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It Is What It Is: Notes Toward a Ven...

Secrest, Brandon Eugene.

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It Is What It Is: Notes Toward a Ventral Pedagogy for the Plastic Arts.

Record Type:	Electronic resources : Monograph/item
Title/Author:	It Is What It Is: Notes Toward a Ventral Pedagogy for the Plastic Arts./
Author:	Secrest, Brandon Eugene.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2023,
Description:	94 p.
Notes:	Source: Masters Abstracts International, Volume: 85-06.
Contained By:	Masters Abstracts International85-06.
Subject:	Art education. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30818282
ISBN:	9798381162738

It Is What It Is: Notes Toward a Ventral Pedagogy for the Plastic Arts.
Secrest, Brandon Eugene.

It Is What It Is: Notes Toward a Ventral Pedagogy for the Plastic Arts. - Ann Arbor : ProQuest Dissertations & Theses, 2023 - 94 p.

Source: Masters Abstracts International, Volume: 85-06.

Thesis (M.F.A.)--San Diego State University, 2023.

This paper is not the show to which it refers. It is related insofar as it was produced by the same artist that made the works from the titular show but, in form and function, it is unavoidably separate and distinct. This is due to the fact that it is bound by very different constraints, those of language as compared to a world of potentially infinite material possibilities and phenomenological effects of which the plastic arts represent.{A0}This may seem like an obvious or even pedestrian point to make but, I argue below, that it's not. And it's a point that needs to be made most of all in an academic context in light of the pedagogical consequences of misinterpreting, or failing entirely to even see, this distinction. A distinction that is as close as one can get to something resembling what Stephen J. Gould called no-overlapping magisterial Ironically, the fact of this paper's existence is demonstrative of the academic confusion regarding what art is, or at the very least, what can aid in clarifying the artistic experience. My words, here, can't do anything to cause in you the phenomenological percepts that constituted what the show actually was. So, what can they do?In this paper, with words, I attempt to do six things:1. Define the artist's main "capacity" and subsequent "function" practically and culturally, as I see it.{A0}2. Outline how and why, from an artist's perspective, linguistic and artistic operations might be more or less separate spheres of cognitive engagement with the world.{A0}3. Illustrate some aspects of the mode of being that comprise the life of an artist such as the one who made the work in the show to which this paper refers.{A0}4. Attempt to define the skills associated with an artistic practice of such an artist for whom ventral (so called "bottom up") cognitive processes are of primary concern.{A0}5. Describe a pedagogy via various exercises that might cultivate the above skills.{A0}6. Give some supporting (visual) documentation that illustrates what work from such a practice might look like.

ISBN: 9798381162738Subjects--Topical Terms:

547650
Art education.
Subjects--Index Terms:

Artist's perspective

It Is What It Is: Notes Toward a Ventral Pedagogy for the Plastic Arts.
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520 $a This paper is not the show to which it refers. It is related insofar as it was produced by the same artist that made the works from the titular show but, in form and function, it is unavoidably separate and distinct. This is due to the fact that it is bound by very different constraints, those of language as compared to a world of potentially infinite material possibilities and phenomenological effects of which the plastic arts represent.{A0}This may seem like an obvious or even pedestrian point to make but, I argue below, that it's not. And it's a point that needs to be made most of all in an academic context in light of the pedagogical consequences of misinterpreting, or failing entirely to even see, this distinction. A distinction that is as close as one can get to something resembling what Stephen J. Gould called no-overlapping magisterial Ironically, the fact of this paper's existence is demonstrative of the academic confusion regarding what art is, or at the very least, what can aid in clarifying the artistic experience. My words, here, can't do anything to cause in you the phenomenological percepts that constituted what the show actually was. So, what can they do?In this paper, with words, I attempt to do six things:1. Define the artist's main "capacity" and subsequent "function" practically and culturally, as I see it.{A0}2. Outline how and why, from an artist's perspective, linguistic and artistic operations might be more or less separate spheres of cognitive engagement with the world.{A0}3. Illustrate some aspects of the mode of being that comprise the life of an artist such as the one who made the work in the show to which this paper refers.{A0}4. Attempt to define the skills associated with an artistic practice of such an artist for whom ventral (so called "bottom up") cognitive processes are of primary concern.{A0}5. Describe a pedagogy via various exercises that might cultivate the above skills.{A0}6. Give some supporting (visual) documentation that illustrates what work from such a practice might look like.
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