By Peter Abbs

ISBN-10: 0203401905

ISBN-13: 9780203401903

ISBN-10: 0203410602

ISBN-13: 9780203410608

ISBN-10: 0415297915

ISBN-13: 9780415297912

Instantaneously provocative and inspiring, opposed to the Flow is a piece of polemic from an the world over revered author and philosopher on arts schooling. Peter Abbs argues that modern schooling ignores the cultured and moral because of being in thrall to such forces because the industry financial system and managerial and sensible dictates. He identifies the current schooling approach as being inimical to creativity and real studying and in its place, narrowly fascinated with the quantitative measuring of effects. This absence of an inventive and moral measurement in schooling has implications for paintings making in wider society. paintings is proven as rising from, and beautiful to, the ironic postmodernist sensibility and mass media-led tradition, whereas being without philosophical importance. This ebook opens up a clean and well timed debate in regards to the very important energy of creativity in sleek schooling. Drawing on examples from smooth poetry, literature and visible paintings, it really is an eloquent and passionate argument for the necessity to advance moral and aesthetic energies to confront the starting to be vacuity of up to date tradition.

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Additional info for Against the Flow: Education, the Art and Postmodern Culture

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The changing life of the spirit can be embodied, shared and developed nondiscursively through the arts. 38 THE POETICS OF EDUCATION On developing the spiritual in education and culture How, then, can we begin to reclaim the spiritual dimension in a form that fits the immense complexity of our own times? Most obviously, and most unobtrusively, it can happen in the many specific moments and encounters that make up the pattern of our daily lives. A moving example here is given by an American professor in his book The Edge of Meaning.

Such a history would accord a certain primacy to the declared aesthetic and spiritual intentions of the artists themselves. Consider, for example, the way in which the artist Max Beckmann (see Plate 2) envisaged the artist’s task in his Self-portrait with a Glass Ball (1956). As an art-maker, Beckmann holds rather protectively the round green mandala which it is his burden and privilege both to make and to bear. His alchemical work makes what is broken whole and what is ordinary magical. In a lecture given in 1938 Max Beckmann was to declare: Art is creative for the sake of realisation, not for amusement; for transfiguration, not for the sake of play.

As early as 1757 Swedenborg declared that the churches had ceased to be vehicles of the spiritual life, claiming that they were destined to remain little more than THE SPIRITUAL IN ART, CULTURE AND EDUCATION 31 empty shells. The extravagant and often vulgar displays of the Baroque illustrate only too vividly a religion which had become a mixture of propaganda and hype, a kind of cloying kitsch, its bombastic rhetoric extravagantly masking the growing unease of the Christian churches. During the slow period of religious dissolution the art-maker was often to step into the role of the priest and in a time of increasing disenchantment keep the need for metaphysical meaning and human fulfilment on the agenda.

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Against the Flow: Education, the Art and Postmodern Culture by Peter Abbs


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