Paradigmatic shifts in visual arts: from technical instruction to its value within individuals
Keywords:
paradigm, visual arts, research, teaching, and learningAbstract
The purpose of this work is to establish the paradigmatic shift between the teaching of visual arts as technical value and its benefits in individuals. Historically, following UNESCO's post-war efforts, art began to acquire a special value in contributing to personal development. It was no longer just about art for art's sake, but art in relation to society. This marked the beginning of a lengthy process of rupture, resulting in changes in the value of arts and their relationship with teaching and learning processes. It took over 30 years for research in the arts to transform technical processes into a set of benefits for individuals. While it is expected that research in the humanities be linked to teaching and learning processes, in practice, this connection is often challenging to achieve. However, examples exist of studies in the arts and their relationship with other disciplinary areas, such as sociocultural studies by Mayor (1980), socio-political studies by Wye and Weitman (2006), and semiotics studies on form and function by Griffinths, Melot, Field, and Béguin (1988). There is an overwhelming amount of research on technical processes but with limited connection to their benefits for individuals. It is from the early works of Vigotsky in the thirties, gaining more strength with Eisner in 1965 and Gardner in 1994 to the present, that the benefits of the arts in human achievement have been studied. The aspects previously mentioned serve to conjecture a paradigmatic shift in the Kuhnian sense (1962) of the term. If by paradigm we understand: 1) the structure of normal science, that is, what a group of scientists in a specific area do or investigate—in this case, what is investigated is art for art's sake. 2) If we understand the essential sense of paradigm as the example, in this case, we refer to what exemplifies the new research practices of researchers in a knowledge area. Therefore, it is no longer just about art for art's sake but about art and its effects on individuals. This work accounts for this shift.
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