ ,er a ,er0 l ng peri d$ t +an0 di))erent 3inds ) th !ght. < re ,er it has s +e 4!ite radical

di))ic!lties at the ,er0 )irst stages ) its e.pressi nF di))ic!lties *hich see+ t +e t persist. -he la*s ) nat!re *ere indeed c nstit!ti nal$ /!t !nli3e + st real c nstit!ti ns the0 had n e))ecti,e hist r0. In the li)e sciences the e+phasis *as n c nstit!ti,e pr perties$ and signi)icantl0$ n classi)icati n$ and rders. Ahat changed this e+phasis *ere ) c !rse the e,idence and the idea ) e, l!ti nF nat!ral ) r+s had n t nl0 a c nstit!ti n /!t a hist r0. 2r + the late eighteenth cent!r0$ and ,er0 +ar3edl0 in the nineteenth cent!r0$ the c nse4!ent pers ni)icati n ) nat!re changed. Indeed the ha/it ) pers ni)icati n$ *hich e.cept in rather ) r+al !ses had /een ,isi/l0 *ea3ening$ *as ,er0 str ngl0 re,i,ed /0 this ne* c ncept ) an acti,el0 shaping$ indeed inter,ening$ ) rce. (at!ral selecti n c !ld /e interpreted either *a0$ *ith nat!ral as a si+ple !ne+phatic descripti n ) a pr cess$ r *ith the i+plicati n ) nat!re$ a speci)ic ) rce$ *hich c !ld d s +ething as c nsci !s as select. =. Applications of everyday aesthetics and visual culture contain technological" social and economical factors. Acc rding t Arnhei+Ks percepti n$ pe ple sh !ld de,el p 4!esti ns t !nderstand the

necessit0 ) c ncept and practice ) art ed!cati n. In this aspect$ *hen the indi,id!al enc !nters a s0+/ lic e,ent andL r an i+age ar !nd hi+$ he interprets
incl!si,e ed!cati n in sch

r sees it as intenti nall0

c ++!nicati,e. sh !ld c ncentrate n in,estigating the )act rs that )!rther the i+ple+entati n )
ls. As a res!lt$ d!ring class$ art instr!ct rs sh !ld inc rp rate the ) ll *ing ite+s ) r their st!dentsF %) 7isc!ssi n ) ,ari !s +eanings ) c!lt!re 2) 7iscri+inati n ) ) r+ati,e in)l!ences n aesthetic and ,is!al c!lt!re N) 9.planati n ) the pr s and c ns ) +a5 r art the ries O) P!esti ning signi)icant art * r3s that are i+p rtant aestheticall0 and /eca!se ) their artistic nat!re s!ch asF #hrist 8s Running fence and 7!cha+p8 s Ready mades

=) <a3ing in)erences a/ !t the art * r3 in ter+s ) listening$ restating and s!++ari6ing it Q) #ritici6ing aesthetic sites s!ch as c +p!ter art * r3$ the internet$ and digital art. 7) 7e,el p+ent ) st!dents8 relati nships *ith ,is!al c!lt!re and percepti n&&in ther * rds$ de,el ping the pr cess /0 *hich the0 sh !ld 3n * *hat t l 3 ) r J) Identi)icati n ) the ranges )r + art criticis+ in the class Fs!ch as r le pla0ing r an art ga+e ;) 9.pl rati n ) +!ltic!lt!ral aesthetics and ,ari !s )!ncti ns ) art s!ch as religi !s$ cere+ nial ((a,a5 )$ ethnic and t !rist arts %0) 7isc!ssi n n art c ncerns and aesthetics state+ents %%) 7eter+inati n ) s cial and p litical ,al!es in e,er0da0 aesthetics %2) Interpretati n ) a ,is!all0 attracti,e +etaph r %N) "er/al e.planati n a/ !t the art i+ages Ans*ers t the 4!esti ns p sed a/ ,e incl!de the ) ll *ingF All ) the+ are ,is!al c!lt!re /eca!se the0 are res!lt ) !r ,isi ns. All ) the+ are art * r3. All ) the+ are e.a+ples ) +aterial c!lt!re /eca!se the0 in, l,e +aterials. 'peciali6ed st!dents can easil0 rgani6e their ,is!al e.periences /0 !tili6ing their s cial$ scienti)ic$ critical aspects as *ell as hist rical c nte.ts. Ahat 3inds ) i+ages are related t a partic!lar c!lt!re and *hat are the reas nsI H * d st!dents !se and trans) r+ their c!lt!re and ,is!al inp!tsI H * d the0 clari)0 the )!ncti ns ) these ,is!al inp!tsI Additi nall0$ *e can g )!rther t s!ggest that !r st!dents are i+pacted /0 di))erent ) r+s ) ,is!al +edia and ,is!al s!rr !ndings li3e th se ) !nd n tele,isi n and c +p!ters. Ae can pr ,ide s +e sense ) r the sc pe t ill!strateF t )ind +eaning in aesthetics$ search !r s cial li)e ) art$ percei,e !r st!dents8 artistic pr d!cti n and asses+ent in class. # nse4!entl0$ this is n t a h *&t &d &it appr ach$ 0et *e ))er p *er)!l and insight)!l c ncepts need t /e p!rs!ed.

Analy#e to !hich school of thoughts of the author

Understanding aesthetic ) phil s ph0 ) art and aesthetics

-he instit!ti nal the r0 ) art sp!rred a disc!ssi n n the nat!re ) art that d +inated the )ield ) aesthetics ) r t* r three decades$ starting )r + the +iddle ) the 'i.ties. -he rise ) p st&+ dern art ))ered e,en + re +aterial ) r disc!ssi n and t date the de/ate in phil s ph0 ) art is still ,i,id and a*aiting t /e + re care)!ll0 e.pl red. Aesthetics is the st!d0 ) /ea!t0 and taste$ *hether in the ) r+ ) the c +ic$ the tragic$ r the s!/li+e. -he * rd deri,es )r + the Gree3 aisthetikos$ +eaning E ) sense percepti n.E Aesthetics has traditi nall0 /een part ) phil s phical p!rs!its li3e episte+ l g0 r ethics$ /!t it started t c +e int its *n and /ec +e a + re independent p!rs!it !nder I++an!el @ant$ the ) h!+an Ger+an phil s pher *h sa* aesthetics as a !nitar0 and sel)&s!))icient t0pe /elie)s$ atheists sh !ld ha,e s +ething t sa0 n this t pic. Aesthetics is a c ncept n t easil0 /r 3en d *n int si+pler ideas$ +a3ing it di))ic!lt t e.plain. Ahen *e spea3 ) s +ething that creates an aesthetic e.perience$ *e are !s!all0 tal3ing a/ !t s +e ) r+ ) art1 0et the +ere )act that *e are disc!ssing a * r3 ) art d es n t g!arantee that *e are als disc!ssing aesthetics R the t* are n t e4!i,alent. ( t all * r3s ) art necessaril0 create an aesthetic e.perience$ ) r e.a+ple *hen *e l 3 at a painting t deter+ine h * +!ch *e can sell it ) r. Aesthetics leads !s t a ,ariet0 ) iss!es in, l,ing p litics$ + ralit0$ and + re. 2 r e.a+ple$ s +e ha,e arg!ed that an i+p rtant c +p nent ) the aesthetic e.perience is the desire ) r p litical acti n R th!s1 Eg !s t tr0 and i+pr ,e s ciet0. At the sa+e ti+e$ s +e critics arg!e that there is E/adE art *hich ser,es t s!/tl0 ( r s +eti+es n t s s!/tl0) rein) rce the stat!s 4! and create an Eide l g0E *hich helps 3eep certain gr !ps ) pe ple n t nl0 !t ) p *er$ /!t e,en )r + see3ing it in the )irst place. Aith regards t + ralit0$ it has /een arg!ed that certain i+ages r ideas are inherentl0 i++ ral and hence d n t create a ,alid aesthetic e.perience. Interestingl0$ the ,er0 ans*er t the 4!esti n ) *hether r n t s +e partic!lar * r3 ) art sh !ld /e per+itted *ill )ten depend !p n h * ne appr aches it R )r + a p litical$ ethical$ religi !s r aesthetic perspecti,e. Ahich ) these gr !ps ) 4!esti ns relate t the area ) aestheticsI dE art is that *hich gets

e.perience. Beca!se ) art>s hist rical r le in the trans+issi n ) religi n and religi !s

-he )irst gr !p is c ncerned *ith identi)0ing ) r+al and e.pressi,e 4!alities in speci)ic * r3s ) art$ *hich i+plies engaging in art criticis+. An interest in the s ci &c!lt!ral c nte.t ) partic!lar * r3s characteri6es the sec nd set ) 4!esti ns$ *hich relate t art hist r0. It is nl0 the last set ) 4!esti ns that can /e ass ciated *ith the t0pes ) iss!es addressed /0 aestheticians$ phil s phers *h st!d0 s0ste+aticall0 the nat!re ) art. Ahen *e disc!ss and arg!e and *rite a/ !t p ssi/le ans*ers t these t0pes ) 4!esti ns$ *e are engaged in acti,ities that ha,e cc!pied s +e phil s phers ) r ,er 200 0ears. Phil s ph0 is a )ield that is !s!all0 di,ided int three speciali6ed areasF

speculative philosophy & c ncerned *ith +etaph0sics ()irst principles and ca!ses) and episte+ l g0 (+eth ds ) r gaining ,alid 3n *ledge) applied philosophy & relating phil s phical c ncepts and +eth ds t (phil s ph0 ) science$ phil s ph0 ) ed!cati n$ phil s ph0 ) hist r0$ etc.) ther )ields

practical philosophy & c ncerned *ith ethics (* rth ) h!+an acti ns$ and 5!dg+ents ) *hat is right and g d) and aesthetics (de)ining the nat!re ) /ea!t0 and art$ ) r+!lating principles g ,erning its pr d!cti n and e,al!ati n).

$o you agree%disagree !ith the findings of the article& Indicate your argument to support your decision. I agree *ith the )inding in the disc!ssi n that the ,is!al c!lt!re aspect stresses the 4!esti ns
a/ !t art itsel)$ its de)initi n$ genres$ ) r+$ hist r0 and criticis+ /0 rede)ining and i+pl0ing interdisciplinar0 st!dies. In recent decades$ !r appreciati n ) the arts has gr *n a+a6ingl0 /0 s!pp rting +in rities$ )e+ale artists and the art ) ther ci,ili6ati ns. "is!al c!lt!re !nd !/tedl0 pr ,ides a dial g!e /0 !sing phil s ph0$ criticis+ and hist r0. It als ))ers a set ) , ca/!laries and

c ncepts t

)ra+e and re)ra+e c!rrent !se)!l iss!es in art. -his appr ach ena/les !s t

characteri6e and e,al!ate the s!/5ect )r + a /r ader perspecti,e. -hese perspecti,es represent the li,ed +eaning ) art and ,is!al arts are ,ital t all art c ++!nities thr !gh changes in c!rric!l!+ c lla/ rati,e instr!cti nal +eth ds and c ++!nit0 acti n. - s!pp rt +0 interpretati n$ there are area ) aesthetics can /e di,ided int )i,e gr !pings ) iss!es$ 4!esti ns and pr /le+s that are !s!all0 addressed /0 phil s pher&aestheticians. Ahen appr ached in *a0s that are rele,ant t partic!lar gr !ps$ these areas can als /e in,estigated /0

n n&phil s phers1 e.g.$ st!dents ranging )r + the pri+ar0 grades thr !gh grad!ate sch als address the ) ll *ing 4!esti ns in ter+s ) their *n le,els ) s phisticati n.

l can

%) 7e)ining *hat is and *hat is n t artF *hat c nditi ns +!st /e present ) r s +ething t /e called artI *hat c ncepts ena/le !s t identi)0 4!alities in * r3s ) art and the nat!re ) its aesthetic ) r+I *hat +eanings can /e c n,e0ed /0 * r3s ) artI 2) 9ngaging in the aesthetic enc !nter and +a3ing ,alid resp nses t * r3s ) artF *hat is the nat!re ) aesthetic e.perienceI Ahat are appr priate *a0s ) r l 3ing at artI Ahat d es a * r3 ) art e.pressI N) Identi)0ing standards and +a3ing critical 5!dg+ents a/ !t artF *hat are the di))erences /et*een pers nal pre)erences and /5ecti,e 5!dg+entsI #an there /e a set ) standards ) r *hat is /ea!ti)!lI H * d *e disting!ish /et*een /ea!t0 and !glinessI O) #lari)0ing the r le ) the artist and the creati,e pr cessF h * d es +a3ing art di))er )r + ther acti,itiesI Ahat d es it +ean t /e e.pressi,e$ i+aginati,e$ r riginalI =) 9.pl ring the nat!re ) the art * rld$ and the relati nships /et*een art and ide l g0 and + ralit0F h * d the +eanings in * r3s ) art relate t the artist>s c!lt!reI Is art a+ ralI A p liticalI Are art ) r+s parts ) ther ,al!esI H * d es the Eart * rldE relate t instit!ti nsI -here are$ ) c !rse$ n single ErightE ans*ers t these 4!esti ns. It is *hen searching ) r the + st l gical$ rele,ant and reas na/le e.planati ns and c ncl!si ns that ne e.pands his r her !nderstanding ) and appreciati n ) r the nat!re and ,al!es ) art. Alth !gh it cann t /e e.pected that e,er0 ne can achie,e this le,el ) s phisticati n$ instead ) EI li3e it ...d n>t li3e itE resp nses$ ne can learn t pr ,ide reas ns ) r pre)erences. Ahen reas ns are pr ,ided ) r ne>s 5!dg+ents$ a /asis e.ists ) r / th disc!ssi n and e,al!ati n. Atte+pting t artic!late the reas ns ) r ne>s resp nses ena/les /ser,ing *ith greater clarit0 and acc!rac0. -he s3ills ass ciated *ith +a3ing in) r+ed resp nses t ,is!al sti+!li are als related t ed!cated. ther aspects ) /eing art ther c!lt!ral

In rder t engage resp nsi/l0 in the pr d!cti n ) art$ ne +!st c ntin!all0 assess the nat!re ) *hat is /eing created1 i.e.$ the artist +!st ser,e as his r her *n critic. -his is acc +plished int!iti,el0 (*ith !t c nsci !s th !ght) andL r /0 engaging in the /5ecti,e anal0sis ) *hat is created. As *as all!ded t pre,i !sl0$ +a3ing relati,e and c +parati,e 5!dg+ents re4!ires that ne p ssess a /ac3gr !nd ) in) r+ati n that relates t *hat is /eing e,al!ated$ there) re$ the need ) r st!d0ing art hist r0. The relationship of the article !ith the art education of our country In this article$ the 3e0 iss!e )acing +!ltic!lt!ral !nit$ s cial and p litical ,al!es are re,ealed /0 e,er0da0 aesthetics$ techn l gical$ s cial and ec n +ic )act rs. 7!ring class art ed!cat rs can highlight s +e ) the +!ltic!lt!ral )!ncti ns ) art s!ch as its religi !s r ethnic pr p sal. B0 reali6ing and !sing aesthetic sites li3e internet sites$ c +p!ter ga+es$ and ad,ertise+ents$ st!dents /ec +e a*are ) *hat is the p!rp se ) art and *hat is ,is!al c!lt!re is. Regarding ) this$ the arts are ne ) h!+anit08s deepest ri,ers ) c ntin!it0. -he0 c nnect each ne* generati n t th se *h ha,e g ne /e) re$ e4!ipping the ne*c +ers in their *n p!rs!it ) the a/iding 4!esti nsF Ah a+ II Ahat +!st I d I Ahere a+ I g ingI At the sa+e ti+e$ the arts are )ten an i+pet!s ) r change$ challenging ld perspecti,es )r + )resh angles ) ,isi n$ r ))ering riginal interpretati ns ) )a+iliar ideas. -he arts disciplines pr ,ide their *n *a0s ) thin3ing$ ha/its phil s ph0. Acr ss the c !ntr0$ the r le ) the arts as an ec n +ic engine is gr *ing in acceptance and strength. I call n all la*+a3ers t s!pp rt )!nding and p licies at the )ederal le,el that * !ld rec gni6e the gr *th p tential and direct /ene)its ) enc !raging cities and states t strategicall0 in,est in the arts in rder t dri,e ec n +ic de,el p+ent. P!/lic spending n the arts helps p siti n !r nati n t /e c +petiti,e gl /all0. A+erica>s arts and entertain+ent are leading e.p rts$ *ith esti+ates ) + re than SN0 /illi n ann!all0 in ,erseas sales$ incl!ding the !tp!t ) artists and ther creati,e * r3ers in the p!/lishing$ a!di ,is!al$ +!sic$ rec rding and entertain+ent /!sinesses. At an ther le,el$ the arts are s ciet08s gi)t t itsel)$ lin3ing h pe t +e+ r0$ inspiring c !rage$ enriching !r cele/rati ns$ and +a3ing !r tragedies /eara/le. -he arts are als a !ni4!e s !rce ) en5 0+ent and delight$ pr ,iding the GAhaTH ) disc ,er0 *hen *e see ) +ind as rich and di))erent )r + each ther as / tan0 is di))erent )r +

!rsel,es in a ne* *a0$ grasp a deeper insight$ r )ind !r i+aginati ns re)reshed. -he arts ha,e /een a pre cc!pati n ) e,er0 generati n precisel0 /eca!se the0 /ring !s )ace t )ace *ith !rsel,es$ and *ith *hat *e sense lies /e0 nd !rsel,es. -he arts are deepl0 e+/edded in !r dail0 li)e$ )ten s deepl0 r s!/tl0 that *e are !na*are ) their presence. -he ))ice +anager *h has ne,er st!died painting$ n r ,isited an art +!se!+$ +a0 ne,ertheless select a li,ing&r + pict!re *ith great care. -he + ther *h ne,er per) r+ed in a ch ir still sings her in)ant t sleep. -he teenager *h is a stranger t dra+a is + ,ed /0 a 'at!rda0 night )il+. A c !ple *h * !ld ne,er thin3 ) ta3ing in a /allet are n netheless a,id s4!are dancers. -he arts are e,er0*here in !r li,es$ adding depth and di+ensi n t the en,ir n+ent *e li,e in$ shaping !r e.perience dail0. -he arts are a p *er)!l ec n +ic ) rce as *ell$ )r + )ashi n$ t the creati,it0 and design that g int e,er0 +an!)act!red pr d!ct$ t architect!re$ t the per) r+ance and entertain+ent arts that ha,e gr *n int +!lti/illi n d llar ind!stries. Ae c !ld n t li,e *ith !t the artsRn r * !ld *e *ant t . 2 r all these reas ns and a th !sand + re$ the arts ha,e /een an insepara/le part ) the h!+an 5 !rne01 indeed$ *e depend n the arts t carr0 !s t *ard the )!llness ) !r h!+anit0. Ae ,al!e the+ ) r the+sel,es$ and /eca!se *e d $ *e /elie,e 3n *ing and practicing the+ is )!nda+ental t the health0 de,el p+ent ) !r children8s +inds and spirits. -hat is *h0$ in an0 ci,ili6ati nR !rs incl!dedRthe arts are insepara/le )r + the ,er0 +eaning lacks !asic knowledge and skills in the arts" Arts ed!cati n /ene)its / th st!dent and s ciet0. It /ene)its the student /eca!se it c!lti,ates the *h le child$ grad!all0 /!ilding +an0 3inds ) literac0 *hile de,el ping int!iti n$ reas ning$ i+aginati n$ and de.terit0 int !ni4!e ) r+s ) e.pressi n and c ++!nicati n. -his pr cess re4!ires n t +erel0 an acti,e +ind /!t a trained ne. Arts ed!cati n als helps st!dents /0 initiating the+ int a ,ariet0 ) *a0s ) percei,ing and thin3ing. Beca!se s +!ch ) a child8s ed!cati n in the earl0 0ears is de, ted t ac4!iring the s3ills ) lang!age and +athe+atics$ children grad!all0 learn$ !nc nsci !sl0$ that the Gn r+alH *a0 t thin3 is linear and se4!ential$ that the path*a0 t !nderstanding + ,es )r + /eginning t end$ )r + ca!se t e))ect. In this d +inant earl0 + de$ st!dents s n learn t tr!st +ainl0 th se s0+/ l s0ste+s$ !s!all0 in the ) r+ ) * rds$ n!+/ers$ and a/stract c ncepts$ that separate the e.periencing ) the ter+ Ged!cati n.H Ae 3n * )r + l ng e.perience that no one can claim to !e truly educated who

pers n )r + *hat that pers n e.periences. B!t the arts teach a di))erent less n. -he0 s +eti+es tra,el al ng a r ad that + ,es in a directi n si+ilar t the ne descri/ed a/ ,e$ /!t + re )ten the0 start )r + a di))erent place. -he arts c!lti,ate the direct e.perience ) the senses1 the0 tr!st the !n+ediated )lash ) insight as a legiti+ate s !rce ) 3n *ledge. -heir g al is t c nnect pers n and e.perience directl0$ t /!ild the /ridge /et*een ,er/al and n n,er/al$ /et*een the strictl0 l gical and the e+ ti nalRthe /etter t gain an !nderstanding ) the *h le. B th appr aches are p *er)!l and / th are necessar01 t den0 st!dents either is t disa/le the+. An ed!cati n in the arts als /ene)its society /eca!se st!dents ) the arts disciplines gain p *er)!l t ls ) rF !nderstanding h!+an e.periences$ / th past and present1 learning t adapt t and respect thers8 ( )ten ,er0 di))erent) *a0s ) thin3ing$ * r3ing$ and e.pressing the+sel,es1 learning artistic + des ) pr /le+ s l,ing$ *hich /ring an arra0 ) e.pressi,e$ anal0tical$ and de,el p+ental t ls t e,er0 h!+an sit!ati n (this is *h0 *e spea3$ ) r e.a+ple$ ) the GartH ) teaching r the GartH ) p litics)1 !nderstanding the in)l!ences ) the arts$ ) r e.a+ple$ in their p *er t create and re)lect c!lt!res$ in the i+pact ) design n ,irt!all0 all *e !se in dail0 li)e$ and in the interdependence ) * r3 in the arts *ith the /r ader * rlds ) ideas and acti n1 +a3ing decisi ns in sit!ati ns *here there are n standard ans*ers1 anal06ing n n,er/al c ++!nicati n and +a3ing in) r+ed 5!dg+ents a/ !t c!lt!ral pr d!cts and iss!es1 and c ++!nicating their th !ghts and )eelings in a ,ariet0 ) + des$ gi,ing the+ a ,astl0 + re p *er)!l repert ire ) sel)&e.pressi n. 'onclussion The Importance of Arts (ducation. @n *ing and practicing the arts disciplines are )!nda+ental t the health0 de,el p+ent ) children8s +inds and spirits. -hat is *h0$ in an0 ci,ili6ati nR !rs incl!dedRthe arts are insepara/le )r + the ,er0 +eaning ) the ter+ Ged!cati n.H Ae 3n * )r + l ng e.perience that n ne can clai+ t /e tr!l0 ed!cated *h lac3s /asic 3n *ledge and s3ills in the arts. -here are +an0 reas ns ) r this asserti nF -he arts are * rth st!d0ing si+pl0 /eca!se ) *hat the0 are. -heir i+pact cann t /e denied.

-he arts are !sed t achie,e a +!ltit!de ) h!+an p!rp sesF t present iss!es and ideas$ t teach r pers!ade$ t entertain$ t dec rate r please. Bec +ing literate in the arts helps st!dents !nderstand and d these things /etter. -he arts are integral t e,er0 pers n8s dail0 li)e. O!r pers nal$ s cial$ ec n +ic$ and c!lt!ral en,ir n+ents are shaped /0 the arts at e,er0 t!rnR)r + the design ) the child8s /rea3)ast place+at$ t the s ngs n the c ++!ter8s car radi $ t the )a+il08s night&ti+e -" dra+a$ t the teenager8s 'at!rda0 dance$ t the end!ring in)l!ences ) the classics.-he arts ))er !ni4!e s !rces ) en5 0+ent and re)resh+ent ) r the i+aginati n. -he0 e.pl re relati nships /et*een ideas and /5ects and ser,e as lin3s /et*een th !ght and acti n. -heir c ntin!ing gi)t is t help !s see and grasp li)e in ne* *a0s. -here is a+ple e,idence that the arts help st!dents de,el p the attit!des$ characteristics$ and intellect!al s3ills re4!ired t participate e))ecti,el0 in t da08s s ciet0 and ec n +0. -he arts teach sel)&discipline$ rein) rce sel)&estee+$ and ) ster the thin3ing s3ills and creati,it0 s ,al!ed in the * r3place. -he0 teach the i+p rtance ) tea+* r3 and c perati n. -he0 de+ nstrate the direct c nnecti n /et*een st!d0$ hard * r3$ and high le,els ) achie,e+ent.

R929R9(#9 Reiser$ 7 l). Art and science" L nd nF 't!di "ista P!/lishers. %;72. 'n *$ #.P. The two cultures" #a+/ridge Uni,ersit0 Press. %;;N. -racht+an$ Pa!l. 7ada. Smithsonian" <a0 200Q$ (QJ&7O.) -!rner$ A. Richard. Inventing #eonardo" (e* Y r3F Al)red A. @n p).%;;N. :err ld Le,ins n$ 9+ ti n in Resp nse t ArtF A '!r,e0 ) the -errain$ inF <ette H5 rtL '!e La,er (eds.)$ $motion and the Arts$ (e* Y r3LL nd n %;;7$ 20UN7.(ed.)$ Aesthetics and $thics% $ssays at the Intersection$ #a+/ridge$ U@ %;;J. :esse :. Prin6$ &ut Reactions% A Perce'tual Theory of $motion$ (e* Y r3LL nd n 200O. # lin Rad) rd$ H * #an Ae Be < ,ed /0 the 2ate ) Anna @areninaI$ Proceedings of the Aristotelian Society$ s!pp. , l. O; (%;7=)$ Q7UJ0. :ene)er R /ins n$ 'tartle$ (ournal of Philoso'hy ;2 (%;;=)$ =NU7O.$ )ee'er than Reason% $motion and its Role in #iterature* +usic* and Art$ O.) rd 200=. 9l3ins$ :a+es (200N). Visual Studies% A Ske'tical Introduction. (e* Y r3F R !tledge. I'B( 0& O%=&;QQJ%&7. 9*en$ 't!art (%;JJ). All Consuming Images% The Politics of Style in Contem'orary Culture (%st ed.). (e* Y r3$ (YF Basic B 3s. I'B( ;7J&0&OQ=&00%0%&;.

2!er0$ @elli V Patric3 2!er0 (200N). Visual Culture and Critical Theory (%st ed.). L nd nF Arn ld P!/lisher. I'B( 0&NO0&J07OJ&2.

Oli,er Gra!F Virtual Art" ,rom Illusion to Immersion" <I-&Press$ #a+/ridgeL<ass. 200N. Oli,er Gra!$ Andreas @eil (Hrsg.)F +ediale $motionen" -ur #enkung von &ef.hlen durch /ildund Sound. 2ischer$ 2ran3)!rt a+ <ain 200=. Oli,er Gra! (Hrsg.)F Imagery in the 01st Century. <I-&Press$ #a+/ridge 20%%.