DAROVITOST, TALENT I KREATIVNOST U ODGOJNOM PROCESU

The notions of giftedness, talent and creativity are not synonymous, and a distinction in their definition and identification can increase the quality of work with children in the educational process, as well as contribute to the better exploitation of their potential. This paper draws on different authors and their theories and methods of defining and identifying giftedness, talent and creativity. Although these capacities occur in different percentages within the population, they can be additionally developed both in identified and unidentified individuals, so they are not allowed to stay undisclosed or unrealised in those individuals who were not motivated to develop their abilities. Indications such as genetic predisposition or the possibility of influencing individuals by means of the so-called enriched environment suggest opportunities which can be used by the school system as well as by the methodologies of different subjects. Although society tries to keep its gifted and talented individuals on its margins due to their difference and provocativeness, it is on such pupils that the development of society dependsDarovitost, talent i kreativnost kao pojmovi nisu istoznačnice, a njihovo razlikovanje u određivanju i identificiranju može povisiti kvalitetu rada s djecom u odgojnom procesu i iskorištavanje njihovih potencijala. Navodimo različite autore i njihove teorije te metode odreñivanja i identifikacije darovitosti, talenta i kreativnosti. Iako se ove sposobnosti pojavljuju kod populacije u određenim postocima zastupljenosti, moguće ih je dodatno razvijati kako kod prepoznatih tako i kod neprepoznatih pojedinaca, pa i omogućiti da ne ostanu nezapažene ili nerealizirane kod onih koji nisu bili motivirani u razvoju svojih sposobnosti. Indikacije kao što su genetska predispozicija ili mogućnost utjecanja na pojedinca takozvanom obogaćenom sredinom sugeriraju nam mogućnosti koje može iskorištavati i školski sustav kao i metodike pojedinih predmeta. Iako se društvo trudi držati darovite i kreativne pojedince na svojim marginama zbog njihove različitosti i provokativnosti, ipak baš o njima najviše ovisi razvoj tog društv

The Role of Teaching Materials / Textbooks on Visual Perception and Visual Interpretation

Perception depends on the mental interpretation. Our mind contains categories through which it interprets and gives sense to what was perceived. Categories are acquired through learning, and textbooks play an important role in the process of learning. Images of cubes in textbooks, particularly mathematics textbooks, are in contradiction with the central perspective, i.e. with the way in which we visually perceive them. Such images of cubes do not match mathematical axonometric projections either. Images of cubes in textbooks present the front side as a square with parallel sides, one lateral side, and the top side. Such a presentation is optically incorrect and stereotypical, creating a category that blights the visual perception and drawing interpretation of a cube in a space. In our empirical research, participants were presented with a cube above their horizon making it impossible to see its top side. While drawing the cube, a large number of participants had a blighted perception and interpretation. They drew the cube in a stereotypical manner, as a square with the top facet, which could actually not be seen. What is more, because of the perspective, the front side is not seen as a square anymore. The drawings were evaluated according to their success in presentation that was afterwards compared with the achievement in the written test of perception. The research was carried out in two countries, Croatia and Slovenia. The sample consisted of 217 participants in the fourth, sixth and eighth grades of primary school and third and fifth year of university

DISTANCE LEARNING AND E-LEARNING IN ART EDUCATION

E-učenje podrazumijeva učenje putem računala i njegove periferije, najčešće posredstvom interneta, ali i upotrebom CD-a, DVD-a, pa čak i mobilnih telefona. E-učenje pripada didaktičkom modelu obrazovanja na daljinu, kao i korespondentno obrazovanje. Učenje putem računala pripada i modelu programirane nastave, u kojem se upotrebom tehnologije želi objektivizirati poučavanje. Dijeljenje procesa učenja na male korake sa zadatcima i povratnim informacijama pomaže samopoučavanju. U radu se navode razni primjeri e-učenja u području likovne kulture putem interneta, kao i putem upotrebe CD i DVD ROM-ova. Zaključak je kako se ovakvim modelom poučavanja dopire do većeg broja korisnika, nego glasom nastavnika i udžbenicima, naglašava se likovnoteorijski aspekt poučavanja, ali je za samostalno istraživanje likovnosti ovakav model neprikladan.The term e-learning refers to education through computer and its periphery, mostly through the Internet, but also to education in the process of which CDs, DVDs and even mobile phones are used. E-learning, as well as correspondence courses, belongs to the didactic model of distance learning. Learning through computer also belongs to the method of programmed learning, where the use of technology is aimed at making the teaching process more objective. Dividing the learning process into small steps with tasks and offering feedback helps self-education. The paper presents various examples of e-learning in the field of art education online, but also through the use of CDs and DVDs. The conclusion is that this model of teaching appeals to a greater number of users than the voice of a teacher or textbooks, and highlights art theory aspect of teaching. On the other hand, this model is not suitable for an independent study of art

Metoda analitičkoga promatranja u razvoju dječjega crteža

The text discusses Luquet\u27s concept of intellectual and visual realism and the concept of internal models. The aim of this study was to determine the influence of the analytical observation method on children\u27s drawings, regardless of the "internal model" in different ages. The sample of N = 215 children, of which kindergarten age N = 86, and primary school N = 129. The type of research is quantitative and transverse, the method of research is causal experimental, and the research technique is content analysis. The instrument for data collection was a visual task. It was determined that Luquet\u27s internal model is very flexible, and that children before the stage of intellectual realism are able to draw by presented model, sometimes with no loss of expression of artistic action.Tekst problematizira Luquetov koncept intelektualnoga i vizualnoga realizma, te koncept unutarnjega modela. Cilj je ovog istraživanja bio utvrditi utjecaj metode analitičkoga promatranja na dječji likovni izraz, neovisno o „unutarnjem modelu", u različitim uzrastima. Uzorak ispitanika je N = 215 djece, od čega vrtićkog uzrasta N = 86, a osnovnoškolskog uzrasta N = 129. Vrsta istraživanja je kvantitativno i transverzalno, metoda istraživanja je kauzalno eksperimentalna, a tehnika istraživanja analiza sadržaja. Instrument za prikupljanje podataka bio je likovni zadatak. Utvrdilo se kako je Luquetov unutarnji model vrlo fleksibilan, te da su djeca i prije faze intelektualnoga realizma sposobna crtati prema predočenome motivu, ponekad bez gubitka ekspresivnosti likovnog izraza

Utjecaj međupredmetnog povezivanja na uspješnost učenika pri poučavanju likovne kulture

Teachers mostly implement the intersubject connection (correlation) in art education through visual motifs, not through insights into art phenomena. This leads to poor cognitive, psychomotor and affective results of teaching, and it is not in line with the fulfilment of the objectives in the art activities. There is no transfer of knowledge, instead there is the conviction that art is not about knowledge, that one needs only "to feel". Therefore, the main objectives of this study are to determine the effects of inter-curricular connection on the individual student\u27s holistic visual development (cognitive, affective and psychomotor) while teaching art education. Furthermore, another objective is to establish the influence of intersubject connection on students\u27 motivation while teaching art education. And finally, the aim was to formulate the guidelines for teacher training in the planning of intersubject connection, and to make a model of performance in correlative connection for teachers’ practices. The study was conducted on a sample of over 400 students in the first, fifth and eighth grade of primary education, in four schools. It was found that students who were involved in the process of teaching with intersubject connection partially achieved a better understanding of art and other terms than the control group (significant difference was not found in one week in the first and fifth grade). The students of the experimental group achieved significantly better transfer of knowledge, motivation level, the sensitivity for the art materials and procedures, the degree of originality and individuality, and the degree of critical and aesthetic evaluation.Međupredmetno povezivanje (korelaciju) u Likovnoj kulturi učitelji većinom izvode na temelju likovnog motiva, a ne na temelju spoznavanja likovnih pojmova. To dovodi do slabih kognitivnih, psihomotoričkih i afektivnih rezultata poučavanja, a nije ni u skladu s dosezanjem ciljeva u likovnoj djelatnosti. Ne dolazi do prijenosa znanja, već se stječe uvjerenje da u umjetnosti nije dovoljno znanje, već da je potrebno samo „osjećati“. Stoga su glavni ciljevi ovog istraživanja: ustanoviti kakav je utjecaj međupredmetnog povezivanja na cjelovit likovni razvoj (kognitivni, afektivni i psihomotorički) pojedinog učenika pri poučavanju likovne kulture, kakav je utjecaj međupredmetnog povezivanja na motivaciju učenika pri poučavanju likovne kulture, oblikovati smjernice za izobrazbu učitelja o planiranju međupredmetnog povezivanja i izraditi model izvedbe korelativnog povezivanja za praksu učitelja. Istraživanje je provedeno na uzorku od 403 učenika, u prvim, petim i osmim razredima, u četiri škole. Ustanovilo se da su učenici koji su bili uključeni u proces poučavanja međupredmetnim povezivanjem postigli djelomično bolje razumijevanje likovnih i drugih pojmova od kontrolne grupe (značajne razlike nije bilo u jednom tjednu prvog i petog razreda). Učenici eksperimentalne grupe postigli su statistički značajno bolji transfer znanja, stupanj motivacije, osjetljivosti na likovne materijale i postupke, stupanj originalnosti i individualnosti i stupanj kritičkog vrednovanja i estetskog ocjenjivanj

Breaking through the “fourth wall” as an interactive process in modern artistic creation

Suvremena umjetnost izgubila je svoju likovnost, a ostala joj je samo vizualnost. S druge strane, prijelaz od likovne moderne ka nelikovnoj suvremenoj umjetnosti donio je i mnogo novosti; jedna od njih je tzv. ‘probijanje četvrtog zida’. Radi se o kazališnom (a zatim i filmskom) terminu koji označava trenutak kada se gledatelj na neki način interaktivno uključuje u predstavu, a likovi pokazuju svijest da su likovi u predstavi. Upravo će suvremena umjetnost istraživati postupke brisanja granica između umjetničkog i svakodnevnog čina, sugerirajući kako »sve je umjetnost« i »svaki čovjek je umjetnik«. Novo je doba donijelo otuđenost javnosti od znanosti i umjetnosti, ali i nova filozofska tumačenja medijskog krajolika i hiperrealnosti postmoderne. Hiperrealne postaju i digitalne igre, od kojih se neke temelje upravo na rušenju »četvrtog zida«. Zbunjene reakcije na tehniku rušenja »četvrtog zida« variraju u rasponu od verbalnih reakcija na performance, preko previše doslovnog shvaćanja filmova pa sve do tragičnih nesreća, čak i samoubojstava povezanih s određenim digitalnim igrama. To da stvarnost oponaša hiperstvarnost postalo je uobičajeno, ali otvorilo se i pitanje: može li suvremeni pojedinac s time izaći na kraj?Modern art has lost its artistic character; only its visual aspect remains. On the other hand, the transition from modern fine arts towards non visual contemporary art has brought a great deal of novelties; one of these is “breaking the fourth wall”. This is a theatre (and film) term referring to moments when viewers become interactively involved in a play, and the characters become aware that they are characters in a play. Modern art has explored processes by which the border between artistic acts and everyday acts is erased, suggesting that “everything is art” and “every man is an artist”. The new era has caused the public to become alienated from science and the arts, but has also provided new philosophical interpretations of media landscapes and the hypperealism of the post-modern. Digital games are also becoming hyperrealistic, and some of these are founded on demolishing the “fourth wall”. Confused reactions to techniques of breaking the “fourth wall” vary from verbal reactions to a performance and excessively literal perceptions of film to tragic accidents or even suicides connected with particular digital games. Hyperreality mimicking reality has become commonplace, however the question arises: can the modern individual deal with this

EDUCATION, THOUGHT AND MEANING Examining education through the prism of the theory of art

Nezadovoljstvo odgojnim sustavom kao refleksija društvenog nedostatka svrhe i smisla. Što vrijedi učiti u školi? Problem opažaja na lingvističkoj razini – percepcija kao dekodiranje znakova. Pojam kao znak, «gledanje jezičnošću». Teorije opažaja: shematski i doslovni opažaj, prepoznavanje funkcije i zamjećivanje oblika. Objektivnost i modeli stvarnosti. Prilagođavanje opaženog dostupnim kategorijama; zašto mozak stvara «optičke varke»? Problem slobode i čovjek-mašina. Teorije «umjetničkog htijenja» i «povijesti umjetnosti bez imena»: sloboda ili nužnost, povijesna uvjetovanost; «oblici gledanja». Što je slučaj? Znanstvene jednadžbe i istina kao ujednačena struktura. Paradoksi kvantne fizike; učimo li uopće djecu što kaže znanost ili s tim ne možemo izaći na kraj? Red i samosličnost prirode u Pitagorinu proporcionalnom sustavu kao temelj za strukturalnu korelaciju među nastavnim predmetima u školi. Nadrastanje ograničenih iskustava naših osjetila promjenom perspektive – um i spoznaja u stvaranju smisla.Dissatisfaction with the system of education as a reflection of the social lack of purpose and meaning. What is worth learning at school? The problem of perception at the linguistic level – perception as the decoding of sighs. Concepts as signs, “watching linguistically”. Theories of perception: schematic and literal perception, the recognition of function and the observation of form. Objectivity and the models of reality. The adaptation of the perceived to the available categories; why does the brain create “optic illusions”? The problem of freedom and man-machine. Theories of “artistic wants” and “the history of art without a name”: freedom or necessity, being conditioned historically; “forms of watching”. What is a case? Scientific equations and truth as a standardised structure. The paradoxes of quantum physics; do we teach children what science says, or we simply can not get the upper hand of that? Order and the self-similarity of nature in Pythagoras’s proportional system as a foundation of the structural correlation between school subjects. Overcoming the limited experiences of our senses by a change in perspective – the mind and cognition in creating meaning

IDEOLOGY AND IDEA

Polazeći od određenja ideologije kao više-manje povezanog skupa ideja kojim se neki parcijalni interes nastoji prikazati kao opći radi njegove lakše obrane i odjelovljenja, u članku se razmatraju likovne poruke česte u nastavnim materijalima i masovnim medijima kojima se nastoji utjecati na vrijednosni stav, mišljenje i ponašanje primatelja poruke, s ciljem ostvarenja određenih interesa pošiljatelja poruke. Manipulacija gledateljima stara je tisućama godina, no suvremenim razvitkom multimedija dobiva nove mogućnosti i snažan zamah. Namjera je članka sadašnjim i budućim odgajateljima osvijestiti neke skrivene likovne poruke i potaknuti ih na kritičko promatranje likovnih pojava, što je jedan od uvjeta najprije njihovog osobnog oslobođenja, a onda i istinski odgojnog djelovanja.Starting from the definition of ideology as a more or less interrelated group of ideas which tend to present a partial interest as a common one because of its easier defence, the article deals with artistic messages common in teaching materials and mass media that tend to influence the system of values, opinion and behaviour of the recipient for the purpose of sender’s attaining of certain interests. Audience manipulation is a thousand year old technique but with the modern development of multimedia it acquires new possibilities and vigorous growth. The purpose of this article is to reveal to the present and future educators some hidden artistic messages and encourage them to view artistic concepts from the critical point of view as a condition of their personal liberation and their educational functioning

Illusions about Objective Science and Subjective Art

Ljudsko biće doživljava sigurnost kada pretpostavlja da posjeduje dovoljno informacija kojima može predvidjeti budućnost, koje se tada ne plaši. Načini prikupljanja i tumačenja podataka o “stvarnosti” unazad nekog vremena povjerena je “objektivnoj” znanosti. Prateći, međutim, razvojni put znanstvenih koncepata, pokazuje se da je moderna znanost, kao i predmoderno mišljenje prije nje, morala izmišljati – a ne otkrivati – teorije, sustave, unutar kojih su prikupljeni podaci dobivali smisao i prediktibilnost. Primjeri tumačenja gravitacije, dvojnog valno-čestičnog karaktera svjetlosti i različitih modela atoma zbunjuju čitatelja naviknutog na jednoznačna tumačenja koja je stekao tijekom svojeg obrazovanja. Kvantna fizika je ukazala na mnoge misaone probleme, uključujući i činjenicu da samo istraživanje poremećuje sustav koji se istražuje, dovodeći tako do načela neodređenosti – zbog perciptivnih karakteristika našeg uma, moguće je opaziti samo ono što se (pre)poznaje, pa znanost zapravo istražuje samo unutar sebi dostupnih kategorija. Izuzetni pojedinci pak divergentnim mišljenjem čine isto što i umjetnici – mijenjaju perspektivu, revolucioniraju dostupne kategorije i nude novo poimanje svijeta, proizvodeći i vjeru u njih.Human beings experience the feeling of safety when they assume that they are in possession of sufficient pieces of information with which they are able to foretell the future, which they are then no longer afraid of. The ways of gathering and interpreting the data of “reality” were placed in the hands of “objective” science some time ago. However, following the developmental course of scientific concepts shows that modern science, as well as pre-modern thought preceding it, had to invent – rather than discover – theories, systems, within the framework of which the gathered data acquired meaning and predictability. Examples of interpreting gravity, the dual wave-particle character of light and the various models of atom confuse readers used to unambiguous interpretations they acquired during the course of their education. Quantum physics has pointed out numerous problems, including the fact that the very research itself disturbs the system being researched, thus leading to the principle of indeterminacy – due to the perceptive characteristics of our mind we can perceive only that which we (re)cognise, meaning that science, in fact, researches only within its self-accessible categories. Exceptional individuals with their divergent thinking, on the other hand, do the same thing as artists do – they change perspective, they revolutionise the available categories and offer a novel conception of the world, at the same time producing faith in the same