Art education in the post-digital space
DOI:
https://doi.org/10.32405/2308-8885-2023-1(107)-2-10Keywords:
post-digital aesthetics, post-digital art, anthropotemporal methodology, technology of spiritual self-care, art class, mental game, masters, higher education institutions, pupils, general secondary education schoolsAbstract
The purpose of the article is to project a conceptual design of art education in the post-digital space. According to this concept, the initiator of the rapidly changing relationship between digital technologies, art forms and art education is a person as a creative individual. The author’s proposed anthropotemporal methodology for organizing the post-digital space of art education as a mental game is based on a transcendental approach that involves harmonizing the intellectual and emotional interaction of the subjects of post-digital art education to design a possible future-Salvation, and the paradigm of epistemological aesthetics of the socio-cultural transitivity of the post-digital world. Its priority is the open gestalt of artistic interrogation and the implementation of networked design of beauty as a spiritual and ontological factor, and the criteria are the following: the ability to recognize the artistic meaning of the happiness of existence in the polysemy of the text; the competence of theoretical and aesthetic modeling of artistic dialogue in the post-digital space and the experience of creating beauty as a good. The choice of this methodology is becoming the prerogative of the mental act of humble self-determination of the artist-performer as the likeness of God in the rhizomorphic post-digital environment.
The realization of this concept is facilitated by the introduction of the technology of spiritual self-care. Its essence is determined by the patterns of antinomy of alternative and co-evolutionary ways of self-knowledge of the performer’s creative individuality (the principle of the Ecclesiastical Circle); overcoming dissipation and diffusion as a factor in establishing the coherence of the performer’s image-Self. These technological regularities are based on the principles such as: integrative mobility, entropic-informational and adaptive-selective development, performative improvisation, personalization of the attraction’s educational activity (in our case, the person’s “gazing” into the autarky of aestheticized Light).
The article proposes performative epistemic strategies for ensuring this process in the art classroom and in an integrated art lesson (in an inverted format), i.e. educational spaces of hybrid self-learning as creativity based on the interpenetration of artistic and educational gestures on the threshold of solving a mystery in an unexpected way.
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