Micro Pedagogical Leaps in the Context of Aesthetic Education
By way of micro pedagogical leaps, this article aims to explore the current state of the major civilizational, educational and political project which is aesthetic education. The concept of micro education has yet to be outlined in terms of art education. In the educational discourse it can refer to the pedagogical improvisation of the educator in the form of transitions and punctuations between pedagogical figures, as introduced by Stefan Danner (Danner 2001: 11). Why write ‘pedagogics’ lowercase and in the plural? First, to put the focus on the fundamental concept of education; to ask in a micrological sense how, in concrete situations, aesthetic, didactic and artistic practices contribute to education taking place. According to the thesis, education takes place through openings. This means that something happens, voluntarily or involuntarily, planned or unplanned. Because it is not clear when education takes place, nor exactly how and where openings arise, the ‘leap’ takes on a highly specific role in that it leads educational processes into other times and spaces, and because it happens without a clear intention (cf. Pazzini 2015: 16). The article illuminates such leaps in two different art pedagogical situations from a micro pedagogical perspective. In an institutional setting, in art teaching at university level (Master Fine Arts/Art Education), and in extracurricular situations, in certain procedural moments of workshops with artists. By way of directing attention to the figure of the leap, in its triple connotation as a vital movement, a sudden decision or transition and a space to be traversed, the event-like character and singularity of an educational situation are to be made accessible. The art-pedagogical research query into "jumpy" cognitive practice as an instance of aesthetic education (cf. Mersch 2018: 26ff. and Kunz 2019: 24) will be pursued from three perspectives: once from that of the lecturer, once from that of the workshop participants, and finally from a joint perspective that combines concrete practices with art-theoretical questions.

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