I talked with Noora about the conditions of art, intercultural\/multicultural understanding, and her project of photography of empowerment.<\/p>\n
There are two elements of an effective setting to learn\/experience\/change that are often described by educational scientists, one element to be explicitely created, and one to be implicitely created:<\/p>\n
1.) A framing, e.g. by context markers, narratives, cultural contextualisations etc. (see Bateson), to be created or integrated into the setting by the producer\/artist\/teacher of the project;
\n2.) and a free space for the user\/viewer\/learner to apply “closure” on (see McCloud), to fill the gap between the context markers by one’s own interpretation.<\/p>\n
There is a third<\/em> element, probably the most tricky one. Bateson mentions it fleetingly, von Foerster, unfortunately, doesn’t talk about it:<\/p>\n 3.) Something that motivates the user\/viewer\/learner to fill the gap, some incentive for him or her to change a well-known viewpoint and follow the course into uncharted cognitive territory.<\/p>\n Artists, therapists or educators each have a specific advantage touching this element: Aesthetics in art (“I want to experience”)<\/em>, psychological strain for therapists (“I want to change”)<\/em> or curiosity for educators (“I want to know”)<\/em>.<\/p>\n","protected":false},"excerpt":{"rendered":" I talked with Noora about the conditions of art, intercultural\/multicultural understanding, and her project of photography of empowerment. There are two elements of an effective setting to learn\/experience\/change that are often described by educational scientists, one element to be explicitely … Continue reading