![]() ![]() ![]() Another roadblock she discovered was that there was no shared language for describing the quality of an arts program or for measuring learning in the arts. ![]() She found only three definitive causal links between education in the arts and certain cognitive functions. Her conclusion was that the research was lacking, with the claims greatly exceeded the evidence. Hetland led a project from 1997-2001 called REAP (Reviewing Education And the Arts Project), which began with 10 meta-analytic reviews of all studies on arts education starting from the 1950s. The parallels between Hetland’s thoughts on arts education and mine on collaboration seemed to recur throughout the lecture.) One of Goodman’s first hire was Howard Gardner. Project Zero was founded in 1967 by Nelson Goodman, a philosopher of the arts, who - according to Hetland - said, “The communicable state of knowledge of the arts as a cognitive activity is zero.” (I found this quote appealing, because I feel very similarly about what we know about collaboration. Hetland is part of Project Zero, a program at the Harvard Graduate School of Education. Hetland’s research centers around the following question: Does arts education make people smarter? In other words, does it enhance overall cognitive capabilities? While her talk reported the most recent results of her research, she also revealed some very interesting ideas about the role of research in general. Her talk, entitled, “Studio Thinking: How Visual Arts Teaching Can Promote Disciplined Habits of Mind,” was part of the Cultural Initiatives Silicon Valley ongoing lecture series. Full-color images with examples of student art throughout the book.On Tuesday, October 28, 2003, I heard Lois Hetland speak at Le Petit Trianon in San Jose.Models of studio arts instruction that illuminate what educators are doing to support students' learning in the arts and why they are doing it that way.An account of what Studio Thinking looks like in diverse contemporary settings.An explanation of "art as thinking" that unpacks and clarifies how teaching art is the process of teaching thinking.Studio Thinking 3 will help advocates explain arts education to policymakers, support art teachers in developing and refining their teaching and assessment practices, and assist educators in other disciplines to learn from existing practices in arts education. The first edition of this bestseller was featured in The New York Times and The Boston Globe for its groundbreaking research on the positive effects of art education on student learning across the curriculum. Studio Thinking discusses how the Studio Thinking Framework has informed teaching and research in visual arts, theater, dance, music, arts integration, STEAM, and other contexts.Assessment is a Conversation introduces the practical ways that teachers are using Studio Thinking to assess and evaluate students' work, working processes, and thinking in the arts.Artist-Teachers examines how artistic practices and teaching practices intertwine and how the Studio Thinking Framework can nurture the relationship between them.Students as Contemporary Artists: Building Agency in the Studio highlights how studio teachers support learner autonomy, including the ability to create increasingly self-directed artworks.It also reviews how contemporary organizations, educators, and researchers outside the arts have utilized the framework, highlighting its flexibility to inform teaching and learning. This expanded, full-color edition includes new material about how the framework has been used since the original study, with new perspectives from artist-teachers who currently apply the Studio Thinking Framework in their own practice. It poses a framework that identifies eight habits of mind taught in visual arts and four studio structures by which they are taught. Studio Thinking 3 is a new edition of a now-classic text, a research-based account of teaching and learning in high school studio arts classes. ![]()
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