My intention in this paper is to identify 10 dimensions in which artistic and scientific approaches to qualitative research differ. The term qualitative research does not have a long history in the field of education and in many ways it not only hides the important distinctions which need to be made, but it is, itself, misleading. The major distinction we seek is not between qualitative and nonqualitative forms of research since all empirical research must of necessity pay attention to qualities, but between what is studied in a scientific mode and what is studied artistically. There can be no empirical research, that form of research that addresses problems in a material universe, that does not aim to describe, interpret, predict or control qualities. The major distinction to be made in the conduct of research is not located in the phenomenon of study but in the mode in which that study occurs. The difference that counts is between what is studied artistically and what is studied scientifically. These differences are the ones to which this paper is addressed. At the outset it should be said

IF ONE WERE TO RANK THE VARIOUS BELIEFS or assumptions in the field of curriculum that are thought most secure, the belief in the need for clarity and specificity in stating educational objectives would surely rank among the highest. Educational objectives, it is argued, need to be clearly specified for at least three reasons: first, because they provide the goals toward which the curriculum is aimed; second, because once clearly stated they facilitate the selection and organization of content; third, because when specified in both behavioral and content terms they make it possible to evaluate the outcomes of the curriculum.

Este documento identifica varios conceptos erróneos sobre la naturaleza de la actividad artística y describe su impacto negativo en las escuelas. Además, describe las importantes contribuciones positivas que las artes pueden hacer al desarrollo de la cognición y argumenta la importancia de incluir las artes como un recurso importante para el desarrollo educativo de los jóvenes. Al desarrollar este argumento, se establece un contraste entre las ideas griegas que han proporcionado un legado intelectual para nuestra concepción de la mente y las ideas emergentes en las artes y en la psicología cognitiva que proporcionan una concepción muy diferente del pensamiento y la inteligencia humana. Autores: Elliot W. Eisner. Stanford University Descriptores: • arte • cognición • Desarrollo humano • educación

La mayoría de los esfuerzos realizados en las reformas educativas están diseñados para mejorar prácticas educativas específicas. Lo más frecuente es que tanto las prácticas como las mejoras impongan cambios no estructurales a las escuelas, siendo diseñados para encajar en las estructuras escolares existentes. Este artículo identifica los rasgos de la escolarización que hacen tan difícil el cambio educativo. La mayor parte de las reformas educativas fracasan en la consecución de mejoras educativas significativas. El autor identifica cinco dimensiones que deben ser tenidas en cuenta y, de una manera orquestada, modificadas si es que ha de producirse una reforma educativamente significativa. A menos que se hagan tales esfuerzos, los intentos de reforma escolar continuarán caracterizándose por ser una especie de movimiento pendular: movimiento sin adelanto. Autores: Elliot W. Eisner. Stanford University Descriptores: • cambio educacional • política educacional • reforma de la escuela española y estadounidense

This issue represents one of the first objective, collaborative pieces addressing Social Emotional Learning (SEL) across all arts content areas in diverse areas of policy. The results justify further investigation into the congruence of the arts and SEL, exploring examples of SEL instruction in the arts, and the development of consistent messages for arts education utilizing SEL. The role of SEL in arts education is still being discovered; however, the support of how the arts are a proper environment for SEL is only growing. This conclusion provides an overview of the varied levels of policy related to SEL and arts education, provides one example of artistic SEL integration (New Jersey Arts Education and SEL Learning Framework), expands on policy implications and opportunities, and concludes with strategies to utilize SEL as an advocacy tool for arts education.

Deseo hablarles sobre arte y ciencia y sobre el lugar del arte en la práctica científica.

The importance of cannot be underestimated. Anytime anyone working with materials or processes and trying to establish a desired relationship among the components of an object or process in which the will be expressed, there the need for Composition a matter of composing, but composing what? Composing leads its life in relationships between what went before and what comes later. To be able to express an object, or better yet, to be able to make an object that expressive, requires attention to the relationships in the To be able to say of a painting that it has a wonderful sense of balance, or that it suggests timing in execution, or that it operates in a domain that ethereal in character, all of these require that components be organized so that constitute a that relevant to a creator's aims. Let's take a close look then at the idea of First we will explore and language, and next and art. We will end our discussion by thinking about the meaning of in schools and classrooms. COMPOSITION AND LANGUAGE Among the various controversies that populate the field of education, those among scholars regarding the functions of language are among the most salient. We now ask more than ever before how the form of language affects its meaning. We also raise questions about the use of visuals as tools related to matters of meaning. We've come to recognize that words have a texture, an evidentiary base, a poetic power to shape what people take from the language read, or speak, or write. Furthermore, in its more radical sense, language itself is, as Benjamin Lee Whorf told us, a vehicle through which our eyes open to those phenomena that matter (Whorf, 1956). Or seen from another viewpoint, the plasticity of the brain reflected in the plasticity of our language. We do not have one language; we have many. Which we use depends on our need to create particular shades of meaning serving our overall purpose. Among those centers of interest in language a view that the forms of language we use are related in productive ways to meet the user's requirements. Language needs to be composed. By composition, I mean that language has to submit to the judgment of individuals who are sensitive to what language might confer. Consider the way we use the term composition. Language, like painting and music, needs to be supported by an ideational infrastructure that affords its security. The word composition an interesting one in this context. Composing language into a narrative we call poetry requires attention to relationships. Composers compose, arrangers arrange. Both arrangers and composers put things together so that they work. The genius that it takes to do something significant recognized by those who struggle with creation. The implications of this observation suggest the options for linguistic design are plentiful, but demanding. So, what we have a rich schema that affords users of language the option of pursuing outcomes that earlier could only be dreamt of--There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy (Shakespeare, 1992). Consider the ways in which language provides both affordances and constraints. Consider further, writing a single letter W on a sheet of 8 x 12 paper; this actually displays a by virtue of where the letter placed. If someone moves the letter from one side to another side of the paper, the altered as a whole. If the individual goes further and introduces another W, another created. In fact, compositions are modified by the way in which the related to the whole in which it participates. This affinity to the sensitivity of the grammar of form has a virtual life depending on who is driving the bus. One way to employ the art of language within legal briefs. …

(2009). The Lowenfeld Lecture 2008: What Education Can Learn from the Arts. Art Education: Vol. 62, No. 2, pp. 6-9.

The arts have typically been regarded as non-cognitive activities that are often thought to be more ornamental than useful. This paper examines prevalent assumptions about the arts and identifies forms of thinking that the arts promote. It is argued that far from being merely decorative, the arts stimulate, refine, and convey meanings that cannot be expressed in any other form of representation. The recognition of the demands and the contributions that the arts make is of fundamental importance in justifying the place of the arts in our schools, that is, as being central, rather than peripheral educational accomplishments. This paper identifies a number of the forms of thinking that the arts promote as a basis for building a case for their presence in our schools by regarding them as being substantially more than of marginal importance.

In this paper Elliot W. Eisner argues that the distinctive forms of thinking needed to create artistically crafted work are relevant not only to what students do, they are relevant to virtually all aspects of what we do, from the design of curricula, to the practice of teaching, to the features of the environment in which students and teachers live. It was originally given as the John Dewey Lecture for 2002, Stanford University

I want to start my comments with some observations about the connection between the arts and the sciences and between the arts and research. Typically speaking, we do not tend to associate artistic activity with the more cool, calculating, and, for some, rational character of scientific investigation. The arts are guided by feel, while scientific activities are thought to belong to the rational sphere; calculating, deliberate, logical and perhaps most of all, theoretical. Research is what scientists do. Painting or composing is what artists do. Thus, creating something called is to some a kind of oxymoron. So we start our conversation with a terminology that some people find difficult to understand.How do we argue the case that research is an activity that takes place in the arts as it does in any of the sciences? By just as it does, I don't mean that research done in the sciences and research done in the arts are identical. They are not identical. Even those fields that define themselves as sciences are not, from a methodological perspective, identical. Just what is the basis for believing that research is a proper descriptor for what people in the arts do and that arts-based research is neither an anomaly nor an oxymoron?I think that initially one might conceptualize research as a broad process intended to enlarge human experience and promote understanding. It is a process that is concerned mainly with the creation of knowledge, or more modestly, with the process of knowing. Given this broad umbrella process, science can be regarded as a species of research; so too can the arts.But even science separated from the arts itself is a problematic conception. If the arts are regarded as forms of experience, the kind that John Dewey described in his elegant book Art as Experience, then it could be argued (and I would) that the fine arts do not define the limits of art. Aesthetic experience, which is at the core of art, can be secured in the process of doing scientific research as well as in the satisfactions secured from its results.The point of this brief resume is to liberate the concept of research from domination by science alone and to recognize that science in practice and in outcome can have significant aesthetic features. Very often they are the very features that motivate scientists to pursue their work. It is in this sense that the well executed practice of science can be considered an art.These considerations were not at all salient in the educational research community during the 1960s, '70s, or '80s in the United States, at least. Research was considered a scientific enterprise, and that pretty much was all there was to it. People who were looking for art had to find the time and the place somewhere outside of the educational research community.The view that I have described concerning the primacy of science is not particularly uncommon today. It is difficult to change canonical beliefs about how inquiry should proceed and how one comes to understand the universe in which we live, even if that universe is restricted to schools and classrooms, to teaching and to curriculum.At the same time, it must also be acknowledged that minds are changing and that new possibilities are being explored. How did all of this get started? Let me say a few words about the genesis of arts-based research and later talk a little bit about some of its features.It was in 1993 that the first Arts-Based Research Institute was offered at Stanford University to members of the American Educational Research Association. The Institute has been offered at Stanford and at Arizona State University virtually every other year since then. My aim in initiating the institute was driven by a tension that I felt personally as a scholar trained in the social sciences but immersed in the arts. That tension engendered the idea that the arts might be used in some productive way to help us understand more imaginatively and more emotionally problems and practices that warrant attention in our schools. …

How we teach is ultimately a reflection of why we teach.