浅析电脑技术与艺术设计相结合的教学模式探讨

在当今数字时代背景下,电脑技术提高了艺术设计教育工作的实际效率,为现代艺术设计的发展提供了新的机遇。在现代高职教育中,电脑艺术专业也应运而生。文章从电脑艺术专业教学的角度出发,对电脑技术和艺术设计教育结合进行了探讨,旨在能更好地培养出适应行业需要的专业设计人才。     

高职电脑艺术设计专业就业分析及对策建议

电脑艺术设计专业要求掌握电脑艺术设计软件、艺术理论和市场需要,利用软件工具实现不同的设计项目。电脑艺术设计专业毕业生市场供求存在失衡的现象,应从教育模式、课程设置、专业实习,实践训练、就业指导等方面提高本专业毕业生就业能力。通过多方力量,多种措施来增强高职电脑艺术设计专业毕业生就业能力。     

探索基于“工作过程导向”的环境艺术设计专业实训方式

以工作过程为导向,探索高职环境艺术设计专业的实训方式;以工作任务为载体,改革环境艺术设计课程内的实训教学,培养学生的专业能力、方法能力、社会能力,提升学生的创新能力。在合理的项目建设与运作保障机制下,引导学生在实训中学会学习、在实训中学会工作。     

高职艺术设计专业学生应加强艺术素养的培养

艺术素养是当代大学生所要具备的素质,对于艺术设计专业学生而言,艺术素养是最基本的素养要求,加强高职艺术设计专业学生艺术素养的对策:注重艺术实践活动;以人为本通过艺术渗透培养学生艺术素养;加大人力与资金投入,建设良好的高职艺术设计专业师资队伍。     

高职院校艺术设计专业人才培养模式探析

高职教育具有独特性,以应用型人才为目标,培养学生的技能、素质。作为高职院校的艺术设计专业,其培养模式就要具有高职特色,并结合艺术设计的实际情况来进行设计。应用型人才所要具备的素质、技能是培养模式设计的基础,使学生具备高素质、高技能的多样化培养方法则是设计的内容,而素质教育则是这一切的保障。     

强化高职新生班会入学教育的思考——基于企业需求视野下

高职新生班会入学教育是大学生思想政治教育的重要途径。针对"90后"高职新生的生源构成、思想行为、主体心理、入学环境等特殊性,提出强化高职新生班会入学教育的"六个认知"如下:强化高职新生专业技术知识学习的认知;强化高职新生团队意识的认知;强化高职新生服从管理意识的认知;强化高职新生心理健康教育的认知;强化高职新生新媒体工具化的认知;强化高职新生素质发展的认知。     

高职院校教师专业实践能力培养途径探讨—基于对《国家中长期教育改革和发展规划纲要（2010-2020）》的学习

高职教育的特殊性要求教师具备较强的专业实践能力。针对目前高职院校多数教师专业实践能力缺失的现状,基于对《国家中长期教育改革与发展规划纲要》的学习,提出了高职院校教师专业实践能力的培养途径。     

高等职业院校专业定位探究

高职院校作为我国高职教育的实施机构,其根本任务就是培养人才,通过设置许多专业来为社会培养人才。但纵观许多高职院校的专业人才培养方案,就会发现专业培养目标和培养规格太笼统,即专业定位模糊或不准。因此,对如何确定专业定位进行了系统研究,提出了专业定位的三个维度,专业培养目标描述的三个层次,培养规格的逐级分解方法,会对高职院校科学确定专业定位有一定的参考借鉴作用。     

高职院校教师专业能力建设研究

当前经济社会的发展推动了我国高等职业教育迅猛发展,同时对现代职业教育也提出了更高的要求,而高职院校教师专业能力建设存在问题也日益突出。通过对高职院校教师专业能力的现状分析,提出对策如下:制定和完善高职院校教师专业化制度;构建一体化的校本培训体系;加强校企深度融合,提高教师专业与岗位实践能力;培养创新意识,提高课程开发和科研能力;推进信息化教学,提高教师运用现代教育技术能力。     

湖南高职教育发展现状及对策探析

高职教育是高等教育的重要组成部分。尽管高职教育办学规模、水平不断增强。然而高职教育依然存在着社会认同度不高,师资力量薄弱,专业设置不能与产业结构调整有效对接,难保持续稳定发展等问题。分析了湖南高职教育的发展现状和存在的主要问题,并提出了相应建议和对策。     

Conceptual art and language: introducing a logico-semantic analysis

This article suggests a logico-semantic analysis of Keith Arnatt's Trouser-Word Piece and Victor Burgin's Room, based on Ludwig Wittgenstein's examination of the logical relationship between propositions and the world and M.A.K. Halliday's discussion of social semiotics. It reconsiders the use of language in conceptual art practices from a wider sociological and interdisciplinary perspective, and aims to show how their juxtaposition of different voices within a public context negotiates the space of art as a social space. Focusing on how artworks communicate in context, the following discussion presents the historical as well as the discursive environment in which Arnatt's and Burgin's works are situated and received; moreover, it examines how these works critically manipulate viewing and reading regimes, frameworks of evaluation and patterns of communication in order to create a situation of particular tension between perceptual and conceptual apprehension. In wider terms, this article demonstrates how critically engaged artworks manipulate the conditions of communication by utilizing loan rhetoric (a rhetoric external to the art context) and displace associate meaning in order to challenge the institutionalization of art's production and function. In doing so, they critically stage and contest the power structures that support corresponding hierarchies across producer, audience and mediator, and bring art's social modality into focus. Investigating the manipulation of language in conceptual art, this article proposes a method of analysis that becomes fundamental in studying contemporary multi-modal art production, and in understanding the dialectics of art'But the difficulty is to remove the prejudices communication and critical potential.     

Profit rather than politics: the production of Lenin monuments in Soviet Latvia

The archived documents on outdoor sculpture commissions in Soviet Latvia reveal that the thesis of art having been colonized by the Communist party is too simplistic. Sculptors and architects had vested business interests in monument production. Until the mid-1950s, the cream of academically-educated Latvian sculptors was sidelined by Russians who mass-produced concrete replicas of statues portraying Lenin or Stalin. The majority of the works came through the mass production of works of visual propaganda in the Māksla art factory. Also, less-talented local sculptors were able to find a role satisfying the demand for cheap, decorative sculpture. Looking for ways to access this market, the local art elite invented aesthetic and semiotic arguments in support of the original, locally-made, Lenin sculptures that would be cast in permanent materials and could serve as the spatial organizers of new communist rituals in the urban environment for which they won municipal commissions resulting in the reconstruction of central squares in Latvian towns. What this means is that artists driven by their mercantile interests and not by ideology played an active part in elaborating the aesthetics of communist ideology, and therefore provided support for the dominant discourse of power relations.     

管窥考茨基的艺术观

卡尔·考茨基是第二国际的主要领导人之一，也是著名的马克思主义理论家。尽管考茨基晚年背离了马克思主义，但考茨基的艺术观始终是无产阶级的可靠的财富。《艺术和自然》是考茨基的艺术观的集中表述。《艺术和自然》论述了艺术的三个维度：艺术的本质；艺术与自然；艺术与经济。考茨基认为艺术是有意识的活动，艺术是融汇多样化的和谐整体。他站在唯物主义立场提出艺术要向自然学习。考茨基在文章中着重论述了艺术和经济的复杂关系。研究考茨基的艺术观对于丰富马克思主义艺术理论、对于研究马克思主义艺术思想的演变、对于建设有中国特色的马克思主义艺术理论都具有重要的理论价值。     

Beyond the Middle Finger: Plato,Schiller and the Political Aesthetics of Ai Weiwei

The photograph of Ai Weiwei’s middle finger set against the backdrop of Tiananmen Square has become an icon of politically subversive art. But can we see beyond the middle finger? Here I argue that current theories of political aesthetics (e.g. Jacques Rancière) operate on an oversimplified dichotomy between two competing paradigms of political art, and that this threatens a more nuanced engagement with contemporary artistic practices. In the first part, I re-examine both the antagonistic relation between art and politics exemplified in Plato's verdict against poetry as a socially corrosive form of imitation as well as the instrumental relation of art and politics developed in Friedrich Schiller’s conception of aesthetic education as a means of social and political reform. Then, drawing on recent work by the controversial Chinese artist, I argue for a model of political art that can account for the more complex interrelation of criticism and cultural affirmation evident in a growing body of politically-oriented art.     

Philosophy and the History of Art

Abstract

Schelling’s philosophy of art between 1801 and 1807 can be defined as metaphysics of art. The object of that metaphysics is to deploy the absolute as the being of art and of the arts. Schelling has been criticized on the basis that this metaphysics of art represses the infinite diversity of existing works of art, while overlooking concrete aesthetic experience. Based on Schelling’s definition of the “philosophical construction” of art as an inseparably speculative and historical construction, the aim of this paper is to challenge such assertions. It will show that “historical construction” has to be understood in a twofold manner: first, as a transcendental history of the absolute’s artistic individuation and second, as a cultural history of both the ancient and modern worlds of art. Working within this twofold setting the paper argues that Schelling’s systematic approach, while exhibiting a unifying force, still remains open to the otherness of the real.     

The Impact of Public Funding on Contemporary Visual Arts

Public policy for supporting the visual arts has historically followed different traditions in France and the United Kingdom. In an environment of fiscal austerity that impacts upon public funding as well as private patronage, and given the tensions between artistic freedom on the one hand, and market constraints on the other, this article examines how these two traditions of financing artists has influenced the direction of the work itself. A brief historical presentation of the two forms of public support and their evolution in recent decades provides a framework for understanding government attitudes and policies on both sides of the Channel. A closer examination of selected artists, chosen here for their representativeness and their international renown, is used to illustrate the changing nature of public support for visual art creation.     

Social conflict and alternative mass communications: public art and politics in the service of Spanish-Basque nationalism

Abstract. Mass communication is multi-dimensional. One often overlooked alternative medium of mass communication, when it is systematic and not random, is public art - murals, graffiti, wall painting and posters. The linking of art and politics has precedents in Basque culture. It is the thesis of this article that public art is an important factor in the political communication process in the Basque region, that Basque nationalists, especially radical Basques revolving around the ETA movement, have used public art as one source for increasing visibility, raising consciousness, and building a mass based movement. What is particular about Basque nationalism is that it is a cultural-political movement, a reawakening from a 'culture of silence' induced by the Franco regime. Today, public art is an accepted channel for communicating the gamut of socio-political issues relevant to the social conflict in the Basque homeland.     

论侦查讯问语言艺术

讯问犯罪嫌疑人主要通过语言，它是侦查讯问过程的主要载体。在讯问过程中，侦查人员的语言表达能力如何，直接影响讯问的效果。侦查人员提高运用讯问语言艺术的自觉性，并运用讯问语言艺术促使讯问活动顺利进行，是提高讯问水平的重要方面。因此，运用讯问语言艺术的水平高低，在讯问中具有特殊的意义。     

科学与艺术的关联

一般说来,科学与艺术存在着认识与体验、理性与非理性、客观性与个性、求真与求美的差别,但是,这种差别只是相对的,不是绝对的.科学包含着重要的体验、非理性、个性和求美的因素,艺术也包含着重要的认识、理性、客观性和求真的因素.科学与艺术有着深刻的关联.     

通识教育体系中的美术欣赏课程设计

本文分析了目前美术欣赏课程教学中存在的问题,提出将通识教育的概念引入美术欣赏课程。笔者从课程内容与结构、课程教学形式与方法等不同方面重新设计课程,结合文学、历史、科学、本土文化等诸多相方面相关知识,运用个性化的教学形式、生活化的教学环境、多样化的教学方法,力图创建适应于高等学校通识教育体系中的美术欣赏课程,促进大学生素质的全面和谐发展。