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Contents |
5 |
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Art Education “Made in Germany” (Georg Peez) |
9 |
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“Glocal” Diversity |
9 |
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Educational Federalism in Germany |
10 |
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Ties to German-speaking Neighboring Countries |
10 |
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The Book’s Structure |
11 |
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How Contributions Were Sourced |
12 |
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Acknowledgements |
12 |
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Historical and Current Concepts. Aspects of Art Education in Germany after 1945 (Marc Fritzsche, Martin Klinkner & Georg Peez) |
15 |
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Image Orientation |
16 |
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Art Orientation |
17 |
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Subject Orientation |
17 |
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Art Education in Primary Schools (Constanze Kirchner) |
21 |
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Abstract |
21 |
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Tasks and Objectives of Art Class |
21 |
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Aesthetic Interest and Aesthetic Experience |
21 |
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Experiencing Nature and Compensation |
22 |
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Visual Design |
23 |
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Experiencing Environment and Play |
23 |
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Perception and Creativity |
25 |
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Media Literacy |
25 |
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Experiencing Art |
26 |
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Performance Evaluation |
27 |
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References |
28 |
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Opening Spaces for Opportunities. Staging Materials as an Art Educational Intervention (Petra Kathke) |
29 |
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Abstract |
29 |
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Setting Materials – A Field for Playing and Practicing |
30 |
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Intended Inspiration |
31 |
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“Artificial Marking” as a Didactical Impulse |
32 |
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Material Staging as an Action Analogous to Art |
34 |
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References |
34 |
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Open Dialogues in the Art Workshop. Nobody Knows What It Will Turn out to Be (Thomas Heyl) |
35 |
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Abstract |
35 |
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The Art Studio – A School of Fantasy |
36 |
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Multiple Dialogues |
37 |
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Room and Space |
40 |
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All-day |
40 |
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References |
41 |
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Integrated Arts and Computer Science Education in Mixed Reality Learning Spaces (Daniela Reimann) |
43 |
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Fan Art – Online Youth Aesthetics in the Art Classroom (Jutta Zaremba) |
49 |
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Fan Art Sections |
49 |
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Fan Art Giant ANIMEXX |
50 |
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Continuous Improvement through Tutorials |
51 |
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Contests and Comments as Motivation |
51 |
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Expertise, Self-Education and Social Communication in the Art Classroom |
52 |
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References |
54 |
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For a Sociospatial Practice of Art Education (Ulrike Stutz) |
57 |
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Abstract |
57 |
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Sociospatiality Seen Through Procedural Space Theories |
57 |
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Communication Sculptures – Art as a Space-Creating Process |
58 |
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Transformative and structural education processes |
58 |
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Qualitative Empirical Analysis |
60 |
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References |
61 |
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Artistic Education Within Art Projects (Carl-Peter Buschkühle) |
65 |
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Abstract |
65 |
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The Turning Point in German Art Education |
65 |
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The Art Project as a Practice of Art Education |
66 |
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Elements of Art-Oriented Art Education |
68 |
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Goal: Artistic Thinking |
70 |
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References |
71 |
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Image Orientation and Art Education (Rolf Niehoff) |
73 |
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Abstract |
73 |
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A Short Review |
73 |
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On the Current Cultural Situation |
73 |
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The School Subject of Art as the “Subject of Images” |
74 |
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What Does “Image Competences” Mean? |
74 |
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Summary |
77 |
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References |
78 |
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Art Class or Image Class? Remarks on Naming a School Subject (Dietrich Grünewald) |
79 |
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The Extended Art Space. The Web as a Sphere of Action (Sara Burkhardt) |
83 |
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Abstract |
83 |
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Reality and Imagination |
84 |
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Exposure – Production – Reflection |
85 |
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Communication and Cooperation |
86 |
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Intersections |
88 |
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Outlook |
88 |
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References |
89 |
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Methods of Evaluation and Grading in Art Class (Georg Peez) |
91 |
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Abstract |
91 |
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1. Criteria- or Category-Based Evaluation Methods, Frequently Used With Credit and Numerical Scales |
91 |
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2. Evaluation Methods Based on Evidence Assessment |
93 |
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3. Evaluation Methods Within Progressive and Open Art Classes |
94 |
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Conclusion |
96 |
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References |
97 |
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Color and Space. Two Competing Parameters of Our Perception (Martin Oswald) |
101 |
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Abstract |
101 |
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The Change of Color Perception Between the Ages of Eleven and Sixteen |
102 |
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Explanations of the Visual System |
105 |
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Conclusions for Art Education |
107 |
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References |
107 |
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The Experiment in Art Class (Thomas Michl) |
109 |
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Abstract |
109 |
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A General Structural Layout of the Experiment |
109 |
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Several Didactical Consequences of Experimenting in Art Class |
109 |
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Supporting Conditions and Classroom Setting for Experimentation |
109 |
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The Planning of Topics and Contents for the Experiment |
110 |
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The Importance of the Experimenting Classroom as a Social Setting |
111 |
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Classroom Guidance and the Experimental Attitude of the Teacher |
112 |
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The Dual Nature of the Experiment |
113 |
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References |
114 |
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Art Education and Biography (Georg Peez) |
115 |
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Abstract |
115 |
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Research Questions |
115 |
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Results |
116 |
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(1) Biographical Aspects: Childhood, Schooldays and Youth |
116 |
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(2) The Approach to a Profession in Education and the School |
118 |
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(3) Attitudes Towards Art Class |
118 |
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(4) The Concepts of Art Education as a Background for Art Educational Practice |
120 |
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Conclusion |
121 |
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References |
121 |
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Play and Language (Johannes Kirschenmann) |
125 |
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Abstract |
125 |
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Playful Reconstructions |
126 |
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Language Educates – As Does Artistic Play |
127 |
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References |
129 |
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Aesthetic Delight (Michael Parmentier) |
131 |
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Play (Gundel Mattenklott) |
137 |
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The Road Towards Intercultural/Transcultural Arts Education (Ernst Wagner) |
141 |
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BDK – Association for Art Education (Marc Fritzsche & Martin Klinkner) |
149 |
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Aims of BDK – Association for Art Education |
149 |
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Images for Education |
149 |
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Sources |
150 |
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Databases and Further Resources. Publications in National and International Contexts |
151 |
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Authors |
153 |
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