[Selected] Concepts, types and development strategies of cross-field aesthetic courses
Project host Professor Zhao Huiling, Department of Fine Arts, National Taiwan Normal University
1. Preface
Art is an important product of society and culture. It not only has its own development process, characteristics and values, but also plays an intermediary and catalyst role in various activities in various fields. Therefore, "aesthetic literacy" (aesthetic literacy) is one of the core citizen abilities of contemporary civilized developed countries. All countries agree that the country's competitiveness will be built on the rich aesthetic-related creativity of the new generation of learners. Looking at the development of social culture throughout the history, many of the power of human beings to change themselves are closely related to the aesthetic experience in life. In view of this, the Ministry of Education (2013: 11) began to promote the "Medium and Long-term Plan for Aesthetic Education" in 2014. Emphasizing that "aesthetic education is an education that refines an individual's aesthetic cognition and strengthens the integration of sensibility and rationality. It must start from life." At the same time, in the ever-changing context of globalization, cross-field capabilities have become an important concept in the educational reform of various countries (Hong Yongshan, 2016). The art field, with its practical capabilities in different fields, can use mechanisms such as creation, appreciation, and performance to cultivate diverse thinking, practices, and added value for various fields. With the launch of the Twelve Years of National Education, Taiwan's education reform has reached a new milestone. Both curriculum development and teacher teaching will keep pace with the trends of the new era and move towards innovative education. Cross-Disciplinary Aesthetic Education (CDAE) is booming under the background of the above-mentioned times.
For a long time, art education has been a compulsory course for schools below high school in my country and has been regarded as an important approach to aesthetic education. As a result, ordinary people often think that school art courses are the main cultivation field for learning individual aesthetic literacy. In fact, beauty is not only artistic creation and aesthetic form, but also includes visual experience and visual culture that exist everywhere in daily life (Zhao Huiling, 2005). Postrel (2004) pointed out that aesthetic creativity is as important as technological innovation and as indicative of economic and social progress. When aesthetic experience is subtly embedded and becomes an individual's way of learning, it will then change the way the individual interacts with the external environment. Therefore, it should be the responsibility and mission of art education promoters to systematize the aesthetic experience of learning individuals into effective learning methods and become a common and sustainable lifelong need for individuals in the future. In other words, although school art education is the core of aesthetic education for all, providing a complete and continuous art experience and learning, it is not the only approach. Any study of individual family, daily life, and even the teaching of various subject areas are all aspects of aesthetic education. Where education can thrive (Ministry of Education, 2013). When thinking from this perspective, the focus is on how to stimulate students' experience, learning and practice of aesthetics in diverse learning fields and through diverse methods, so as to accumulate their aesthetic experience and cultivation.
In response to the rapid changes brought about by globalization and internationalization, the "General Outline of the Twelve-Year National Basic Education Curriculum" (National Institute of Education, 2014), which was implemented in 2014, is expected to use "core competencies" concept to achieve integrated curriculum design across fields and educational stages. As the educational stage improves, the cultivation of art learning not only includes the knowledge, skills and affection of the art subject itself, but also clearly covers the diverse and cross-domain learning connotations that can interact with different disciplines, society and culture (National Education Research Academy, 2015). Zhou Peiyi and Xie Xiru (2009) believe that the integrated curriculum design of artistic empathy can enable students to connect various senses and make their feelings more profound. When artistic knowledge and cross-field subject knowledge are integrated and integrated, it can help students connect part of the learning content to the overall learning experience, effectively integrate the commonality between knowledge, increase the meaning of learning, and then apply it to daily life. among. Therefore, in the education field, using the art field as the core of promoting cross-field courses can, on the one hand, add value to the teaching effectiveness of each subject, and on the other hand, it can cultivate students' aesthetic experience and subtly influence their innovation ability and ability after they become citizens in the future. Aesthetic literacy.
Times are changing rapidly, and a single knowledge system can no longer meet the changing and evolving needs of all parties. Art education is broad and inclusive, and each discipline can find elements that create cross-domain integration with aesthetics in its professional knowledge, thereby achieving horizontal and diversified development of each discipline, and revitalizing the learning atmosphere that has been relatively inertial under subject-specific teaching for a long time. In view of the above, this article will explain the promotion significance, concepts and curriculum types of "Cross-Disciplinary Aesthetic Education" at the secondary education stage, as a reference for all walks of life when implementing the "Cross-Disciplinary Aesthetic Curriculum (CDAC)" in the future.
2. The significance of promoting cross-field aesthetic education in secondary education
When reviewing the discussion in the education sector on the development of curriculum in schools below high school, it was found that since the elementary school stage is mainly taught in a private class system, the promotion of cross-field and integrated curriculum concepts is more common than in the middle school stage. However, Irwin, Gouzouasis, Leggo, Springgay (2006) and Gullatt (2008) all pointed out that the teaching method of integrating art with other subjects has a positive contribution to the subject ability of individual learners at all ages. Middle school students are in a period of rapid changes in their lives in terms of cognitive and physiological development. On the one hand, they must develop the qualities for their future civic roles, and on the other hand, they are about to face personal future career choices. Based on the current actual situation of Taiwan’s education scene, even if the government strives to promote deregulation of education in terms of policies, elementary and high school students still have to face considerable pressure to enter higher education, and even have few opportunities to explore their career preferences under the busy academic load. . Since cross-field aesthetic education attempts to revitalize subject teaching and integrate the learning experience of separate subjects that are originally relatively clear-cut, it can provide students with a higher perspective to view the value and significance of professional knowledge. Therefore, cross-field education is promoted at the secondary education stage. Aesthetic education is indeed necessary.
The following is the significance and value of promoting cross-field aesthetic education at the secondary education stage:
1. The openness of artistic activities accommodates the characteristics of various subject areas
Disciplines in different fields may emphasize cognition, skills, or affection. However, art activities are deeply open to learning, and among all subject attributes, they are the most inclusive of diverse teaching objectives in different fields. The cross-disciplinary curriculum design with art subjects as the core can not only highlight the individuality and differentiation of each subject, but also bring out the commonality and diversity of the school's learning experience.
2. The extended function of art learning as the core of cross-disciplinary courses
Learning in the art field aims to explore students’ sensory abilities such as visual, auditory and kinesthetic abilities. Cultivating humanistic feelings and aesthetic literacy, attaching importance to life practice and emphasizing cultural inheritance will stimulate creativity, promote communication, deepen choices, and are closely related to individual daily life. Therefore, through the promotion of the school, art has become the core of the design of interdisciplinary teaching activities, which can help students seek self-expression and performance in exploration.
3. Deeply exploring the commonality of aesthetics in disciplines in different fields can promote the multiplication effect of learning connotations.
Cross-domain integration is an inevitable trend of modern civilization, but the learning of cross-domain integration is not achieved overnight. Through innovation, we can delve into the commonality of aesthetics in different subject areas and learn together with other fields in different art forms. Through such integrated experience and interaction, students can achieve a multiplier effect of learning content, experience the diverse connotations and styles of cross-field aesthetic courses from different aspects, and enhance the depth and breadth of school education.
4. Cross-field aesthetic courses can promote curriculum activation and development in secondary education.
In the current education atmosphere that is oriented towards further education, education at the middle school level is often led by examinations. The profession of teacher curriculum design is often suppressed and cannot be developed. There is also a lack of opportunities to empathize and learn from teachers in other fields. Faced with the demand for adaptive talent development and school-based characteristic courses, cross-field aesthetic courses can inject vitality into the flexible development of courses at the middle school level. At the same time, it can also promote the development of innovative courses and sustain the curriculum ecology based on campus.
5. The professionalism of the cross-field aesthetic teachers group can jointly construct the action force of aesthetic education
The achievement of any educational goal depends on teachers’ teaching expertise and teaching beliefs. The main force of cross-field aesthetic education comes from the mobilization of teachers in the art field, the professional sharing of subject teachers, and the support of school administration to form a cross-field aesthetic teaching community. Community teachers also understand the roles and functions of subject experts, artists, communicators, teachers, curriculum developers and researchers, conduct aesthetic exploration and excavation of common themes, and jointly construct a cross-disciplinary aesthetic course that uses art as a communication bridge. .
The middle school stage is an important stage for every citizen to develop personal values and learning attitudes and beliefs. When students become accustomed to using artistic knowledge as a medium to learn and use aesthetic literacy as an attitude to manage life, in the long run, the promotion of cross-field aesthetic education will It can achieve the ultimate goal of implementing national aesthetic education as shown in Figure 1.
Art learning is an important approach to aesthetic education, making teachers in the art field the most appropriate initiators when promoting cross-field aesthetic courses in school education. However, when art is used as the common core consciousness of school curriculum, teachers of various subjects can think about how to integrate the power of aesthetic experience into their own teaching activities when revitalizing teaching, so as to increase students' learning motivation and enrich learning. secondly, through the integrated experience of planning cross-domain courses, students can capture the nutrients that activate their own majors. Das, Dewhurst, and Gray (2011) believe that cross-field curriculum planning not only helps learners, but also has a positive effect on the professional growth of subject teachers. At the same time, when the entire school is preparing to provide students with challenging and stimulating learning content and experiences, it can also stimulate the overall creative atmosphere of the school.
As the initiator of school curriculum, teachers play an important role in guiding students to open the door to learning. Zhao Huiling (2014) pointed out when studying the connection between curriculum policy and teacher awareness that teachers on the front line of teaching are not only interpreters of the curriculum, but also have the main decision-making power over students’ learning content, so that teachers’ practical implementation when teaching , becoming an important factor affecting the direction of curriculum policies and the effectiveness of student learning. Zhen Xiaolan (2003) believes that teachers’ awareness of curriculum transformation is not only a transformation from the “ideal curriculum” planned by experts and scholars to the “operational curriculum” or “implemented curriculum” that teachers actually operate in the classroom. , must include a deeper level of interaction and meaning reshaping among students, teaching materials, experiences and other elements. When promoting cross-field aesthetic education at the secondary education stage, teachers from different disciplines contribute their intensive research on their own majors and put forward their confusion and needs for assistance in other professional fields. They will be able to stimulate and communicate with each other, and then improve their own course texts. Produce different meaning interpretations and trigger different learning possibilities for learners.
Refer to the curriculum concepts and definitions of cross-field aesthetic education
Contemporary thinking believes that art should have multiple interpretations and interpretations, making art a more inclusive and flexible subject. When art education is made the core of school curriculum, aesthetic experience can naturally penetrate into all aspects of life, subtly becoming an individual's learning channel, and thus changing the way individuals interact with the external environment. Peel (2014) believes that in school education, curriculum strategies that use art as a medium to integrate learning can provide learners with a learning process to develop and build the knowledge and skills they need in the 21st century. Gallagher and Ihanainen (2015) also pointed out that the aesthetic literacy of the new generation of learners is an important pulse of their daily lives. It is closely related to their creativity and lifelong learning ability, and will jointly build individual competitiveness. Therefore, how to systematize the aesthetic experience of learning individuals into effective learning methods and become their common and sustainable lifelong needs in the future should be the responsibility and mission of art educators.
After human society entered the 20th century, science and technology moved toward specialization, and education gradually became more sophisticated. In order to establish a professional knowledge structure, various academic fields were divided into many different disciplines. However, after entering the contemporary context of diversified development, although classified knowledge systems have their own value, the boundaries and divisions between subject knowledge may not be conducive to the integration ability required by individual learning and life (Huang Zhengjie, 1991). Chen Yinong (2011) believes that the mainstream trend in the international curriculum tends towards the concept of integration, which has led to the gradual blurring of the interdisciplinary boundaries between art education and other fields. Even though the art discipline can not only affect the knowledge system of other fields, but also Contribute to the expansion of vision in the field of art education. For example, the goal of promoting interdisciplinary courses in the UK is to integrate art with multicultural, community, and social resources, including cooperating with art institutions, museums, symphony orchestras, theater troupes, etc. to plan inspiring courses to cultivate students' solutions to their future life needs. The ability to solve problems (Yu Huirong, Zhao Huiling, Lin Xiaoyu, and Li Qichang, 2015). When Ewing (2010) studied art education in Australia, he mentioned that the University of Sydney and the Sydney Opera House worked together to implement a 15-year interdisciplinary curriculum plan that combined literature and drama performance , using the teaching strategy of "process drama" to encourage teachers and experienced actors to establish a cooperative relationship to jointly guide students. Through drama texts, students can explore literary meanings, stimulate creativity, and improve learning motivation and English reading. ability.
When discussing the connotation of art education, Yuan Ruyi (2008) pointed out that in order to establish individual artistic subjectivity, they should have the connoisseur ability of "living artist" so that each body can practice art in life, so that they can enjoy the art on the one hand. Have fun, discover the meaning of art to oneself, and be willing to actively pursue artistic development. On the one hand, let people use their own personal standards to construct a personally defined art space, thereby forming a lively cultural look. Chen Qionghua (2001) also pointed out that art itself stimulates multiple senses and perceptions, allowing students to experience abstract academic theories from practical feelings, and uses art as a medium to connect knowledge to enhance the depth, breadth and completeness of learning. , and ultimately connect with students’ experience, life and society, and use multiple perspectives and innovative thinking to care about various issues in the overall life environment. Chen Huaien (2008) believes that things in life themselves are not divided into detailed fields, but individual experience is directed to different aspects of practice, cognition or aesthetics based on different participation methods. Therefore, when promoting cross-field aesthetic courses, teachers in various art fields should be able to transform into art and aesthetic consultants for schools, assisting teachers of other subjects to find the aesthetic elements belonging to this field in the subject knowledge system that may focus too much on professional cognition. , allowing students to enhance their subject learning motivation by adding the aesthetic experience in life to their subject learning, thereby strengthening their subjective understanding of the value of art.
Due to the complexity and diversity of artistic activities themselves, the curriculum construction methods in the art field are extremely diverse. In addition to being an independent learning area, it can also be integrated with other subject areas at different levels (Burton, Abeles, Horowitz, 2000) . When discussing the construction methods of courses in the art field, according to the different construction purposes, the teaching connotation can be adjusted to achieve learning benefits for different purposes, such as using art learning to support other subjects to achieve the learning goals of other subjects and cross-disciplinary fields. Learning goals, as well as the integration of life issues, assisting students' cognitive growth, supporting social changes, etc. (Charland, 2011). When Krug and Cohen-Evron (2000) discussed curriculum integration from the perspective of art education, they proposed four integration methods, namely: using art as a resource for other subjects, expanding the central idea of the subject through art, and using art to Interpret themes, ideas or concepts and use art as a means to help understand issues at the heart of life. When art courses are combined with other disciplines across domains, the richness of subject resources can be increased, for example, by visualizing invisible theorems. When clarifying the possibility of curriculum integration, Jensenius (2012) cited five types of courses, namely "intradisciplinary", "multidisciplinary", "crossdisciplinary" and "interdisciplinary". "integration" (interdisciplinary), and "transdisciplinary" (transdisciplinary).
Jensenius (2012) believes that among the five types of curriculum integration, "single subject" means thinking about the knowledge structure within a single subject; "multidisciplinary" means that individuals from different disciplines collaborate with each other, but still Think about the disciplinary knowledge structure from the perspective of your own discipline; "Interdisciplinary" means looking at other disciplines from the perspective of one discipline; "Interdisciplinary integration" means integrating knowledge and methods from different disciplines in a comprehensive way; "Super "Discipline" means to innovate a knowledge framework that transcends the perspectives of various disciplines. Therefore, when discussing the curriculum characteristics of interdisciplinary aesthetic education, Jensenius (2012)’s definition of interdisciplinary curriculum is adopted, placing the art field at the core of the school curriculum structure and connecting it to other subject areas. That is, from the perspective of artistic disciplines such as visual arts, music, and performing arts, we examine the interactive relationships and possible connections between these subjects and other disciplines. At the same time, since artistic disciplines such as visual arts, music, and performing arts focus on processing individual sensory experiences of vision, hearing, and kinesthetics respectively, the promotion of cross-field aesthetic courses can also strengthen students' multiple senses needed for learning in other disciplines. The acuity of experience.
After gathering the aforementioned concepts, the "cross-disciplinary aesthetic course" is defined as using artistic media, artistic concepts, aesthetic elements and artistic resources as media, resources, strategies and main axes to activate, assist and integrate the learning of other disciplines to construct " An art-based cross-disciplinary curriculum. At the same time, the "Art Media" part of the cross-field aesthetic course refers to the artistic concepts and aesthetic elements in visual arts, music, performing arts and other artistic fields. In terms of visual art, it includes visual vocabulary such as points, lines, surfaces, spaces, compositions, textures, and colors, as well as aesthetic formal principles such as repetition, contrast, balance, and unity, which can be created through painting, digitality, and three-dimensionality. Practice activities or experience them through appreciation activities. In terms of music, it includes musical elements such as rhythm, melody, timbre, intensity, texture, and musical form, as well as formal principles such as repetition, contrast, balance, and unity. The practice can be experienced through activities such as practice, appreciation, and creation. . In terms of performing arts, it includes body language such as voice, body movements, expressions, etc., combined with visual and auditory elements, to create expressions through imitation of movements and relationship interactions, to practice art education immersively, and to enhance it through appreciation activities. Aesthetic taste. In the "art resources" part of the cross-disciplinary aesthetic course, it refers to artworks, visual images, games and audio-visual materials in visual arts, music, performing arts and other artistic fields.
4. Curriculum types and cases of cross-field aesthetic education
In the past, when discussing the reasons for the existence of art education in school education, they were often divided into two categories: the "instrumental theory" of "education through art" and the "essential theory" of "education in art." The former regards the benefits that art education can play in the growth process of learners or its contribution to social development as its primary goal; the latter emphasizes the unique value of art education and believes that art has a unique impact on life that no other school of study has. Substitutable special experiences and understandings (Gao Zhenfeng, Chen Qiujin, 2002). Zhao Huiling (2005) believes that based on the development context of art education, the value orientations of the two mentioned above have their own strengths and are not distinct in practice, but present a spiral cycle of alternation. Therefore, when planning cross-field aesthetic courses with art as the core, two development possibilities can be gathered. One is to use artistic connotations such as artistic media, aesthetic elements, artistic concepts and artistic resources to apply artistic practice, Activities such as art appreciation serve as media, resources and strategies to activate and assist learning in other subjects. The second is to examine the professional knowledge systems of different disciplines, look for knowledge structures or aesthetic commonalities that overlap with the art field, and use this as the main axis to integrate the curriculum structure for planning. The following is a course example from the first phase of the Ministry of Education's "Experimental Curriculum Development Plan for Interdisciplinary Aesthetic Education in Secondary Schools" to illustrate the types of courses in interdisciplinary aesthetic education.
The first course type uses artistic connotations such as art media, aesthetic elements, art concepts and art resources, and applies art practice, art appreciation and other activities as media, resources and strategies to activate and assist the learning of other subjects. The idea behind this type of curriculum development is that humans are animals of symbols, and various cultural activities are embodied through symbols (White, 2004). Therefore, the symbolism and aesthetic connotation of symbols are common features of many disciplines. Using these characteristics can integrate different disciplines and artistic knowledge, and also connect school teaching with the world outside the campus (Suraco, 2006). When applying this kind of cross-disciplinary aesthetic course design model, it can provide students with opportunities to learn to solve problems and establish connections between art and disciplines, and can also encourage students to generate new insights and connect with innovative ideas (National Arts Education Association, 2002). At the same time, this type of curriculum development can also play a role similar to Chemi's (2014: 377) metaphor of "whipped cream on the school's pie" to enhance students' learning motivation and interest.
For example, the "Experiences of Traveling Through Time and Space - Modern Vocals of Song Ci and Yuan Opera" course at Changhua County Hequnguo School uses popular music to find pieces that use elements of ancient Chinese lyrics and music as wedges, and guides students to create creations from ancient texts. New singing of old songs interprets the moving meaning of ancient lyrics and music through modern expression methods, completing the cross-disciplinary integration of Chinese language and music disciplines. The "Scientific Drawing" course at National Beimen High School combines biology and visual arts to guide students to use other senses besides vision to explore the campus, and then return to the visual sense to observe and draw leaves, and make ecological models to point out Taiwan or the world. The ecological threats and crises we are facing not only strengthen students' subject knowledge, but also integrate it with the current issues happening in life. The National Pingtung High School's "The Beauty of Imagery Extraction, Expression and Communication in "The Story of Peach Blossom Spring"" combines the auditory association of Chinese poetry and music, allowing short essay creation to not only use visual imagination, but also Increased auditory sensibility enables students to have a more personal experience in expressing articles in addition to abstract imagination through actual perception, creating a multiplicative learning effect.
The second course type is to examine the professional knowledge systems of different disciplines and look for knowledge structures or aesthetic commonalities that intersect with the art field, etc., and use this as the main axis to integrate the course structure for planning. The concept of this type of curriculum development is that today’s subject classification is the result of the gradual development of the school mechanism, and it is believed that this subject classification should be able to change or even be eliminated with the times (Johnson et al., 2007) . At the same time, artistic activities originate from human life and are originally the foundation and source of many differentiated disciplinary knowledge systems (Morris-Kay, 2010). Suraco (2006) also proposed four strategies when discussing cross-disciplinary courses that combine art with different disciplines, which are: using overlapping parts in different fields, expanding aesthetic principles, using artistic materials, and planning courses that span various subject areas. . Therefore, many aesthetic elements, artistic concepts, etc. are not only found in the field of art, but also exist in daily life. In any subject field, correlations and overlaps with aesthetic elements, artistic concepts, etc. can be found. For example, Taichung Municipal Changyi High School's "Twelve Equal Temperament: "Sounds Beyond the Strings"" course uses the law of music "Twelve Equal Temperament" to combine English, mathematics, and music. Listen to the music of Twelve Equal Temperaments through music appreciation, and then introduce the cognitive myth of Twelve Equal Temperaments through mathematics. The "Golden Ratio·Golden Interpretation" course at New Taipei City Zhuwei High School in Central China chooses the "golden ratio" that is often used by art creators and combines the concepts of proportions in visual arts and mathematics to guide students from nature, the human body, artworks, The proportion phenomenon presented in the visual recognition system of life, learning the knowledge concepts of mathematical subjects such as the golden ratio and the golden section, and then applying it in the photography creation course of visual arts. Taipei Municipal Yongchun High School's "Sound of Physics - Exploring the Beauty of Music in Physics with Aesthetic Elements" course combines the "sound waves" of the physics subject with the sound beauty of music. When designing the sound wave course, it incorporates the sonic elements of music. , and the application of APP technology is used to measure the sound quality on the spot, allowing students to connect the knowledge of music appreciation in physics learning.
In addition to the above, due to the close relationship between the art field and cultural activities, cross-disciplinary aesthetic courses also have appropriate focus on aspects such as cultural identity and subjectivity. For example, the "Dice Picture Book - My Community" course at Penghu County Pengnan Junior High School combines Chinese language and visual arts, uses picture books as a presentation method, and guides students to explore and review their own background and growth through connection with the environment. , thereby generating a sense of cultural and self-identity, and forming a more diverse learning experience. Secondly, the "Dancing My Hometown, My Song" course at National Taitung High School combines the subject elements of Chinese language, music, and visual arts to create lyrics and music based on Aboriginal legends, allowing students to connect literature, music, and music through the process of artistic creation. own culture. The "Beauty of Hualien" course at Hualien County National Style Junior High School integrates Chinese, geography, history, and visual arts, guiding students to explore the natural wonders and history and culture of their hometown as a starting point, and then extend the design of cultural and creative products in their hometown. . Kaohsiung Municipal Qianfeng Junior High School's "Holiday Theater - Halloween Festival Teaching" course is based on a series of national festivals in the English department, connecting English, performing arts, visual arts, and music, and guiding students through the process of participating in the course Learn foreign languages, cultures and art performances.
When developing cross-disciplinary aesthetic courses, because they span different disciplines in the school, it can promote collaboration among teachers and carry out a cyclic action model of joint planning, implementation and evaluation of courses. The scope of the curriculum can also be expanded from cross-domain between disciplines to integrate multiple subject areas, years and the school as a whole, and even be connected with social mechanisms to create different appearances. Especially in the next 12 years, the state education will formulate elective courses for high school students. Schools can better apply them and plan diversified or cross-field aesthetic courses with school-based characteristics. However, the cross-disciplinary aesthetics course emphasizes the integration of fields, not only to achieve the effect of one plus one, but also to closely connect the parts-like fragments of knowledge from various disciplines to form an organic whole, rather than having a single discipline burden another discipline. knowledge. Through the planned guidance of cross-disciplinary aesthetic courses, learners can apply thinking modes that are different from the framework of the original subject itself to understand the characteristics of the subject. During the transition between different fields, learners not only retain the original knowledge value and characteristics of the subject, but also complete the transfer of learning across domains through heterogeneous learning experiences.
5. The development process and strategies of cross-field aesthetic courses
The definition of cross-disciplinary aesthetic courses is to use art media, artistic concepts, aesthetic elements and artistic resources as media, resources, strategies and main axes to activate, assist and integrate the learning of other disciplines to build a cross-disciplinary "with artistic connotation as the core" Field courses. Since the characteristics of the art discipline itself include diverse forms of expression and topics, when thinking about the development strategy of cross-field aesthetic courses, we can think from the characteristics of the art field. Marshall (2010) analyzed the process of contemporary artists’ creative thinking and believed that it can provide a thinking process when integrating art with other disciplines. Therefore, when discussing the operational mechanism of the development of cross-field aesthetic courses, Marshall’s (2010) point of view will be cited to sort it out.
Because the art field is flexible, when it collides with different disciplines, the appearance and organization of cross-field aesthetic courses will be full of diverse possibilities. In view of the organic and changeable process of cross-disciplinary teaching, Marshall (2010) believes that contemporary art blurs the boundaries of disciplines in terms of expression and content, and attaches great importance to the interaction with other disciplines, so that its integrated characteristics can be cited as the integration of cross-disciplinary courses. The essential. Marshall (2010) summarized five strategies used by contemporary artists to condense ideas and form creations, believing that through these strategies, art and other disciplines can be connected and integrated. The five strategies are "description", "extension/projection", "reformatting", "mimicry" and "metaphor". Among them, "description" means to describe carefully, to cultivate the ability of observation, analysis and application by clearly recording the information conveyed by things, to discover beauty from it, and to experience the process of acquiring knowledge through practice. For example, use drawing skills to describe natural ecology and understand the laws of nature and the patterns of biological growth. "Expansion and divergence" involves making associations from a preset theme. It requires thinking about the possible results after expansion, or considering the impact of diverging an idea. This allows students to apply the knowledge they have learned and make inferences about the future. For example, students can be guided to think about what life might look like when they return to the past or future, or to imagine how things would have changed now if a certain historical event had not occurred, thereby prompting students to apply the interdisciplinary knowledge they have learned to make inferences.
Marshall (2010)'s "reproduction" strategy is to use maps, charts or concept maps to reorganize topics. In addition to making it easier to form a visual impression of knowledge, the image itself has many information and contextual qualities, which can help Facilitate sophisticated integration of different disciplines. Whether it is presenting abstract emotions in the form of diagrams, or making different subject knowledge into three-dimensional model diagrams, through graphical reorganization, learners can understand the similarities and differences between the knowledge. "Imitation" is mainly the use of performing arts methods. In addition to actual drama performances, by designing role plays with different subject characteristics, or planning subject experiments, and guiding students to apply subject professional methods for research, students can learn in person During the participation process, you will actually be exposed to the nature and characteristics of different disciplines. For example, imitating an ecologist's actual visit to the natural environment for inspection, or pretending to be a reporter to write an interview and conduct field interviews, etc. are all common applications of imitation strategies. "Metaphor" is a rich source of topics for integrating cross-disciplinary aesthetic courses. Since each subject provides a part of the framework for understanding the world, using the connection of elements between subjects can allow metaphors to generate diverse imaginations. Marshall (2010) believes that compared to other methods mentioned above, metaphor is a more complex concept, and there have been many works in the art field rich in metaphorical meanings since ancient times. In contemporary art, the scope of metaphor has been expanded to other knowledge systems. Through cross-cutting metaphors, learners can hone analytical skills and develop the ability to think symbolically.
The artistic fields such as visual arts, music, and performing arts have developed to this day and have accumulated rich and diverse art media and resources. Through appropriate integration and application, they will have complementary and added-value effects on the teaching of various disciplines. However, when planning cross-field aesthetic courses, you should still consider the learning connotations of the teaching units of each discipline, and then understand the characteristics of the artistic concepts and aesthetic elements of the cooperating art fields, think about their integration methods, and avoid "for the sake of integration". assimilate into".
Lu, conclusion
One of the issues that has long been of common concern in Taiwan’s education scene is that school curriculum design tends to be adult- and policy-oriented, with little concern for the psychological development and learning interests of learners at different stages. However, Huang Guangxiong and Cai Qingtian ( 2015) pointed out that if school education cannot actively guide learners to adapt to and understand society, it will be difficult to expect them to have the ability to lead social development. Therefore, today's education reform emphasizes students as the main body of learning, and its primary task is to pay attention to how students use what they have learned to adapt to society. Cross-domain aesthetic courses start from the ubiquitous awareness of beauty in life and plan cross-domain courses, which not only provide learners with diverse learning perspectives and stimulate learning motivation, but also connect subject knowledge to real life. The 12-year national education reform adheres to the concepts of "whole-person education" and "appropriate talent development" and focuses on the integration and application of cross-field or cross-disciplinary curriculum (National Education Research Institute, 2014). Therefore, the cross-field aesthetics course continues the unified spirit of the nine-year curriculum and further encourages teachers to try to break professional boundaries and dialogue with other disciplines. They also launch different models of cross-field courses to guide students to understand the thinking of knowledge without boundaries. , update the way of constructing learning experience and connotation. In the process of attaching importance to the connection between students' subjective learning experiences, students and teachers may be able to jointly interpret the new ideas of the curriculum, expand their sensitivity to knowledge exploration through aesthetic stimulation, promote the cultivation of personal potential, and achieve the goal of holistic education.
Art education is an important channel for refining individual aesthetic literacy. However, the cultivation of individual aesthetic literacy cannot be achieved overnight and must go through long-term immersion and cultivation. Through the promotion of cross-field aesthetic courses, various disciplines can choose appropriate teaching connotations in professional knowledge fields and transform them into cross-field aesthetic courses with art as the core, guiding students to have the opportunity to develop aesthetic literacy at all levels. enhance their abilities and understand the connection between the knowledge connotation of each professional discipline and life. Teachers are the key others who shape students’ personality and inspire wisdom. Through the establishment of a cross-field teacher community in the school, teachers can inspire and strengthen each other, make teaching more active, and make teaching methods closer to cultivating independent thinking for students. Ability, good expression and ideal for solving practical problems. At the same time, school administrators can also invite cross-field teacher communities to create unique school-based courses for the school and create different types of cross-field aesthetic courses to create a win-win situation.
As society becomes more diverse, the spirit of cross-disciplinary aesthetic education emphasizes the integration of art learning with different disciplines, culture, and life. When educational reform is committed to developing students' multiple intelligences and adapting their talents to growth, teachers also need to be encouraged to absorb different curriculum construction thinking. The promotion of cross-field aesthetic education implements aesthetic experience into teachers' spontaneous curriculum awareness, and comprehensively cultivates the awareness of cross-field aesthetic courses, so that aesthetic literacy can be deepened into the lifelong learning attitudes, habits and values of the new generation of students. In this way, the concept of aesthetically activated teaching will be implemented from the bottom up, solidly and effectively, and talents with cross-field integration capabilities will be cultivated.
Looking forward to the future, with the implementation of cross-disciplinary aesthetic education, every subject in the school can try to use "artfulness" as one of the cornerstones of curriculum construction, and every teacher will be an "artful/artistic" "artful teacher" (Chemi, 2014). In such an artistic environment, students' daily learning will be filled with an artistic atmosphere. Every class they come into contact with will have the possibility of bursting out unexpected effects, and every learning experience will also contain The scent of beauty. If things go on like this, with time and effort, aesthetic literacy will become the most solid competitiveness of Taiwan's new generation of citizens.
This article is included in "Hui Mei. Integrating Arts: Theory and Practice of Cross-Field Aesthetic Courses", Taipei: National Taiwan Normal University, Huayi Academic Publishing House, 2016
