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Aesthetic Teaching
by Mark A. Pike
I think aesthetic teaching is the highest of all teaching because it deals with life in its highest complexity. But if it ceases to be purely aesthetic — if it lapses anywhere from the picture to the diagram — it becomes the most offensive of all teaching.George Eliot asserts that “the highest of all teaching” which “deals with life in its highest complexity” is essentially aesthetic in character for it has features of the “picture” or work of art rather than the more straightforwardly instructional “diagram.” Yet, George Eliot not only ascribes greatest worth to teaching that is aesthetic but considers teaching that is merely diagrammatic to be “the most offensive of all teaching.” Evidently, there are similarities between pictures and diagrams but essential features present in the former are conspicuously absent from the latter. The current obsession with effectiveness in teaching and repeated attempts to reduce that which should be aesthetic and inspired to the wholly rational, diagrammatic and instrumental make George Eliot’s views remarkably pertinent. Consequently, features of aesthetic teaching will be explored in this essay. In doing so it will be suggested that Martin Heidegger’s ontology (theory of existence) offers a philosophical foundation for conceiving teaching in the arts as a form of engagement with students which is unreservedly aesthetic in character. As such, Heidegger provides us with a valuable position from which to counter forces that militate against the aesthetic in our schools and also provokes us to eschew all that is diagrammatic in our approach to that which is rightly aesthetic.
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