Aesthetic Modes of Knowing

Eisner’s article this week was fascinating to read. It was interesting to begin looking further at knowledge within the aesthetic mode; two distinct types of knowledge. First was knowledge of the world toward which the aesthetic qualities of form point and secondly, knowledge of the aesthetic in its own right, for no other purpose than to simply undergo an experience. Through Tuchman’s writing, we were able to see the many forms that professional writers employ; whether it was the use of rhythm, figurative language, literary devices, or diction and syntax. I agree that we have a deep- seated need for stimulation and to give order to our world. It was clear when the analogy was given that humans seek to put things in order and create harmony, as seen in science where theory is the result of our desire to create a world that we can understand (Eisner, 1985, p.29). Through this week's reading and discussion, I have now come to recognize that for these reasons, aesthetics play an important role in all disciplines.

For example,in photography, forms are created through the use of lighting, framing and various methods of composition in an effort to create a photo that tells a story. Similarly, television and film makers strive to tell their own stories and evoke emotion through a combination or lighting, motion pictures and sound. The use of color, camera angles and sound effects all contribute to the experience being created. As Eisner stated, “we seek to use our capacities to activate our sensory systems, to vary our experiences.”

In architecture and interior design, again we saw the elements of light and space working together to create design. In Susanka’s introduction to Home by Design, she said, “Light is the great animator of space” (Susanka, 2004, p. 9). She described the best way to use space and lighting to personalize our homes. We were given the opportunity to examine the experience and feeling that certain designs and lighting choices evoked. In “From House to Home,” Susanka discussed the basic principles defining this elusive quality of a home.

Eisner highlighted an excellent point when he stated that educators needed to figure out how these aesthetic values could be purposely introduced to students. I too wondered how this notion would relate to curriculum design and teaching. How, as an English teacher could I help my students to experience the aesthetic aspects of language? Eisner raised a key question when he asked, what kind of work would students be given if we gave the aesthetic aspects of writing and reading a significant priority in the teaching of English? I had never given this idea much thought. But now I see that, in assessing prior knowledge that teachers sometimes forget to teach students some of the things that we ourselves innately do. For example, as Eisner suggested, teaching students that it is necessary to hear the melodies of language in order to use language in useful and informative ways as Barbara Tuchman obviously did.

Curriculum design would certainly change if teachers focused on the role of aesthetics in ecah particular field of study. I completely agree with Eisner that education has become fragmented and as a result, students find it difficult to see how each piece fits together as part of a whole. Our focus is on the short term and perhaps by taking the time to appeal to their need for stimulation, we can find ways of using our limited time to create more compelling, hands-on experiences that will be internalized by our students on a deeper level and later applied in a cross-curricular fashion.