4 tion ‘The leetures are not only essential to understanding aesthetic education, but they aio serve as rch sources of Dr. Greene unique tle ofimagina tive thinking that combines velerences to philosophy art criti, erase, nd edcaton, and bulds onthe works of arin the Istitotes repertory and the New York Cty cultural scene. These references are never linea, and for teachers who return tothe Ineitute summer after simmer, they become familiar touchstones—John Dewey, Denis Donoghue, Hannah Arendt, and ‘Wallace Stevens blue guitar and sombrero hat, among others. Yet, inthe contest ofthe diferent works of at performed the touchstone are illumi nated somewhat difeently than they had been when mentioned before With the added contest of pressing educational isues, such as standards, dventon reform, and cultural diversi, Dr Greene makes aesthetic expe” Fence an the fe ofthe imagination esetial tal that goes on in schools ‘After istening to these lectures inthe context of Lincoln Cente nse’ Summer Sesion, countess teachers have asked now questions viewed dest ina different way, and even transformed some part of thee fe or work. At you enter ths world, asking only one question beginning with "What i" tril Set you off onthe journey Maxine Greene intends PART I DEFINING AESTHETIC EDUCATION Herc ein ented Ho da i le from what scaled “at uation”? From “ast appreciation”? Is Important to understand that “aesthetic” isthe term used to single out 2 particular Fld in philosophy, one concerned about perception, sensation, Jmagination, and how sey relate ro knowing, undereanding, and feeling bout the world. Foe some, “aethetis” has primarily to do with che Kinds of experiencs associated with reflective and conscious encounters ‘wth the ars, Or it may focus on the way in which a work of arcan become an objet of experience and the ffs it then has in altering pee spectves on nature, human beings, and moment-4o-moment existence. “Aesthete” of course, iam adjective used to deserbe or single out the mode of experience nought into being by encounters with works of ar. “Education,” aE view tea proces of enabling persons to become Aiferen, ro enter the multiple provinces of meaning that ereatepesspec- tives onthe works. To enter these provinces be chey those identified with the ats, the social seienes, the natural sciences), the learner must break with the taken-forgeaned, what some call the “natural atta,” and Took through the lenses of various ways of knowing, seing, and feeling ‘na conssious endeavor to impose differen orders upon experince tis important to understand that the coneepes and precept available tothe learner stem from the funded meanings or ways of knowing designed over the years by artists, racher, and philosophers. We enter teaditions a5 we6 Defing Aste Eton engage with soch perspectives, becoming members of cle changing fon many levels throughout history. Or, 10 say it diferent, we lear to rake sens, all nds of sense but we make the. ‘our own including chose associated withthe at. “Aesthetic education,” then, is an intentional undertaking designed to nurture appreciative, reflective, calkural, participatory engagements with, ‘the acts hy enabling learners to notice what is there to be noticed, and to ayes symbol systems lend works fates in ach away that thy can actee thom a troy meaning Wen hs happens now conection re ade Cxperence: new pts re formed ew vit are opened. Pesos st j dliferendly resonate differently; as Rilke wrote in one of his poems, they Initiation into New Ways of Seeing, fre eabled ropa hed when a work of tlhe “You mas change a : ir our if” (19407974 95) earing, Feeling, and Moving . . - A edcation it should be clas focuses upon exploration of he di So ferent medi, Young people experince what tsps to ive the el are intone ot nscaing ee ee ings and perceptions embodiment in paint, ly, movement, sound. 3 open ne omelet con allows for many modes of expression, many modes of learning a craft, ne et ne meso seg Bering ely moe pe pmifes the nurture of a special kind of reflectiveness and expressiveness, Know te joy and ano working th» eum re peso © Se ee onlag es ee rapt the work of profesional ais in tat medin—and in cour RES coer, of cnr, eth ast ito but we dos ‘Stns ope he ueos aout rm esti xpernes Feat a any ee tinge der. 30 9 ‘with which aesthetic education begins. Always, we try to encourage more Bf eset sina the devonmen of pron 0 he Se 2 scones thr at wan ech ot forthe prec of eee pepo ona, and inate dagen We 4 ‘orf aan este ctor pen paces far expr of he ee ee sn mn ui tig are materials of art aarching together) to seek a grounding for themselves, 0 that they may ‘Are hat foros, of ous, ae he workshops sh hy Ig cet wo of dave psi and en ofeina nth aos leche sco, many, Fe ent wa - rm ' Se a we make ps the Bn of et arn ised ek tno ee one nto wal at a otal on og pines, others more than welleipped to make asesible the lan suages, the mysteries, ofthe various at forms. Teachers Begin to ineral- | Iyrical moments, moment ine new modalities for expression. They explore patterns hythms, effort and 0 imagine) sual and according to ral, bur with ther emotions ther nervous system theit [gf taro Paz poem on Joseph Comells boxes, partis the follow body-minds brought new and in stating elation to the worl ing verse:Deing Aesth cain Minna, coro fgets the opposite of History, restr of an, ut of our is you have made rections, (Objects and Apparitions: Foe Josh (Coral 1997, pp 275-276) Tn some strange way, that desrbes for me some of what we sal be doing hee. Bot whatis aesthetic education? How cam it ead to the discovery of new vistas, othe bringing of severed part together and making things (for moment) whole? Mos simply, mont diretly, iis education for more di kaw ned nent oto or min ee encounter with a work of art lis we ae likey to he eens ae ree ‘our attention is likely to be diffused. aes sci et emai th ad sn hich ne xpos woes of The sn hich oie noms ee ee ing aber hina Sei Msn of isos ae ‘Hen laton am ed apy bc when weer sche one antigen ale dae eee ‘ed, new aspects to be understood. So it often is in encounters ‘with th 7 if we are open, if we take the time. If we attend feom our own centers 7 if we ae presents ving, petting Beings there sags ae Imagination Transmutes “Antic Fables”... W£ 2s ratn operons, oe ate ote We hae a Necilnehmih ott wich x ce ped eon median of sun the tu of langage the body mcs We exolred th ssf tenon and eles mcrenng he quale nes of whats Sen ypon asta; we have discovered how toy aes Aste Econ " fee, We ave atended to visible metaphors of vious kinds: the gesture the end of Games: the dancers foot on point inthe Four ments pas de deux; the two-dimensional coos of human shapes Halls of one ofthe ar classrooms. We have begun kstening difer- to the conversation among the instruments im string quartet. Several Ihave heard a vibrato forthe fre ime; some hav, forthe fst ne, tnd themselves able to single out developing and recurring themes: sill shave hear, at never before, the Beauy ofa clarinets melodic ine. had mony oF ws, smnewhat to our surprise, have begun to find our way the complex work of musical ae called Ancient Voices of Cileen. We “have done so by tlating to the voice at frst, orto the Loca poetry, of to the bolero rhyehin pounding below; and gradually gradually, we have come "tose the pot of he cco notation with is markings for mandolin, oboe, = piano, singe, and with its evacations of Mable and Bach. Gradually, gad tally ve have come to realize thatthe dialogue beeween che woman and the boy isan integral part ofthe developing meaning and of the musical sue ture a wel Tl thi signifies chat we ae experiencing the eansformatin of increas: Jing mambets of works of art nto what may become aesthetic objects fr us, ‘objets of our aesthetic experiencing, We are breaking through new ho {ons of sound and feeling, We ae beyning, jst besining to suspect what sll es beyond Consider what Willam Shakespeare's A Midsummer Night's Dream is ecoming—fanilir though it may he. We ean se cs a play of corusea ‘ng eons, having to do wth maskngs, pretedings what Tana clls “or fries and Oberon “shaping”—if nok “hatefl "fantasies. Allo these, we tow realize, ate drece and indirect ways of talking about the at. Reem bee Theseus with his “antic fable,” his reminder tha: ar magnation Bodie forth ‘The forms of hrs noun, he pots Ts thon shape aed gies toy nating ‘local bation ad mame ‘We may have been reminded now and then ofthe strange images, the fae ful images, the “things unknown” 30 often released by wabrided fantasy Shakespeave spoke ofthe fantasies ofthe madman and the feazed love Some of ws might think of the addict or the secker after sensory shocks and the hilo violence. If we do, we might ecognze again the special powers, ofthe poet, the artist, who orders and embodies such images, who formsDefining Aesthetic Even Aeiberaely and eransmates and aames. These activites, chess achievements {the giving to “airy nothing a lea! habitation and a name") have been, some core fasion, our primary concern, ‘Our focus has Been on what the poct can do, and the chorcgraphe te playwright, dhe composes Ihas been on wha, in tar, the performer the Interpreter can do to make ther texts and scores and stp ino somthing isle, audible, palpable, acessiblew persons willing copay heed. So mack depends on se ways we go out to what i offered to uy un oar parton tion, our opeasess tothe qualities of what we heat and see—to what has ‘een, for many of us, heretofore uastspected, ahead, uneon But what atsounts forall ofthis? And ov a the moments go on des this phenomenon affect us, work in our experience, open new wists to wht mayen ike sas axonshing? And why sould we wood? Why shoul Reflective encounters with performances hat mark our days ate enabling sto find out more and more about particular art forms and alo the ways In which they ate made. Because we know mote, wear seeing and hearing mote. On the sufac, that would sem to be enough Nevecteless, we fel bound to concer ourselves with the complexities of aesthetic, with the "ange of troubling questions that hate todo withthe languages of at nd the ature of the aristicasthetic ise. Ang, somehow, the questioning appeals to many of us: the wondet the artonishment that there can be Prometheus Bound and Mourning Becomes Electra and Rembrandt sl Portraits and William Blake's poety and Martha Graham's Appalachian ‘Spring and tha they ll exist in some extended presen and retin the cc lity to make visions posible, How ca this come tobe? How do such works take on aesterc existence for us? How do they bring illumination into our lives? How do they bing usin touch with ourselves? Were it not for our questioning and our efforts to cespon, what we are doing here might seem like a mode of ateducatio inked wy what thought of av art apprevation. Granted, ie may be cared on a a partially high level of excellence, because ofthe quality ofthe teaching atest vole Granted, too, she ambience ofa spacelike Lincoln Center makes many of us el ike initiates, credensialed members of the contemporary “at mone But our focal oncems go beyond ar edication in any tadional eave, This 's why we ae so interested in the shifting meanings of art nha life and in the mukeipe ways there are of focusing on snd grasping divene works of art. We ar interested also, in what happens afer we have pondeved our experiences with thom, We ae eager to understand what ti tht allows us ‘fo perceive new aspects of our condition, after we have reflected on tern ® foe Aste Eatin gui,” wha itis that peamis 0 find es signin ose ase nt ou encounters to ik lace in he ele emetic ssi svcd th hho Nor do fe Wat © espa ew that invlerens withthe as are somehow Se eee jected uncmaing, bond woe Ot mre conceptalie what happening ous a we aches pata ca BNE Sin ori experiences we wan ome possible fr os «Daly are become somewhat cleyt about the relationship between what ae ne tn gets a ieee eee merriment RIS clad tenn as ere hr hee ce sativity—has been used therapeutically, sometimes for the ‘sake of pure sieepesh her ta cact deena aN, = ‘commonly, the arts are linked ro a type of self-indulgence, #0 fun vrranes that are not serious; they ate treated as 2 kind of midsummer ‘ple may distance themsclves and creat politi Sn 8 shears a elon ‘as spectacle, the plight of refugees as a pitiable media event. And t pd oe gt Lins Comer new Karn he sr2 zaftsmanship and care and discipl ; sera aa ott Inge TO us, at this juncture, to hear people s he at as fd son ourseles have done and cape iho fring the tng ipo ls ec into atte ore cary Seana by what it aout making sl sone 2 papers tha al sper pout theoers thn non yobs ‘hen wear seta ele through which to express themes Sur ‘cated, we can break through the either/or. 5 and bt encourage mo tis under th ui of acts and at teachers Well wet too making of images, he puting of words ogee che son Yes, We all want o encour songs the editing of i, the shapi ‘eam isl fie sai of gues tava sce Rad hel sy trai yo oration can be related far atone a hy pen arto sar cco with he eat lon ene oc ol ips tt rhage nbs smote Many fam ceing yon teers ee = tithes _ 4 pas de deux or pieces of music like the Mozart: : te Glee Quer Mar, KS) do nr el al hy he Spueabgrarsy hese cio and allowing the sweeeness oft (or the sprig ‘sfalowog the spines oc pecs nef gd. We know ta the dag smnyn mang da aching eng cing tod ing apo nee bea i stage. Once we begin thinking, however, about what id fe engeae with musical works and dance works, we soon realize her oer ‘eins dione hte whoa ne wha there nob = oe far: a 30 berond. “feeling good” once we bec eae + once we learn what it actual to ott to the works at hand, to take the ; ieee ee toe wore ath ae kf gong deer an ee is Tam king, of cour, abo the ‘laa aout the lean of rest education ite lee of wna ofa tear noma dh hen wih neste gusting heen er "moving into revere sting passively ec Educavon ded of us slsteners, as beholders. Sach involvement height scinosness of the aaytery a well as it discloses possibilities we have sniipated before, We cannot but zeae tha teachers who I afout their own experiencing, their own moments of joy, are fone sna pion to make sgnieane choices where the aft are con "This beause they knot some profound sens; they have “been fp are commited to opening doors. jes of this sor ac ky to exert themselves inthe reation of some sembling an ar space in thee schools space accessible to all kinds Chen, to the fellow teachers to che parents who come by. All depends a ings to recognize how much engagement with the ars has Proith wide-awakenes, perceptual liveness, the sense of discover the to am and thereby go beyond. Those aly concerned, authentically “Concwsd,waderstand that ts not merely a mater of providing perform: Grats aow and then, nt simply 2 mater of hanging a Monet hee,» Jake See pollock there, or turning she light on over the reproduction ofthe Raphacl Madonne and Child Pho Know aboot the cicles of quietness that have tobe drawn to enable penn to take their own time in geasping the appearance, the shape and Toond of things. They know about the need to create the kinds oF stua- tions that release spontancty and dhe desire wo articulate whae hasbeen Irae able inthe everyday world. [mentioned erir what few moments fom Chilien of a Lesser God made me think abou teaching, about om huniction, about the gulls beeen dhe hearing andthe not-hearng, about fhe gaps some of us may never cross. What I found in that play did not [Raoke the complet of teaching ehose who cannot connec o the probs Tem of communicating what one values co those wo prefer other things Bur it made me more perceptive of what is entailed by such an effort It made me more intent om making my awa interpretations of situations ike {hat when they arse in classrooms, becoming more present :o them when they occur "heun, ¢ must be evident that parsicpaion in his dimension of aesthed qventionng and reflection adds tothe wonder ast increases the complex I Crucial for example in most asthe inguiry isthe problem ofthe ela tua betwee subject and object where works of art nd thei realization are Concerned. Tink fora ment of how much there isto ponder, once we Stinowledgethac subject and object aze the two poles of the aesthetic “Sheounter We mus ask ourselves what there is about human consciousness “ho allows for such encounters, nt to speak ofthe pleasures andthe visions they make possible, atleast for some. We must ask ourselves about the2 ciferenees among human sabes and the degre to which they athe sane We mune confon the ytay of one subjeciy asing mtthe Cereal when the ote has found expres trong shaped cone, modi form. Wi ns tye compen ow cach of wang Pe sons with nig Ife hires can move nie works eeeted by auc ferent human beings snd acto dacoer osc thee: We have asked ours and must cone sang ous wha i abou che wok of sr the lows thst happy who abou ating a dance ot Plc of mas tha set comardstetion,thamay sometime change 1. We mos pond farther the mater oth asthe point of ew Special mode of tending thar pers ceran Kind of bj cen eens tmemeree as work ofa Iemay seem dona for people who hive sik so hgh in ses or swrkshope ro ave to take pase od hak owt eal, Tee re alvaye Those wn bee tha analy or ftv thought neces with he expe ‘ence ofa My pone, howe that selfelceon and cal con tration canbe at berating they se eda They, toe hav the pore tayo pening maple words Thelangige nd iage and sundown ina its been sid make rcp vil ndash whichis no longer or note perce, ‘sand hearin eda le” Herber Marne ree tht ert kes Teorid work peak sing, prhape dane” (977197, p73 To be pee "dit be incapae of ering, persone co change I the ati het can ined open up pred worl, pote new sandpatn on saci fo gran, thon who are emportered cage with the art Cannot but pose 4 ange of qcaton thar never ocurred ecm beer They canot br dos sn th ight of what hy themes ae ing. Wha they themselves are Gacovering, wha they themes want co kno. Ad ir srl hoe who can poster own queen, Poe tenn eso who ae he ons ready oem how teams “ "Ara moment whe vo many forts ate working to thst young people Jno pas the ope mindedness andthe ese of exploration fostered by ware aexthtievevcments may wel move hem to rok wh the co ton wool of dines” ne Vina Wools language in Moments of ‘Being (1985) lain odinarines of hing. To ep ck a stereo typed respons any age fo achieve a new readiness. Not oly tay thee fe conciotnen of things inter mapiiy and prea y there may also be acomeiousnes of thm as they actly peesen tht scvsto then hiker and perciven the peo grounded in hes Own el word. And hit may wel ead to es nematon to the search Defining Act Btn t "posses may be disc ov este Education a seanings for new moves of ense-maing al hiss coupled with an ets that cach human being ean become diferent 3s hese moves on Fee esata ings canbe oterrise chan hey a=—ew soe of “Pi saan be dslsed They cannot be predicted of course, Noth vc domain. Bt ae tecnico peited inthe reicaeibee ae subte We ba nl ree ous 1 home Learning and Development, Tacit Awareness, and the Enlargement of Possibility «questions have been coming am la to 3. The hae to wih Ties ac tenses and he er we ea sehaka cme: Alo, hey have to do with che mater of cuca, sa octet ia adv acounction beeen what we actual nw about ean oe ean what we ont 10) 10 do if we WAN fo TEE css wth the a eae ms into ne might begin by reopening the question of what must be taken i J scone eps to cee ar spas th hols, how we ane tpoat decloping whatever awareness ave pone among Bie ie teach We do tony want to make pole enhanced thee we wan ado, ocala the dips Samet ecw dere ar fom to atend and expos ad ake ss eek tings ean happen wen heats condct workshops around ean bnproions and Hak andthe Moves Won SES an aha when be rie ve, We amt owes te ered n what might happen when ou student eae he le te ty go heyond what hey ave ben ght We know 50 Sear fin ening comes aterwhen a Youn person es out renee ora slashing movers) athe end of he cod when a ea oat the then ofthe Mozart ona piato oF «sua Seon ee een eapre agent of loge Belre a mira eae arene invent the Kinds of situations that rkase people for tomes ke hese?Dafne Aesthetic ae ewe, as teachers, are not nites, we will have ‘no way ‘when we teachin the atid of living our aims or denying ute bev, and nd To nae oe heh wap neal free tees che music sounds sweet, when the ballerina is besy, ti Play confirms hopes and expects oa] ries "To be naive i co be unable to dts and a glacier-eroded rock, beew span {Sven my ony sng ean incapable of dninguing brent peed oer weed One fu doen coc scare ssf the chen, nthe intrest of ous ees healed helped er nhn ae eh oe ay that he works wese and hear peak ost more ad mat ete Bins. We ate beginning to rela, ty tat acho ss inguish becween a sulpure + such Daiveee—in the inte. ves, Teachers need to become res and limitations ofthe ane bestowed ont” (1952 p16), Working wih prcting auger at $ave lend whats ope testo one worse nae ae + or perform), And we have come t0 och depen pon ry attending —and what pervades that: os oe sacounter with a work of art. a ssltion o profesional arctic isthe eaeation hac tenon lary, cs cities ofall sorts, ofall kinds, people whose Fabout at provides some of the context in which we do our work. And fre iensfiable critical appeoaches impressionist, expressions, for Texpenenil) which govern some of our own readings of various ofa min coacermed about the communicating that we, a teacher ate indo do. | am concetned withthe experiences about which we ty od which we sometimes ty to share. This speaking ought to become “Woe precse, more imaginative, more articulate, the more we become sorbed in and understanding about the arts. Critism may be conesved “Gealkabout-ad elucidation ofpartcular works of art Ancient Voices (pf Children, an Emily Dickinson sonnet, the Ravel Bolero, Woody Allen's ‘Monbattsn, William Styrons Sophie's Choice) Sometimes its linked vo and niche by ak about styles and movemens in ar: Romanticism, 33, oF + Cubism, or These ofthe Absutd. Sometimes, obviosy tis not. The point Sp that we do perform some mode ofeicism whenever we talk about spe ‘Gf works and attepe 10 make them available on various levels i vai 8 modes “ethics dea on such reflection and such talk Irhas often bee ald ‘ycascond onder” mode of study, since st iavolves inquiry into or ela Thom of esata and writing, as involves reflection upon personal expe ones with he several acts. As you realize, we “do” aesthetics when we probe such matters asthe meaning ofthe aesthetic expesience, distancing oF Evoupling qualitative peseving, imaginative awareness he estheti point Ufedewe Bue we can "do" all thi only on the ground of actual experiences, Ghd in the contest of some sore oferta ak And a we become ines italy familiar with aesthetic thinking, we become increasingly adept at lok iii the aswmptions underlying our ows and various ei judgmens mompeone about the natere of are and the place ofthe art: assumptions Sloe beauy and significance ad subjet macter and form Citi, Hke the talking we do in our classrooms is always grounded in certain assump ons of thin kind. I can be luninating (and even liberating) co be clear bout them, to beable to articulate where we stand, “Ths stor reason for ou interes ia provoking you to claify your ‘owa notions of what the as ean do and be. You realize, by this time, that Carell tending must precede aay authentic effort o act as teacher. I tear o punt to (or the sake of disclosing) aspects ofa panting or a piece ‘rau, H we ate to share our perceptions of what we have seen or hese, ‘emus fis ave noticed wha hare wes to be nrie, We ms have beer ‘rics eo impart aesthtic existence to the wot robe presen too make ihc for Of course we may consul scholars on oceasion (art histraes,2% Defi Aut Ean mace ti, koe We may crs of art But whatever mudi fot ot esi enn sence sc to parila works rio ofthe edad earers, that we ong a an all, isto help them become more wide a In my own case, ony te 0 ar ow inane orkotare ty wo aprochny acing of diate sation se Lind of oto Jo Ths simmer aan har en wore shot strc all of whith Ihave rad one nt a i rund of omen ‘Young Goodman " act esis ve ea rena hope ey hae tess allowed me 1 “se me i overage ptr ee plo ck niin the soryarexperencens Len goats ce : mee ‘at what [ have found. And I go in with a sehr ets value in the work, value I want my students too, 10 feel Sarthe ‘But that initial response (even after: ecto iudgmens of ede val oa sore lee hat my excoment about tna the oil dann ence compelled vale i becaeof es Because of at, becrase le cherish Hawthorne work So Thee topay bee pn othe design ie to pereie the stry nernal connsctons ‘oma a) in ogo shay be co ei co iw my rnin ay a etmay he aye ns ae cid canon Aneean Se of Aner eae ne coped to pone my vpn a Ta okt a ny expres ae ity a 0 do to help the ma mn notice erin guste denna de a engage imaginatively with the text. : oo. hee ao guarantee tha hey wil ae ‘guarantee chat they will ha ree doyasaeachrenife, 10 have some notion 0 ‘men of awasenes hey wl vale anymore than hes any il hae an asthe experience with Buell ang 19 i agg at yelp te sa of the mode of understanding necessary for the. ae have to beable to speak about the median sd a Jon Aesthetic Ecsion rene af the medium. And Thave so know when tbe til The est proces, he proces of making available is whats important. Is fe important than the conchsions we might come to, certainly move fan than some sneasurahle "Suc." MAvherhe we each de ery young or the adl, we obviously have to have leat idea of what a developed capacity in a particular symbolic tum ike Tosay this so suggest hat we have to ave in mind some “Cancion of human developmen where the ars are concerned. There ae, oral of us sequences to have in mind, steps co take, Evenina college clas, “the teacher has to be cognizant of the examples, problems, themes appo pate at particle stages of development—in my case of literary compre Fenson. At our lstitre, the teaching artists have certainly taken into | esount the various tages of our development whe i comes to the under- tending of msical notation ay, dance movement the building up of dea bun scenes Te has not been a matter of skill mastery; cereaily, no one has feled upon formalas or teipes. But we have all come co realize the impor. {ince of some foundational understanding, some knowledge that cannot Says be tovallyspecied. The kinds of knowledge tha ean be made aval ‘ele and that fed into what we have called “tacit awareness” (Polanyi, 41967) cleary have good deal to do with the stage at which the laeners involved have arrived “To recogni this isto recognize the aed for another kind of exploration. eh of un our own classrooms, has fo discover the kind of knowledss, the Lind of formulation that effectively eesponds to whac students at die tt leves wan to kow. Atonce, each of us hast discover something about {he kinds of insights such knowledge may make posible. Thinking back over fur own learning experience in onder to learn at this Summer Sesion, We iy Ga many clus, Were we notin effect, childlike the ist ime we eae “Ancient Voces of Cildren? Were we developed viewers when we fist ‘encountered Fou? “The question of cursculum relates tall of this: We want to creat sit ations in clasroons that wil release ous students for live and informed costes. We want so make the richest sors of experiences possible we (rant choices tobe made, The oedinary planning we have Been taught todo probably hasto be resonceived. The orientation to predetermined objectives Fas to be ser asde, As we have sen, there isa kind of logic within each ae fev: certain kinds of aoaeneses and certain modes of technical mastery tre rouited if works like Aci! Voices ot Fou ae 0 be achieved, Aad, Jess patterns of development hve tobe eld in min For allhat, what hap- pene ust he conceived of a5 an emergent, asa realized possibly. Ieannot8 Defning Aste Ed be preplanned or rede, no mat sim ceed, o mane aw mache ke mos hcl nested dn bale ‘Rashes ry to make pase a oman nena open Tic ti open midinon a ws apt er a fel thet may bea new readin ne pee oe ‘ven in ourselves, There may be an increasing aworeasce ff fn ue increasing ataene of tng in Barsay af bey and var, ond fm, Pole mayb oo eed ties ‘with heightened attentiveness and care el ry keep coming. We can ask no more of ourselves, Toa The Phases of Imaginative Action, the Feeling of Beauty ; [issn ae sting that our om ints works—the Shakespeare, the Ge sige lysii rest raper: earth Stakes, the George Crh the Palast eh arke—especially when ref shenona” tenon ohare inter thon we mtn ne eee oe st 25 well that, whatever the ae of those We each we wal be ae ing not so dls, to dct atenon octane a woe these, We will be making an effort to enhar ® peeptivne of tne ee ma hance the pcepvenn of tone iene et ees ine te ese rme ne Se a dos cag a! fc Education 2 ce of meaning into which this Issitute has ushered ws, mak Mc wom of us to take new perspectives upon our ow ied se nestetcs, once again, when we tink about what it means to siecsint ba are space, an alternative ality. We "do" aesther~ eee cider the challenge of transmating a given work—Garses, whe Ponch Ste in Gita an aesthetic object, an objec of Br cng soreting ches part Ld of oe that can be cherished in a dis- dr, hat uminates in a dsintve way, Bier aay, The insights, the modes of attending that allow that kindof ae take pace arent the sore that can be tansated ino state vr competencies or quantifiable skis. Well L suppose they com be by Things af people; but U thik you will agree that, no matter Row Honey sg her sno guarantee that the exercise of he competen- rated wil lead to she enjoyment the discriminating awareness che re clorore mont of us Have in mind. Nor s there any puacanes that Derk of ar ac hand wil be wansmuted ino an aesthetic object, no mat Aernhat the level of kill nor how extravagant the claims. [Gr course wr believe that che more we knows che more we are likely t0 exami hens Your experiences inthe workshops have already taught you Bc You are aware, as most of you never were, of dhe significance of pase Bt on to movement of sonorous images and ronal qualities, ofthe som aarron benwcen meaning and cyte in spoken line, of wssal metaphors re, Whar we hope is chat what you ae learning continues to fed into aaerricaatenes have spoken of, tha subsidiary kind of knowledge tht ‘eedeine your focal experience with a work. Irs not a mater of recap tRing or summoning up what you have eared in your workshops aboot, tors atonal oc the ethnic themes tha apeat in his work, not & eae pet having the beat of iambic pentameter in mind when Histening to alSspeae, You are not asked to be ready to reproduce what you have aks or you studies of Fiku o even probesion ofthe use of poetry a musical works The idea ave learned to see and to heat different: to allow, for {kil of a dance to fed into your aware to diel deal such asthe contours and ing forthe sake of moving from suc ent ules Soi with what you importance ofthe qualitative and Ieamed rom your experiment with m your growing com eo we what you aample, your awareness ofthe pes ofthe dance in trait: frotading for inthe Cezanne pa arenes tothe ail ife in is resplen tc Tening about asthe space andthe the idea ofthe imaginary.30 We want ll this to enrich your actual encounter, Icon ae speaking of mor ie. The cn {simenstedconsionsness, heightened appreciation. eis nor the ions Isolate ects, denon the macy filly: What ae nea ing to bring about is nether measurable nor prdtable How could site isto enable person toe personally present to orks ofan How could it be if we want so deeply to en 9 deeply co enable peesons to reach out each ‘one in hiner freedom, co release hishee imagina one in i ister imagination, to transmat, 10 "Te ae led lab ination, the mos focal of our concerns Imagination ‘mental images, although itis party tha. eis rence into something new, 0 make the ray a F — pein cen ae sane power—ty man ofsmpthic lng wo paterson How ese to identify witha non-hearing wonnan, a Theseus on ono staan bag sted asa rise ed St rouge fice en te letestui re akerate alas oper ser ee ‘is nig be Te oly he ee nd oe st Grn acon cc aha impersonal ways of tng po he a a ees {00 ofen emphasizes the need to acede to the wold “shen eae ‘iy an xe deed The nade eee “ie wndon on wha wonguscnae ey ea eople forall hi estes searches for ew wntaons, rea ne pulled hac onc he goo school, onc they come home) ower a ciel teint ing amr ae Sd his oom tne ame Thea ek ee en oan anyon mue a ‘Ate he eaves baw allen, turn To pain sense of ings. eis af. We bad come vo an ond of the maginatio, Yer the abuoce of the magna had Itelf tobe mained. The set pond, The pa ems of within fection, love, Mud water ke dt ls, expreing sone Paling Arh ai | few Teed not repent es om shee Edacation a Of srt sence of at come ot 0, ‘heer pond and te ware ofthe is al his Had to be imagined asa ectable bowled, Required, ava meet reser. (1982, pp. 802-503) “fos somewhere le, Stevens wrote about "The Man with the Blue Guta Gd here the blve gitar became a metaphor fr the imagination ‘They sid, "You ave ob guitar, Yoo mt play hogs they ae” “The man ele “Things a they are ‘ve cheng upon tebe pier” (0982. 165) Imagination, Sevens hep asthe mode of grasping, of caching oxt thetallows whats peresived o be transformed. tis what allows four older eerane ech» psonaliy ach a0 be tasformed ino a eathering eeudey sme interoven with one ater ceating «pater a Swe ween falar with one another. ee what prot» mumber of pain reise beam ad 2 platform transformed ino the porch fast ‘Sehomestnd (n Homel te makes it posse for an aces who shee Scum beefed in ong man wo tn bene ‘[ilgnng fn onaped inhabtan of ores! word And is imagnason {otinvles the sty to pl ose the diese sands of Copland peta conte Ror asevenn a design, Withou chs bili, hese could Eel be seer experience “fe pesume that there are phates of imapinaie awareness (Rader, 1974 fs 13h and we also prestme that each phase canbe encouraged at ‘eek The fst phate involves the ping attention we have tes The forming the coef noting he pase tat perms the dance othe Iona! pee to emerge ints niguenes and integrity. cis the pase {SHch welaran nd moral and hori considerations are suppres Trac atde, so that he pas de deo can daclse suai the chang itp roand ofthe sopra come cleat We an talk, point, discos im ech I Ray that this pave of awareness provoked extended; we com ove eo pay heed cher mores These sth savoring i ine ime, the abortion of wars been er or ead the seping down, What has been encounbecomes an event within personal consciousness may bein shining toma the lived word. Clearly, we cannot make that happen aor can we i when people are becoming aware in this way. We cannot grade then whether oF not such a phenomenon does oscar All we cand to uy invene stations chat make it more likely—allowing for em, for pra for silences. We have to ty to move persons to think about altecnatie of being live, possible ways of inhabiting dhe world, And then we ay By able 0 help them realize the sense in which an active imagination inva transactions hecween inner and oer vision. And, indeed al sors of tionships may be created berwsen the world of the work at hand and she workhond of te one who attends spake at he beginning ofthe guest oe meaning asa quest fr paternings, new orders in experince; ands nse vay, each emergene pattem, each new oder comes a 4 surprise Steve poem on the hive guitar ends Yow at you are You are yous ‘The ae got sures yo (1982, p 183) 11 could ereate mote situations in my classroom in which this sort of su prise became palpable—in which persons could truly se alteraativen, pee ‘eve connections create new ondefe—t would not ony fel hat wa Test ing how eo do aesthetic edscstion. Toul fee that Iwas onthe sod to becoming a reacher—at last Aesthetic pleasure involves many of the values have been attempting to deseribe, There has been mach probing of sexheic pleasure inthe ite ture sine the days of Tmmanuel Kaat. Kane himsclf wrote of pare delighe in appearances, and about what could happen when people leaned 1 hold particslar objets or events in attention, when they allowed themssves to ‘become more and more fully aware of sich phenoaiens without thinking Aeiberately about them. There were other thinkers who talked of classes of pleasure and wondered whether the arts appealed eo the “superior senses" ‘or simply to the sense of play. Sill oeers snd that serheic pleasure was ‘ot really different from ordinary please, except forthe fat that twas Jess olitarian and more intense. And there were those who insisted that ae. thetic pleasures, bung inrinc, were not lke bodily pleasures cause the fongans in use—the eye, the et, the hand—had toe transparent, 50 that antenton could be carried ditelly tthe objector the event othe per- formance. Mos gree that no objec can be beatiflifit gives no please, leven as they assert that we have tobe moved in some fashion bya work if Faction avis out and means rset before si at eae what we and bea a = me ey aro et ies sine eth Er Pct even ci wy ond oy are dottmcaosocmners wok 2 to respond emotionally as wth onde a kin of ae? What dss src oa, speaking 38 Were al Soe oe subjectivities? There hat may fl ep encounter it as an express ted ways adresingel 00 ton on a a re come at a work from the outside, perceiving, oxen on wich ot as it were our owe, el Pain knowing isan expesion, Bur seme e neninantly aesthetic emotion—a cool delight. I think of s ae pcs pape ara ra) ie rors manma at rcompared, reshape with Reman Gees wot Tino» you y Wom Bax Wve ue cer wel and ey, these fat Scaled “Lae Tie soiled fgets rad. poe Freee cared i lai oz anda servant with 2m © imbing toward ile hows and ah emg to stl re Teron tn and Date ng so hy sto cass ormowel mele: ‘camped ge be lo Saarinen er ‘Ther oni, ering eo Bm “997, p 300) ene the her wks, quite fees, ha al upon 0 expen the ordsworths personal ery of ea fine urerance ef, not Cams 0 ea the ndifercace of the Sk, bot «buman ace 1n constitute for ourselves as we attend. 1 Seed summon up an Elabeh Bahop poem, “There are Irom withins not a8 Wo Sxpernce we orsele Foran example of hi sleeping eng UP ‘sca ie down rose the worl am bl ay throng niey dark dears the bare som te well