Dissertations / Theses on the topic 'Aesthetic Education Program'

The Getty Center for Education in the Arts has issued a set of documents containing descriptions of its discipline-based art education program (DBAE). This program has been criticized as promoting a set of aesthetic values based solely in the Western fine art tradition, and hence may be insensitive to the educational needs of a modern democratic pluralistic society. Aesthetic value in this study refers to any criteria by which one visual experience is considered to be of greater import or value than another. Although the documents describing these values have been both attacked by critics and defended by the Getty, no sustained and in-depth analysis has been conducted to determine the nature and larger context of the aesthetic values they promote. This study analyzes the body of documents issued by the Getty in order to discover the nature of the aesthetic values and their larger context and purpose. Content analysis was performed on the publicly available Getty documents and all statements containing references to the nature, function, value, appreciation, criteria, standards, and judgment of art were extracted, analyzed and then classified and explicated insofar as they pertained to the criteria for determining superiority in a visual experience. Six criteria for aesthetic value were identified and characterized. These criteria defined the standard for superiority in terms of the art work, the fine art tradition, the visual code, literacy, and intellectual, cultural, and formal values. It was discovered that these criteria were part of a larger body of values which is based in the humanities tradition. After a discussion concerning the impact these values have in a modern democracy and the implications for Canadian art education, the study concludes that the kinds of aesthetic values promoted by the Getty's DBAE program are monocultural in that they exalt and promote only the values of the Western fine art tradition, and hence, may not be appropriate as the sole basis for art education in a pluralistic society. Curriculum frameworks for discipline-based art education which allow a more culturally democratic approach to the treatment of aesthetic values are available and these, rather than the Getty formulations should be utilized when designing discipline-based art education curricula.
Education, Faculty of
Graduate

Detta examensarbete har till syfte att lyfta fram den skapande förmågan hos eleven i bildundervisning på gymnasiets estetiska program för att förstå hur man som lärare kan hjälpa eller stjälpa elevens förmåga till eget skapande. Skapande förmåga tillhör de centrala kompetenser som lyfts fram i skolverkets skrivelser i det inledande avsnittet om skolans uppgifter för ämnet bild. Jag har genom två undervisningsförsök och två intervjuer av lärare inom ramen för ämnet bild undersökt hur jag som pedagog kan påverka den skapande förmågan hos eleven. I mina litteraturstudier ges exempel på hur pedagogen kan främja lärandet och skapa förutsättningar som främjar skapande förmåga. Både resultat från undervisningsmetoderna och intervjuerna pekar mot att det finns metoder och strategier i undervisningen som kan påverka den skapande förmågan hos eleven; att som lärare exempelvis ge eleverna ”redskap”, sätta tydliga ramar och skapa goda relationer.

This study examines the use of aesthetics in the art education curriculum as a strategy for building oral language skills and critical thinking skills. In this study reproduced artworks were used to stimulate discussion; students learned to scan paintings using a technique called aesthetic scanning during which they learn how to look at a painting orally through guided questioning by the classroom teacher. It was concluded that providing oral language opportunities through the implementation of the aesthetic scanning program was an effective way to promote oral language skills and critical thinking skills in the kindergarten classroom. Arts, as a core subject can be taught through Disciplined Based Art Education (DBAE). With DBAE all students are given the oppportunity to actively engage in oral language activites as they aesthetically view works of art.

For almost 200 years the University College of Physical Education and Sports in Stockholm (former Royal Central Institute of Gymnastics; GCI later GIH; Stockholm College of Physical Education and Sports) has been educating PE teachers - and still does. In the very beginning and throughout the first 100 years, gymnastics was a major part of the studies at the institute, and also in ordinary schools. Early gymnastics were invented by Per Henrik Ling, the father of the Swedish Ling gymnastics, and later developed by his son, Hjalmar Ling. The part of the Ling system called pedagogical gymnastics, consisted of “daily gymnastic training exercises”, which showed how gymnastics should be taught and performed. The aim of this thesis is to follow and describe gymnastics as a subject and its development at the PE teacher-training programme at GCI/GIH. Special attention is placed on the movement part without apparatus (the floor exercise) for male and female students. The time period studied is 1944 to 1992. The thesis consists of two separate empirical studies, with a shared interview study of 12 former teacher educators participating in both studies. Besides the above-mentioned interviews, the methods used are document analyses and visual analyses. Triangulation is used in order to follow the changes of the subject’s content, figuration and representation. The first empirical study investigates the institution of gymnastics’- collective memory, its content and legitimacy. This is done by looking at what time was allotted to the subject in relation to other subjects, and also which concepts were used in relation to floor exercise. The interviews deal with the objectives of the subject and what kind of influences the former teacher educators came in contact with. From a semiotic approach, the second study deals with visual analyses of film sequences, with floor exercises performed by male and female students. (See enclosed CD). The film material comes from the Institute’s events. The content and composition of the film sequences are analysed, and the representation of the movements is interpreted by semiotic discourse analyses. The interview study deals with the former teacher educators’ pedagogical view of the formation of the gymnastics. The results show that in 1944 the subject gymnastics took approximately 40% of the total study time. In 1992 the time allocated for gymnastics has been reduced to approximately 9%. From the 1940s to the 1970s, two separate gymnastics discourses existed, one male and one female, expressed in the movement content and in the figuration of movements. The male discourse was maintained almost intact, without any changes. The female discourse, on the other hand, was continually changed and developed over the actual period of time, strongly influenced by rhythmic and dance. When coeducation was implemented in the late 1970s, a new culture of body movements was developed – which was unisex. Between 1949 and1970 in the film material, the masculine discourse was represented by the body image of a systematically trained and disciplined body, executing corrective gymnastics exercises, according to an instrumental way of looking at physical training. The smooth, healthy looking young body image of a woman, executing rhythmical aesthetical gymnastics, according to existing values, characterised the feminine discourse. There seems to have been aesthetics fostering rationality that ruled the female gymnastics. In 1985 the representation of the body image changed, and focus on the performance of the movements disappeared. The objectives of the subject have changed from the collective, corrective and/or aesthetical form of gymnastics to a gymnastic discourse where the attention of simplifying the movements, the individual and the social climate in the group are central. Finally, the findings show that four factors have influenced the changes and development of the subject and the teacher-training programme. Firstly, changes in society in terms of equality, gender roles and a changed role of the PE teacher. Secondly, the impact of the sport discourse outweighed the status of the gymnastics discourse and its legitimacy. The cultivating values, in terms of the aesthetical schooling for the female students, disappeared. Thirdly, the striving for research-related instructions in the teachertraining programme, (urged by the state from 1977) affected both time allotments for gymnastics and sports and the relation between theoretical and practical courses. Finally, over the years, the subject gymnastics has been strongly influenced by different scientific discourses: first the medical discourse, followed by the physiological discourse and from the1980s and on, by the social scientific (pedagogical) discourse.

碩士
嶺東科技大學
視覺傳達設計系碩士班
104
The scholars have been worried about the problem that the people in Taiwan lack the aesthetic literacy for a long time. We have come to the beauty economy era when the beauty means the output value as well as the national power and it helps to develop children's self-confidence , helps them to develop higher-level thinking skills, and even increases their academic achievement. In order to enhance the aesthetic qualities of the people, since 2014 the Ministry of Education has promoted "integrated forms of visual aesthetic education experimental program" by working on the national obligation education. Fortunately , my school was selected as a seed school, and I, the researcher, have the opportunity to become a seed teacher with the hope to help implement this project for the government and to practice my own ideal for education. The author wants to enhance the kids' perception from the visual aesthetic form and their abilities to practice through the experimental course. The curriculum includes six themes :" proportion "," constitution "," color "," construction "," structure ", and" texture ". The subjects are the seventh graders in Dounan High school of Yunlin County in 103 School year , the implementation time is sixteen weeks, and the action research methods are text analysis, questionnaires and interviews, both qualitative and quantified. From analyzing students' works , learning sheet assessment, student feedback, and the statistics of the before-and-after test results for the experimental implementation , what the present study finds is as follows. ( A)The "integrated visual form aesthetic education experimental course "of teaching activities should be designed in accordance with the Ministry of Education set for the scope and structure, carried out by the trained seed teacher group , through the continuous discussions and amendments based on the advice from the experts in the aesthetic Education University to compile teaching materials and methods suitable for the object of study. (B) The experimental courses delivering each unit through the four spindles "observation and description," "aesthetic test", "Case appreciate" and "Analysis and Applications" put students into a good learning situation, full of interest, and the instructor can successfully implement the experimental program. (C) The aesthetic literacy levels of students after the course have been improved ,including individual aesthetic sensibilities, aesthetic analytical ability and aesthetic ability to create very significant progress, but the ability to identify aesthetic seems to maintain the status quo. (D) Based on the "visual form of beauty" as the core art curriculum spindle, the feasibility of implementation at the junior high school stage is high.

碩士
銘傳大學
公共事務學系碩士在職專班
102
This paper uses document analysis and in-depth interview to study 〝WDC 2016 Taipei Education Plan：Teaching Program of Aesthetic Compus Corner Design〞of participated schools how to use design aesthetics into teaching programs, empowerment of human resources, shaping school characteristics, and thus will import urban design issues, with practical actions accumulate deep cultural heritage, vibrant urban vitality and creativity to achieve the vision of urban life. By analyzing the case of Taipei City’s cultural and creative development, the paper observes the status of the development, analysis and design of urban relationships, grasps the importantance of school education in the field of human resources, and puts forward opinions and suggestions to the authority for reference. The goal of "WDC 2016 " echoes the theme: "Among the designs into urban governance", "in order to design contributed to" continuously improve the City "(Adaptive City)," build creative cities livable.

碩士
國立臺南大學
戲劇創作與應用學系碩士班
104
The purpose of this study is to understand the aesthetic education perspective of Maxine Greene, and to associate it with the drama course program designed by Professor Mei-chun Lin for National Museum of Taiwan History--Wushe incident “Real People” [Treasure Case]. This study used “case study methods” to enroll grade 8 junior high school students in two classes as the subjects. This study provided 3 classes of teaching to understand students’ learning effectiveness. The research results showed that, through the learning and application of drama educational strategies, students could associate themselves with aesthetic education perspective of Maxine Greene: Attending, Imagination, Perceiving, Reflection, and Community. The results are described as follows: 1. Students’ attendance in drama course can improve learning effectiveness; 2. By associating imagination with perception, students can develop new perspectives through the integration of new with old experiences; 3. After the end of learning, students can engage in self-reflection; 4. The integration of aesthetic education with drama courses can fulfill the concept of democratic community. The implementation results of this study can be provided as reference for teachers at teaching scenes to put a series of historical teaching aids of National Museum of Taiwan History into practice in performance art course in junior high schools to achieve the idea of aesthetic education of 12-year compulsory education.

Tese apresentada para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Psicologia na área de especialização de Psicologia do Desenvolvimento apresentada no ISPA- Instituto Universitário no ano de 2018.
O desenvolvimento estético é nos primeiros estádios dependente da maturação e posteriormente outras variáveis interferem neste desenvolvimento. A educação estética e artística possibilita a ocorrência deste desenvolvimento. A presente tese pretende compreender em que medida, de que forma e por que processos, o programa de educação estética e artística (ProgestArt), concebido e aplicado, potencializa o desenvolvimento estético e a criatividade. Revimos a literatura evidenciando as principais teorias do desenvolvimento estético, estabelecendo inter-relações entre este domínio desenvolvimental e a experiência estética, a criatividade e as abordagens filosóficas. Por outro lado, realizámos uma análise dos principais programas de educação estética e artística clarificando a sua importância para o ProgestArt que foi suportado nas dimensões que compõe o desenvolvimento estético referidas por Parsons (1987/1992). O primeiro artigo adopta uma metodologia sistemática no domínio do desenvolvimento estético, validando um instrumento de análise deste desenvolvimento e constituindo materiais (duas séries de 4 quadros), que possibilitam serem aplicados na investigação mais fundamental e na investigação-acção. No segundo artigo sustentou-se empiricamente a teoria de Parsons (1987/ 1992), verificando se o desenvolvimento se processa do modo como é referido por este autor e tendo em consideração as faixas etárias que menciona. No terceiro estudo pretendemos compreender em que medida o ProgestArt contribui para o desenvolvimento estético e a criatividade. No decurso do programa centrámo-nos no processo, pela observação e registo das dinâmicas interactivas, que possibilitaram explicar os ganhos no desenvolvimento estético e na criatividade. Discutem-se conceitos centrais da psicologia do desenvolvimento estabelecendo pontes entre este desenvolvimento mais global e o desenvolvimento estético, clarificando os mecanismos e processos por que ocorrem. Discute-se, igualmente, a educação estética e artística clarificando os pressupostos da concepção do programa (ProgestArt) e os principais resultados decorrentes da sua aplicação. Menciona-se algumas implicações para o desenvolvimento estético e educação estética e artística e estrutura-se um novo projecto de investigação, de cariz mais fundamental, sustentado nas lacunas que nos parecem existir no domínio em estudo.
The aesthetic development is, in its first stages, dependent on the maturation of the individual and, afterwards, other variables interfere with this development. The aesthetic and artistic education allows for the occurrence of this development. The present thesis intends to understand to what extent, in what form, and by what processes the program of aesthetic and artistic education (ProgestArt), conceived and applied, enhances aesthetic development and creativity. We reviewed the literature evidencing the main theories of aesthetic development, establishing interrelations between this field of development and aesthetic experience, creativity, and philosophical approaches. On the other hand, we carried out an analysis of the main programs of aesthetic and artistic education, clarifying their importance for ProgestArt, which was supported in the dimensions that make up aesthetic development, referred to by Parsons (1987/1992). The first study adopts a systematic methodology in the field of aesthetic development, validating an instrument of analysis of this development, and making up materials (two sets of 4 paintings) which allow to be applied in the most fundamental research and action-research. In the second study, the Parsons (1997/1992) theory was empirically supported, verifying whether the development is processed the way the author mentions, as well as whether it happens in the mentioned age groups. In the third study, we intended to understand in what way ProgestArt contributes to aesthetic development and creativity. Throughout the program, we focused on the process, by the observation and recording of the interactive dynamics, that allowed for an explanation of the gains in aesthetic development and creativity. Central concepts of developmental psychology are discussed, establishing bridges between this more global development and aesthetic development, clarifying the mechanisms and processes by which they occur. The aesthetic and artistic education is also discussed, clarifying the presuppositions of the conception of the program (ProgestArt) and the main results stemming from its application. Some implications for aesthetic development and aesthetic and artistic education are mentioned, and a new project of investigation is structured, of a more fundamental nature, based on the gaps that seem to exist in the field of aesthetic development.

The main topic of this diploma thesis is project called Pre-school aesthetic education "PAE", which is tought at Elementary Art School. In theoretical part are generally explained terms aesthetic, aesthetic education and their brief history, current possibilities of aesthetic education in selected Elementary Art Schools and characteristic of PAE project. Research part focus on acquisition of the project in education at Elementary Art Schools, effectiveness in the selection of artistic field in pre-school age and at least suitability of including this project into the School Education Program of other Elementary Art Schools. For the research were used empirical methods (observations, questionnaire, interviews). Overall results of research are based on comparison and evaluation of the answers from all respondent categories. These results show positive evaluation of PAE, which suitably fills the pre-school period of children with meaningful activities, which are connected with comprehensive development of personality. Extensive appendix brings closer view to the work of children in PAE classes. It contains scanned pictures, newspaper articles and patterns of questionnaires. This work is designed for all teachers, who are interested in unique projects, which are related to education of pre- school...

碩士
國立臺南藝術大學
博物館學與古物維護研究所
104
According to surveys and reports, Taiwanese people generally showed low aesthetic attainments. Educational policies have started working on aesthetic education-related programs in recent years; for example, the Ministry of Education’s “Middle and Long Term Programs of Aesthetic Education — Phase I Five-Year Program” was declared in August of 2013, followed by many other subprograms at the same time. Aesthetic education is mainly implemented outside schools, but other social educational institutes in the non-formal educational field are also capable of implementing it. Among them, art museums, which are rich in resources and environments, and see education as an important mission, are very suitable for promoting aesthetic education. Studies on aesthetic education mostly focus on theories or the designing of school courses, but those focusing on aesthetic education of art museums are not common. Teenagers are an important target audience that art museums eager to expand; they are also in a critical period when aesthetic cognition and expression are reinforced by aesthetic education. Therefore, the study aimed to discover the features of aesthetic education by learning about art museum educational programs for teenagers; that is, aesthetic education was reviewed and analyzed from three key processes: recognizing beauty, experiencing beauty, and practicing beauty. The current status of art museums in aesthetic education was further discussed in the end of the study. Along with the discovery of features of aesthetic education at art museums, the study concluded the role and positioning of art museums in aesthetic education and tried to depict their future prospects at the same time. Regarding case study selections on art museum educational programs for teenagers, the “Teen Programs” of the Museum of Modern Art (MoMA) were chosen for investigation in a pilot study; then, the current study focused on the case of “One Piece Museum — Museum-School Collaboration Program” between the Museum of National Taipei University of Education and National Keelung Senior High School. Participant observation and interviews were used to understand and examine the features of the aesthetic education in the cases. The educational programs of the aforementioned two cases were conducted differently, one through individual participation and the other through museum-school collaboration. In turn, the features could be influenced by course contents. After analysis and investigation, it was discovered that art museum educational programs for teenagers had the features of “diversified courses,” “long-term plan of courses,” “designing of advanced courses,” “recognition of aesthetic education environments and resources,” “discovery learning,” and “peer learning.” The current status of art museums in the implementation of aesthetic education is to facilitate the provision of recourses and environments. Therefore, considering the aforementioned features and the current status, the role and positioning of art museums in aesthetic education should be both “facilitators” and “self-promoters.” In the future, it is expected that art museums become one of the main venues for implementing aesthetic education.

Relatório de Estágio do Mestrado em Ciências da Educação apresentado à Faculdade de Psicologia e de Ciências da Educação
O presente Relatório de Estágio Curricular – A Expressão Plástica e Dramática no 1.º Ciclo do Ensino Básico: Programa de Educação Estética e Artística – retrará o trabalho desenvolvido no ano letivo de 2019/2020 para obtenção do grau de Mestre em Ciências da Educação pela Faculdade de Psicologia e de Ciências da Educação da Uni-versidade de Coimbra. O Estágio Curricular consistiu na realização, em contexto escolar, do Programa de Educação Estética e Artística existente no currículo nacional do aluno, devidamente estruturado e adaptado a cada idade estudantil.O presente relatório é constituído por duas partes: a primeira, Enquadramento teórico, apresenta o currículo nacional desse ciclo de ensino, bem como o sentido e lugar que o mencionado programa aí tem; a segunda parte, Atividades de Estágio, sistematiza as atividades pedagógicas realizadas na dita Escola, que envolveram dez turmas do pri-meiro ao quarto ano de escolaridade.As atividades de estágio desenvolvidas inserem-se no Programa de Educação Es-tética e Artística, e decorriam no tempo de quarenta e cinco minutos por turma, desde o primeiro ao quarto ano de escolaridade, semanalmente. O tempo escasso disponibilizado para a expressão artística para cada turma justifica-se pela primazia dada às restantes disciplinas e à falta de formação dos professores para lecionar a Expressão Plástica e Dramática. No entanto, é sabida a vontade do Ministério da Educação de estabelecer parâmetros de avaliação das expressões artísticas aos alunos, pois é um programa pouco valorizado no ensino nacional. O estágio decorreu da colaboração de projetos relaciona-dos com a Educação Estética e Artística, entre alguns agrupamentos de escolas de Co-imbra e a Faculdade de Psicologia e de Ciências da Educação da Universidade de Co-imbra. Por fim, é de enaltecer as boas relações das Universidades com a comunidade escolar pública em proporcionar a realização de bons projetos educativos.
This Curricular Internship Report - Plastic and Dramatic Expression in the 1st Cycle of Basic Education: Aesthetic and Artistic Education Program - will reflect the work developed in the academic year 2019/2020 to obtain the master’s degree in Educa-tional Sciences by the Faculty of Psychology and Educational Sciences of the Universi-ty of Coimbra. The Curricular Internship consisted of carrying out, in a school context, the Aesthetic and Artistic Education Program existing in the student's national curricu-lum, properly structured and adapted to each student age.The present consists of two parts: the first, Theoretical Framework, presents the national curriculum of this teaching cycle, as well as the meaning and place that the pro-gram report has there; the second part, Internship Activities, systematizes as pedagogical activities carried out at school, which involved ten classes from the first to the fourth year of schooling.The progress activities developed are part of the Aesthetic and Artistic Educa-tion program and took place in the time of forty-five minutes per class, from the first to the fourth year of schooling, weekly. The scarce time available for an artistic expression for each class is justified by the primacy given to the other subjects and the lack of train-ing of teachers to teach a Plastic and Dramatic Expression. However, the willingness of the Ministry of Education to establish parameters for evaluating artistic expressions for students is well known, as it is a program that is little valued in national education. The internship resulted from the collaboration of projects related to Aesthetic and Artistic Education, between some groupings of schools in Coimbra and the Faculty of Psychology and Educational Sciences of the University of Coimbra. Finally, it is to be highlighted as good relations between Universities and the public-school community in carrying out good educational projects.

Relatório de Estágio do Mestrado em Ciências da Educação apresentado à Faculdade de Psicologia e de Ciências da Educação
O presente relatório de Estágio Curricular dá a conhecer o trabalho realizado no ano letivo de 2018/2019 para obtenção do grau de Mestre em Ciências da Educação pela Faculdade de Psicologia e de Ciências da Educação da Universidade de Coimbra.O título – Articulação das Expressões Plástica e Dramática no 1.º Ciclo do Ensino Básico: Programa de Educação Estética e Artística – traduz a essência desse trabalho: concretização, em contexto escolar, de duas expressões artísticas constantes no currículo nacional com base num programa estruturado.O corpo do relatório é composto por duas partes: Enquadramento, onde se apre-sentam as linhas programáticas para a área e se tecem algumas considerações de ordem teórica; e Intervenção em contexto escolar, onde se apresentam as atividades pedagógi-cas desenvolvidas num Agrupamento de Escolas da Região Centro do país, que envol-veram duas escolas e sete turmas dos primeiros quatro anos de escolaridade. Tais atividades encontram justificações no facto de área das Expressões Artísticas, não obstante, a imposição de tempos letivos por parte do Ministério da Educação e a sua recente determinação de as tornar objeto de avaliação nacional, continuarem a ter um lugar pouco significativo no processo de ensino-aprendizagem. A priorização de outras áreas, como a Matemática e o Português, e a débil formação de professores para leccio-nar as Expressões poderão justificar esta situação. Assim, afigura-se pertinente a cola-boração entre os professores do mencionado ciclo de escolaridade e o profissional de Ciências da Educação, na condição de este ter preparação na mencionada área curricular, prestando suporte tanto na planificação, como na ação como, ainda, na avaliação.Este trabalho de colaboração, restrito às Expressões Plástica e Dramática, tem sido desenvolvido, em continuidade e com supervisão de especialistas, em diversas escolas da cidade de Coimbra, sendo o Estágio Curricular que se descreve neste Relatório enquadrado nesse contexto de comunicação entre escolas e universidade.
This report of the Curriculum Internship shows the work carried out in the aca-demic year 2018/2019 to obtain the degree of Master in Educational Sciences by the Faculty of Psychology and Educational Sciences of the University of Coimbra.The title - Articulation of Plastic and Dramatic Expressions in the 1st Cycle of Basic Education: Aesthetic and Artistic Education Program - reflects the essence of this work: implementation, in a school context, of two artistic expressions in the national curriculum based on a structured program.The body of the report is composed of two parts: Framework, where the program-matic lines for the area are discussed and some theoretical considerations are made; and Intervention in school context, where the pedagogical activities developed in a Group-ing of Schools of the Central Region of the country are presented, which involved two schools and seven classes of the first four years of schooling. Such activities are justified by the fact that the area of Artistic Expressions, despite the imposition of teaching times by the Ministry of Education and its recent determina-tion to make them subject to national evaluation, continue to have a negligible place in the teaching-learning process. The prioritisation of other areas, such as Mathematics and Portuguese, and the weak training of teachers to teach the Expressions may justify this situation. Thus, the collaboration between the teachers of the mentioned schooling cycle and the Education Sciences professional is pertinent, provided that they are prepared in the mentioned curricular area, providing support both in planning and in action, as well as in evaluation.This collaborative work, restricted to Plastic and Dramatic Expressions, has been developed, in continuity and with the supervision of specialists, in several schools in the city of Coimbra, and the Curriculum Internship that is described in this Report is framed in this context of communication between schools and university.

The diploma thesis aspires, in its theoretical part, for a description of the theoretical and methodical basis and objectives of the educational process in the courses "Life and Art. " This school subject shall provide pupils of 58th grades in primary school with a basic cultural overview of medieval, Renaissance and Baroque architecture and art. The theses defines the concepts of animation, cultural animation and enculturation, experiential education, creative education and artefiletics, and outlines the prospects of their use in the educational process. The thesis also deals with the theory of perception in art and its connection to the pedagogical practice. It mentions the term genius loci as one of the elements of cognition of an architectural object and the place where it is located. In the practical part of the thesis, the individual architectural object of the Tabor Urban Conservation Area and it's immediate neighborhood are described. The thesis provides cultural, general and local historical, and also the theological context of art styles and places, which are the subject of the educational program. Following that, the thesis introduces examples of didactic methods, applicable in the courses "Life and Art."