The Development of Aesthetic Experience. Curriculum Issues by Malcolm Ross

By Malcolm Ross

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A young child) is enormous! Another serious problem that arises out of a failure to agree on what i_s a work of art, relates to the notion of the goal (or goals) of artistic development. Can one get very far in describing/prescribing/ facilitating such development if one cannot agree about what art is? Parallels with other areas of human development where values are obviously involved (in all aspects of development) are instructive. For instance, how far can one get in comparing individuals or cultures in respect to moral development, if we have no agreement, however difficult to reach and however precariously maintained, about what is virtue?

The assumption is that we agree both on the general principles constituting each stage, and that we are able to sensitively apply a set of preestablished general descriptions to individual pieces of children's work. The second view criticises the project of identifying hierarchical stages exemplifying progressively superior aesthetic performance. It argues 1) that children's art work is expressively unique to its maker; 2) that DOAE - B* 27 28 V. Heyfron we do as a matter of fact differ in our interpretations of art work and that this difference is acceptable in the context of art; 3) that children's work is often retrogressive, especially in the later stages of their schooling.

In fact, it may lie in deviating from them. For a 'good making' property in one person's work is not necessarily a 'good making' property in another's. Setting aside the logical problems involved in applying general descriptions of aesthetic properties to individual pieces of work, conformity to aesthetic norms is no guarantee of aesthetic integrity even if the end product has aesthetic merit, and intuitively we hold that sincerity in artistic engagement is crucial to the meaning of the aesthetic.

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