Artistic Thinking: Studio Project

AT: Studio Project from Leslie Dickinson on Vimeo.

Here is what I've created for the Studio Project: A 5 second A/V Stinger. It is unfinished, although it's headed in the right direction and has given me some additional ideas about how I want to approach my opening title for the course videos I'll be creating over the summer. I think I want to go back to having it be a 10 second intro and only create one opening title sequence with "aesthetics" "technology" and "tools" all a part of it (instead of three separate titles). I can change up the imagery and the color and it will improve the pacing of the into. Unfortunately, I have run out of time to complete it for this semester's coursework.

Final Project: Teacher Resource Kit

For my final project I chose to create a Teacher Resource Kit for my AV2 course's Final Video Project. Although we do some Studio Thinking during this project, I was interested in looking more closely at and reflecting on the way I have been structuring and presenting this project. In my Teacher Resource Kit I have identified specific areas of studio thinking associated with each activity and created new, more focused activities that help to facilitate studio habits in my students.

Open publication - Free publishing - More video

Also, this Teacher Resource Kit can be accessed via Google Docs.

If you would like to see the Final Projects produced by AV2 students this semester, check out our YouTube Channel @ MizzouAVcourses. Enjoy!

Artistic Thinking: Week 14 Reflections

Part 1: Gude quote, “Consider whether ALL your curriculum projects engage students in making meaning through meaningful making.”

What are the classroom implications of this statement? Do you agree or disagree with her statement or stance?

To better understand and define what makes a good art project, in her powerpoint Gude also makes two more powerful statements: “When students are not introduced to a wide range of meaning making strategies, students tend to fall back on familiar, hackneyed image making techniques” and “Good art projects encode complex aesthetic strategies that give students tools to investigate and make meaning.” When I first read the quote, I remembered a discussion I had with a host teacher during field experience one semester. She had said that their art department was trying to find a balance between implementing art projects that are designed for meaning making and trying to equip students with the skills necessary to be able to do the projects. I think she raises an interesting dilemma: How do you continually engage students in meaningful art making if they are not equipped with the technical skill to create these projects? Gude address this concern by encouraging projects that incorporate technical skill building, indeed she says to “encode” it, into meaning making. As we’ve seen throughout this course, incorporating studio thinking techniques like “play” give students the opportunity to envision, think through materials, explore a wide range of strategies, and to build technical skill. This means that incorporating time in the art classroom to explore gives students the chance to build technique. I agree with Gude, technique should and can be “encoded” into meaning making art projects, not as stand alone ideas.

Part 2:

Value #1 – investigation on the new, not representation of the known. If the artist already knows what he or she wanted to say there would be no point in making the work. Art generated new knowledge; it is not merely a picture of what we already know.

What are the classroom implications for this value? How does this value connect to your studio practice and how might it affect your classroom now and in the future?

In my own studio practice, unpredictability is a necessary part of art making. While I start a project with some thoughts in mind and ideas I want to experiment with, if I am too detailed in my plans I feel exactly as Gude describes: If you already knew what you wanted to say, there would be no point in making the work! Art and meaning making comes as much from the process of making as from the final product. In the courses I teach, students are required to do some pre-planning through writing a script of their video project that outlines what video they are planning to shoot and what audio they envision going with it. While I like for them to be detailed enough so that I can also visualize their proposed work, they are not tied down to this script as often they form new ideas and knowledge during the process of creating their work. In the future I plan to provide them with additional ways to “script” their ideas as right now I have them limited to a two-column typed format. A way to digitally create a storyboard would also be very useful for them.

Value #2 – investigating how culture generates meaning over projects that merely mimic commercial culture. Are we as teachers shaping the future or merely providing the work force for designer culture? Will the employed designers of tomorrow be the students who learned to mimic today, or the students who learned avant garde ways of thinking and making?

Do you agree or disagree with including this value? Is it important or not? What are the classroom implications for this value?

This is an important value that can seem overwhelming to implement. I see in my courses how students are engrossed and tied to their current commercial culture. When I ask them to create their own concept for a video, many of them head straight to popular culture for ideas. And why shouldn’t they? However, they do have difficulty with deconstructing the popular culture they turn to for ideas. I often have to ask some “big” questions about their ideas to get them to do more than mimic and to help them create something new that will respond and react to their culture. In my courses I don’t specifically set out to teach this value during making, indeed I haven’t yet implemented a unit designated to the study of visual culture, but I try to point it out whenever possible. I find that this method works best with my students (who can sometimes get uptight when asked to think aesthetically) as it seems less intimidating and more like what it is; an observation I’ve just made and shared with them.

Visual Literacy fun!

For fun, I thought I'd share a video I created this semester for the Visual Literacy course offered via MUdirect.

Dramatic Interpretation of Robert Frost's 1920 poem "Fire and Ice" (2011):


VL: Multimedia Composition from Leslie Dickinson on Vimeo.
Multimedia Composition for the Visual Literacy course I am enrolled in via MUdirect. My video is a dramatic interpretation of Robert Frost’s classic 1920 poem, “Fire and Ice.” I shot simple footage of “fire” via matchsticks and “ice” via cubes in a clear glass using a Canon 5D Mark2 DSLR camera. The final product was complied, with video fx, and text added and animated using Adobe Premiere Pro CS5. The video has been color corrected to leave only the red/orange color to emphasize “fire” and a blue/steel color to emphasize “ice.” Audio is intended to be “low” and includes a background drone, natural sounds captured in camera of the match sticks lighting, dubbed in sound fx of ice cubes falling, and a sound track from a library my students use that includes a dramatic “thud” to cut graphics to. After listening to a YouTube recording of Robert Frost reading his poem (youtube.com/​watch?v=_3vjU43kJ8U) I decided to make my video more dramatic through lengthier pauses and lack of spoken word. I have not used, nor followed, much of the punctuation from the original poem and only include a period at the very end of the video.

Artistic Thinking: Week 13 - Read and React

Studio Thinking – Stretch & Explore

Read:

Chapter 11: Learning to Stretch and Explore by Hetland

            In this chapter, Hetland gives examples of how two teachers encourage students to explore and experiment with materials. Both examples are ceramic sculpture classes in which students are encouraged to go beyond what they know already about materials to play with alternative possibilities. The teachers talk with students about their experiences with stretching their abilities to explain that it involves getting out of their comfort zones. The author describes one project where students experience clay by quickly creating creatures and then destroying the results. Without the worry of how the final piece will end up, students are free to experiment with the material without judgment. Students are encouraged to create unique tools, take advantage of “happy” accidents, and to experiment with multiple versions of an idea.

The Role of Artistic Play in Problem Solving by Pitri

            In this article, Pitri discusses artistic play for children in the art classroom. Arguing that pleasure and recreation are a part of, but should not be the only definition of play, the author states that players are concerned with the process of the activity over its final results (p. 47). Pitri gives an example of artistic play through a project in which children explore, design, build, and problem-solve ways to keep an imaginary Princess dry in an unexpected rain shower. While problem solving the young students unconsciously create and test hypotheses. By being encouraged to make use of knowledge acquired so far during their childhood, they were able to encounter new evidence to test their knowledge and create new knowledge. Through artistic play, children can experiment and develop reasoning and problem solving abilities.

Chapter 8: Play by Pink

            In this chapter, Pink describes the importance of play for personal well-being and emotional intelligence through games, humor, and joy. Pink cites James Gee, author of What Video Games Have to Teach Us About Learning and Literacy, who says, “When kids play video games they can experience a much more powerful form of learning than when they’re in the classroom. Learning isn’t about memorizing isolated facts. It’s about connecting and manipulating them” (p. 193). When discussing the importance of play, Pink also describes how the comprehension of a joke involves both the logical left-brain and the metaphor-loving right brain. Research into laughter shows it to decrease stress hormones, boost immunity, and activate the cardiovascular system. Pink argues that play through games, humor, and joyful laughter can lead to improved creativity and productivity.

TEDtalk: On Creativity and Play by T. Brown

            In this talk, Tim Brown discusses three aspects of play that contribute to increased creativity: (1) working in quantity, (2) construction and prototype building, and (3) role-playing. He encourages being open to all possibilities by asking simple questions such as “What is it?” and “What can I do with it?” As a reminder, Tim Brown encourages productive play by the creation of agreed upon rules by all players and making play activities into a game.

TEDtalk: Play is More than Fun by S. Brown

            In this talk, Stuart Brown encourages play that is social, physical, inquisitive, involves rituals, and uses narrative. He is currently interested in the effects of play on the human brain. For Brown, play is not one thing, but many things with no particular purpose or goal other than experimentation and exploration. He also describes the increased ability to problem-solve in adults who have played in ways that are physical and involves hands-on construction activities.

React:

            For the most part, all of the readings have aspects of play that are consistent across the texts/talks: (1) the importance of exploration and the process of experimentation over the final product and (2) that play should involve hands-on construction. These aspects are already a part of art education as we explore materials! As I was exploring and “playing” during this week’s activities I found myself looking for a way to keep the “hands-on” benefits of play and problem solving when using computer software. There are already ways to simulate the feeling of drawing in software programs through devices such as Wacom tablets. I have a small tablet attached to my home PC that I bought almost 5 years ago that I love using and still works great! The iPad (which I experimented with the play concept of quantity with) also allows the user to interact in a more “hands on” way with applications. It would be interesting to see if the same parts of the brain are activated when working with these types of computers/devices as when performing activities involving our hands!

References:

Brown, T. (May 2008). On creativity and play [Video file]. Retrieved from: http://www.ted.com/talks/tim_brown_on_creativity_and_play.html

Brown, S. (May 2008). Play is more than fun; it’s vital [Video file]. Retrieved from: http://www.ted.com/talks/stuart_brown_says_play_is_more_than_fun_it_s_vital.html

Hetland, L. (2007). Studio Thinking. New York: Teachers College Press.

Pink, D. (2006). A whole new mind. New York: Riverhead.

Pitri, E. (2001). The role of artistic play in problem solving. Art Education, (54)3, 46-51.

Artistic Thinking: Week 13 - Play Assignment

Granimator is an app for the iPad that allows the user to create wallpapers for their iPad and iPhone. By manipulating stamp-like elements in the artists packs the user can create a variety of compositions. The background to this blog was originally created in Granimator.

Screen Shot of Styles Palette

The following are some of the images created during my play with a few of the new Granimator packs. I gave myself 1 minute to create an image using the app, then created 5 images per pack, had 6 new packs to explore, and made a total of 30 images. I was exploring the play concept of quantity to learn to work spontaneously without editing. Here is a link to a page showing all 30 experiments: http://bunniesthatquack.blogspot.com/p/granimator.html

Reflection: I decided to work with quantity as it has been described as a way to boost creativity and play by Hugh MacLeod in the first of my creativity books "Ignore Everybody" and by Tim Brown when describing the "30 Circles Test" in this week's TEDtalk video. Tim Brown describes working in quantity as having the mindset to just go for it, even when the results don't seem that different from each other. To work quickly, without allowing for opportunities to self-edit, allows ideas to flow into each other. I found myself building off compositional ideas and approaches to work flows that I was discovering as I played with the program. I even found a randomize button in the styles palette that allowed for less "set-up" time and contributed to a better flow of ideas between canvases. Having to think in terms of quantity let me work freely to discover, explore, and purposefully apply new ideas as I moved from canvas to fresh canvas. I think working in quantity would be a good way to quickly explore the possibilities of a software program. For example, Adobe Premiere (the non-linear editor we use in the AV courses) has many video effects. I could easily see students take a handful of clips and start exploring the available video effects to discover their possibilities. In our Hetland text, Beth Balliro describes the importance of this kind of exploration by saying that, "If I had more time, I would have them learn entirely from the materials. And let them learn, and then fail... It's not about perfection and dominating [the] material, but it's about letting [the] material do what it will" (p. 75). While she is describing large projects, in my classroom practice I think software exploration could be broken into smaller chunks that can be explore in single class periods.

Artistic Thinking: Week 12 - Systematic Methods for Envisioning in the Classroom

Teaching the idea of Generation: Students should be encouraged to actively hunt and scratch for ideas, not just wait for inspiration to find them. Old art textbooks and magazines can be great places to scratch (rather than just searching the web) as there is physical movement when handling books and can provide students with a new method of scratching. Taking a “field trip” and getting out of the classroom can also provide students with a way to generate new ideas.

Teaching the idea of Retention: In the art classroom, ideas can be held onto through journaling. Journals could contain drawings, photographs, magazine clippings, etc. In an art classroom with access to technology, journaling can take the form of blogging, where ideas can receive feedback from others.

Teaching the idea of Inspection: By blogging and receiving feedback from peers, students learn how to make decisions about what ideas are good and which are the best to implement. Through physical journals they can circle and make notes about which ideas, or parts of ideas, are good.

Teaching the idea of Transformation: Ideas can be implemented into future artworks. If the journals or blogs are started at the beginning of the semester, these early ideas can serve as jumping-off points for artmaking throughout the semester.

Scratching: Research via TEDtalks

Reflection:

As I'm creating the intro videos for course content I will be creating over the summer, I decide to scratch through some TEDtalks for inspiration and to get my brain thinking about why video content is important and how it is best utilized. Although not all of my posted "scratchings" stayed specifically on this topic, the beauty of TEDtalks lies in their ability to make you think!

In looking at the TEDtalk by Salman Khan: I was inspired by his thoughts on "re-scripting" the everyday classroom by delivering content through video as assigned homework and working through problems as class time activities.

Ze Frank discusses the intriguing idea of connecting online and remixing content via voluntary "assignments." I have been looking for ways to keep past AV students (who often tell me how much they miss AV class) in touch, inspired, and working with video. Frank's TEDtalk and his informal "assignments" given to his following have me inspired to start using my AV blog on our IT Program website for fun assignments.

The TEDtalk by Adam Sadowsky has me connecting studio "minds" and studio thinking to Engineering activities. As I teach in the College of Engineering I am always on the look out for ways to communicate with the students that connect engineers and artists.

Filmmaker Morgan Spurlock talks about working on his latest documentary that examines marketing and advertising. Although off topic it is worth watching and makes you ask the question, "What's your brand?"

Scratching.... TEDtalk: Engineers use Studio Thinking?

"The band "OK Go" dreamed up the idea of a massive Rube Goldberg machine for their next music video -- and Adam Sadowsky's team was charged with building it. He tells the story of the effort and engineering behind their labyrinthine creation that quickly became a YouTube sensation."

Scratching.... TEDtalk: Connecting Online

"On the web, a new "Friend" may be just a click away, but true connection is harder to find and express. Ze Frank presents a medley of zany Internet toys that require deep participation -- and reward it with something more nourishing. You're invited, if you promise you'll share."

Scratching...... TEDtalk: Videos in the Classroom

"Salman Khan talks about how and why he created the remarkable Khan Academy, a carefully structured series of educational videos offering complete curricula in math and, now, other subjects. He shows the power of interactive exercises, and calls for teachers to consider flipping the traditional classroom script -- give students video lectures to watch at home, and do "homework" in the classroom with the teacher available to help."

Scratching.... TEDtalk: What's your brand?

"With humor and persistence, filmmaker Morgan Spurlock dives into the hidden but influential world of brand marketing, on his quest to make a completely sponsored film about sponsorship. (And yes, onstage naming rights for this talk were sponsored too. By whom and for how much? He'll tell you.)"

Artistic Thinking - Engage & Persist: Studio Update

 Sony Acid Pro workspace showing original 20 second cut

Sony Acid Pro workspace after editing down to 10 seconds

Reflection:

I took my original 20 second long music bed and re-cut it down to be 10 seconds. It was not as straight forward or simple as it would seem. There was a lot of content that had to be scaled down or removed from the original. A lot of choices had to be made and experimented with. It was an extremely frustrating, but a necessary step. As this is potential music for the intro of the videos it may need to be cut down more, but I'll see what it's like when placed with video first.

I find that my students have similar frustrations when they create their first few projects. They want to use every clip they shot, use entire soundtracks, etc, and produce excessively long videos. I remind them that this is video editing and choices have to be made about what should stay and go. Only the absolute best footage that tells the story in the clearest way should make it to the final cut. I understand, though, that editing anything down is always a difficult task, no matter how many times you have done it before! Cutting down this audio track was a good reminder.

Artistic Thinking: Week 12 – Engage and Persist

Reflection on own strategies for:

1)    Motivating and instilling passion – To get motivated I usually require some kind of deadline to get me started. Sometimes they are deadlines set by myself and sometimes they are course deadlines, etc. Once I get started and have warmed up my eyes by looking at new and inspiring visuals, passion to work and create comes easy!

2)    Cultivating sustained attention – To be able to work for sustained periods, requires me to be in my studio space as described in an earlier post. Anything outside of those parameters won’t enable me to find my focused/unfocused rhythm.

3)    Combating frustration – I’ve found that stepping back, or taking a break, is the best way for me to combat frustration. Often, I will leave the work for a day and come back to it with fresh eyes and a new perspective. I usually find that whatever was frustrating me about the work isn’t as important or overwhelming as I was thinking at the time.

4)    Working hard to meet a deadline – The biggest distraction I have when a deadline is approaching are my family and friends. This is one of the times I have to shut the door (physically and metaphorically) on the outside world. Deadlines usually create a form of frustration that will require several mini-breaks. My family and friends will often see a break as time that I’m not working, however I’m still mentally working.

5)    Delayed gratification – As I like to be spontaneous at times with artmaking, not necessarily knowing the endpoint is not frustrating or scary. I can always pause during a piece and experiment to work through ideas.

Strategies applied to the classroom:

1)    Motivating and instilling passion – The undergrads I teach are experts at procrastination and poor time management and I have tried many approaches to motivate. Sometimes I’ve created tight deadlines and other times I’ve deducted points for not making consistent use of time set aside to work. I’m having difficulty getting the engineering students to understand the importance of process. I’m getting some good ideas from what we’re doing now and think that I may need to require set progress updates (other than informally meeting with them during class) and maybe even an “experimentation” week where they formally work through one of their identified challenges.

2)    Cultivating sustained attention – The students develop work station habits that help them concentrate in the lab and I’ve also found that the students will often help get each other back on task by giving each other feedback about their work and talking each other through problems they are experiencing.

3)    Combating frustration – A strange trick that I’ve found to help frustrated students to “reset” their brains if they get frustrated with using the computer (our media) is to have them save their work and restart the machine. There is seldom any technical reason to do so, but the pause while the machine restarts, logging on to a fresh desktop, and reopening the software program seems to be like giving them fresh air! And if the software was the source of the frustration, it usually clears up after a restart anyway.

4)    Working hard to meet a deadline – Like the teachers in the Hetland text, our lab is open outside of class time. The students understand that they may need to come in outside of class to complete an assignment. As I have a mixed group with varying skills and experience with video editing, I find that having additional times to work allows those with less experience opportunities to experiment with the media without the fear that they may run out of time.

5)    Delayed gratification – Most of the work assigned to my students involves them to pre-plan and script out their project before they even pick up a camera, so there are not really any times that they don’t know their endpoint.

Artistic Thinking : Week 11 - Read & React

Read:

Chapter 4: Multitasking Madness by Rosen

            In this chapter, Rosen describes the multitasking habits of today’s generation. Research in laboratory settings have shown that multitasking leads to slower performance and increased errors than focusing on one task at a time (p. 75). However in realistic situations with “slack” time between tasks, multitaskers can perform just as well as others who are unitasking (p. 76). In a school setting, the author points out that kids are use to shallow information that comes at a fast pace and can become bored when trying to absorb information given at “normal” rates. For educators, this means that learning environments may need to be restructured to let students learn at their own pace. The author gives three guidelines for creating a learning environment that maximizes motivation and learning: (1) allow students to multitask while understanding that students are capable of self-regulating this behavior as necessary, (2) minimize the possibility that dualtask interference may arise by avoiding multiple tasks that share basic mental resources, and (3) allow interruptions that are constructive and enhance the learning process.

Studio Thinking by Hetland

Chapter 5: Learning to Develop Craft

            The author describes learning the studio habit of technique/craft. The author observed that technique was never taught as an isolated skill meant to be mastered for its own sake, but were taught in the scope of larger projects that required students to think using the techniques and skills (p. 33). In learning to develop craft, students learn to develop technique through distinguishing between theory and practice, and to understand studio practice through learning to maintain their studio and work environment.

Chapter 9: Learning to Observe

            In this chapter the author gives examples of teaching students to observe and look more closely than ordinary people do to develop the studio habit of mindful observation. Students are taught to not only look closely at the source they are working from, but to also look critically at the work they are creating, the work others have created, and historical/contemporary works. In the examples provided, teachers use viewfinders to help focus students eyes and to crop or minimize the area around their source. Critique is also described as important times for students to observe and reflect upon their work, as it is in-progress and completed.

           

React:

            I was relieved to read the Rosen chapter on Multitasking. In the past, I’ve found information and “studies” into the effectiveness multitasking to always be contradictory and unclear. I think Rosen brings up a good argument by pointing out that whether or not tasks create dualtask interference is a major factor on a person’s ability to multitask. In developing the studio habits of craft and observation, it may be necessary to provide students for opportunities to pause during tasks by encouraging them to observe each other’s work, to reflect on their own work, and to experiment and explore. As long as multiple tasks do not use the same basic mental functions, students can be encouraged to complete multiple tasks each studio session (reflective journaling, working on larger projects, experimenting with materials, and progress critiques) that can be completed in any order and at individual paces.  

References:

Hetland, L. (2007). Studio Thinking. New York: Teachers College Press.

Rosen, L. D. (2010). Rewired: Understanding the iGeneration and the way they learn. New York: Palgrave Macmillion.

Technical Research #2 with Reflection

For the second exploration of craft/technique, I decided to explore the program we use in the AV classes - Adobe Premiere Pro CS5 - to create overlays.

My experimentation:

Reflection: It has been awhile since I've made complex graphics in a non-linear editor (NLE) instead of turning to a motion graphics program like After Effects. It can be both satisfying and annoying! Sometimes it takes the NLE forever to render so I can watch what I've created and better understand where I need to make changes. When my students comment about time spent waiting for rendering or exporting their files I usually laugh and say (in my elder voice), "5 minutes to export?... While back in my day we could have went out for a cup of coffee and come back with time to spare..." (Rendering and exporting of video from NLEs has been getting faster and faster as technology evolves.) Rendering and exporting this exploration reminds me how and why the students get fidgety waiting for the software to process video!

Technical Research Study #1 with Reflection

As I would like to make an original music bed for my opening titles, I decided to explore a software program I haven't used before: Sony Acid Pro. Another Instructor teaches this software and I often have students who ask if they can use it to create original music for their projects (which the answer is "yes," of course!). The students often show me what they are working on and how they did it using the program, so I've seen it many times before, but have never used it myself as it is only available on my work PC. I knew what I wanted the program to do, but it took me awhile to explore the interface and find everything I was looking for!

Here's what I created (video shows a screenshot of what I had going on in the program, audio is the completed experiment with using loops, etc, to create a music bed):

Here is a better screenshot of the program:

Reflection: Using this software for the first time, I felt exactly like the quote from the start of Chapter 5 by Beth Balliro, "You start and you don't know how to do anything. You make a huge mess. You're out of control. You have no technique.... And then like any craft, you have to build and build and practice and practice" (p. 33). I started and restarted and restarted this project again and again before getting to the point that I felt like I had something to work with. And it still needs more work and polish! But at least I can continue to develop craft from this point forward. I think I understand how some of my students must feel when they are not new to the idea of using a video editor, but are opening Premiere for the first time. It becomes a challenge of knowing what you want and finding a way to do it in the program! Good resources to search for specific answers to advanced problems are necessary. Going to have to keep hunting up more resources for those types of students.

Artistic Thinking: Week 11 - Developing Craft Proposal

I would like to create a video work that also has a function. Over the summer I am planning to create an assortment of videos for the AV students to have access to outside of class for reference. These videos would benefit from some awesome opening titles. I have three areas of videos that I will be creating content for (aesthetics, technology, tool) and it would be nice to have unique titles for each. I know that if I don't take the time to create this now, I will probably never find the time!

I like the look of this video:

X-Men: First Class Title Sequence from Joe D! on Vimeo.

I like the colors, the overlaying of graphics and photos, and the music. I would need to keep my opening titles shorter, but I want them to be visually interesting. Each area of content could have it's own color scheme, theme, and unique title.

Artistic Thinking: Week 11 - Reflection on Uni-Tasking

Visual Exercise Completed Piece:

Western Whimsy - 2011

Reflection:
I had the job of working as a uni-tasker for this assignment. It wasn't easy! I tried two 30 minute uni-task sessions: one for capturing pictures and the other for assembling them into a digital collage. I was quicker and more efficient in capturing pictures (even changed lenses several times) and was able to capture images of my horse and set up small still-lifes of her gear during the 30 minute shoot. Assembling the images into a collage was considerably more difficult! I found that I was having trouble making decisions and was over thinking everything. I kept trying not to think about anything else, but working in silence was the hardest part. I actually started singing a song to myself before I caught on and stopped it!

Insights to the working habits of others, including students:
Studio environments defiantly need a variety of opportunities for students to work in the ways that are best for them. Multi-taskers are going to need moments to pause during work (think of them as reflective pauses) and uni-taskers are going to need few distractions as possible. Journals would provide an opportunity for both types of students to "reflect." Multi-taskers can journal continually throughout the process, while uni-taskers can journal and reflect at the end of class.

Artistic Thinking - Week 11: Studio Thinking - Inital Reflection

What are your personal working preferences for artmaking? 

I find that I’m spontaneous during artmaking. I like to have an idea or broad goal before starting, but I find that if I am too well-prepared the artmaking feels mechanical and I lose enthusiasm half way through. My space is full of “toys” to play with if I need a moment to think or a distraction during artmaking, and is somewhat organized and cleaned before artmaking begins. I need just enough organization to know where everything is, but enough visual chaos to keep me on my toes. As most of my work is at a computer, I often work in low light with my stereo on and either a glass of red wine or cup of green tea. I usually work with the door open because if I close it, someone will want something! Creativity flows for me at around 2pm and continues until I’ve finished (anywhere from a few minutes or hours later). I always need to have the TV or Radio on to distract the audio part of my mind and so I can fully focus the visual part. I am a multitasker.

Artistic Thinking: Week 10 - Creativity Book 2

"Out of Our Minds: Learning to be Creative" by Ken Robinson.

Teacher Resource:
Note - Navigate this Prezi at your own pace. Arrows provided for guidance.

Out of Our Minds: Learning to be Creative on Prezi

Artistic Thinking: Week 10 - Creativity Book 1

Ignore Everybody and 39 Other Keys to Creativity
by Hugh MacLeod

Teacher Resource:

Artistic Thinking: Week 9 - Tech Topic 3

What are the possibilities and limitations of using games, immersive social networking, and virtual worlds in the classroom?

Games in the classroom (I like the way that sounds already!): I can understand why teachers tend to lean toward minigames that are short and to the point. Sometimes there just doesn’t feel like enough time for everything! I’m currently working on finding the right amount of balance to the projects in my courses and it’s difficult, as student needs change from semester to semester. Add in an element of technology, everything that can go wrong with it, huge gaps in student ability, and finding that right balance is even more difficult! As Brooks-Young points out, few teachers receive training in using technology beyond the basics and automation (Common objections section, para. 9), much less in playing online games. The process of education also moves slowly, meaning that the “cool” game of today quickly becomes an “old” game, often before we even get a chance to think of an educational use! In my own classroom I find that developing an open line of communication with students is vital. For example, E-Week (Engineering Week at MU) was last week and we were setting up the IT Program open lab exhibit as part of the K-12 recruitment activities. We were exhibiting our “Classroom of the Future” and needed a good, multi-touch, and recognizable game for the HD Smart board. We (the Instructors) couldn’t think of anything that wasn’t from the 80s, so we asked a few students and “Angry Birds” went on display. I find that when I need to know what’s popular (and how to play it), all I have to do is ask! As for the possibilities of games, they open up the ability for students to get “hands-on” experience with creating projects that were not physically possible before (experiences like those in SimCity) and instant feedback about those projects.

Immersive social networking in the classroom: Rosen (2010) describes social networking as “multifaceted, multisensory environments where communication and content are the two key ingredients” (MySpace, Facebook, and education section, para. 1). While the Internet opens the door to massive amounts of information, social networking takes information and connects it with real, accessible people. The major limitation to utilizing a social network is administrative approval due to bad publicity in the media. Yet, social networking is widely available and involves little technical training to use, freeing up more time to discuss important matters like ethical online behavior. With social networking, students can collaborate by sharing additional links and ideas with each other. In this class, even though they are assignments, I find our network of blogs to be an excellent source of trusted links to ideas and sites.

Virtual worlds in the classroom: The article by Liao (2008) quotes Lev Manovich’s description of computer technology as no longer interfacing with a machine, but with culture in a digital form (88). Virtual worlds allow students to explore digital recreations of real world places, as in the Sistine Chapel Second Life site described by Rosen (2010). They also allow for explorations regarding identity, role-play, and human stereotypes and the visual culture of avatar creation should be analyzed for its western-based view of aesthetics (Liao 2008). In creating my own avatar using Voki, I found myself wanting to make it aesthetically less “perfect.” I wanted to make it more like me, define its nose to be larger and make one eye higher/lower, etc. Although I don’t feel like I “bonded” with my Voki avatar, I felt more relieved when I was able to adjust its face shape and shoulder width to be more like me. Yet I didn’t feel a need to be as true to life with the other avatars I was exploring –SouthPark and Hero– perhaps because they are geared more towards role-play and fantasy. In the classroom it would be interesting to have the students attempt to create both representational and fantasy avatars for comparison and identity explorations.

References:

Brooks-Young, S. (2010). Teaching with the tools kids really use. (Kindle Edition). Available from http://www.amazon.com/Teaching-Tools-Kids-Really-ebook/dp/B00486THRE/ref=sr_1_2?ie=UTF8&m=AG56TWVU5XWC2&s=digital-text&qid=1296870495&sr=8-2

Liao, C. L. (2008). Avatars, Second Life, and New Media Art: The challenge for contemporary art education. Art Education 61(2), 87-91.

Rosen, L. D. (2010). Rewired: Understanding the iGeneration and the way they learn. (Kindle Edition). Available from http://www.amazon.com/Rewired-Understanding-iGenerationLearnebook/dp/B003QP3NAK/ref=sr_1_1?ie=UTF8&m=AG56TWVU5XWC2&s=digitaltext&qid= 1295657170&sr=1-1

Audio/Video @ MU: Student Mid Term Work

Audio/Video @ MU: AV2 MidTerm Project - Student Favorites: "For their Mid Term Projects, AV2 students created independent works that explored an A/V topic of interest. A requirement of this project i..."

Avatar Adventures

Had fun exploring the sites for creating your own avatar!

Voki Avatar:


Southpark Avatar:

Hero Avatar:

Digital Self Portrait

Self-portrait created in Adobe Photoshop exploring the theme: Art Education in the 21st Century.

Artistic Thinking: Read and React Week 8

Read:

Chapter 8: Creating Content - Images by Brooks-Young

            In this chapter, Brooks-Young discusses spatial/visual learners and sharing images. The author also educates readers about the Children’s Online Privacy Protection Act of 1998 that restricts information that can be collected and shared by children under age 13. When describing video creation and sharing by teenagers, the author points out that by posting media, teenagers are able to communicate with friends, start conversations, and receive feedback/validation from their peers –concepts that are of value to the iGeneration. As with other chapters, the author discusses common objections to using online media sites, such as privacy issues, safety, cyber-bulling, copyright infringement, and child pornography.

Chapter 10: Media Sharing by Digital Diet

In this chapter, the authors discuss how to set up and use the photo-sharing site, Flickr. When using Flickr the user can create an account that is public or private, upload photos and small videos, tag images for searching, add descriptions, and leave comments on images. The authors give advice as to how to use Flickr in the classroom by combining its ability to share within a restricted group and use in conjunction with VoiceThread to create multimedia stories. The authors suggest four steps for working with multimedia stories: (1) Define and outline the parameters of the task, (2) Design and preplan their project through storyboards or mind-mapping, (3) Do and create the multimedia project, and (4) Debrief and reflect on the creation.

React:

            I like the Brooks-Young chart of 4 questions to ask when determining educational fair-use of copyright material. These questions can easily be transformed into questions that students can ask when looking to use materials in their projects. While another Instructor teaches Photoshop in the IT Program, there are a couple ways that students could use Photoshop in my A/V courses. They can create richer, more complex graphics for use in their videos. Currently I show them Premiere Pro’s Titler but it can be a little clunky to use and does not have as many functions. Photoshop can also be used to create vignettes for their videos too. I like Digital Diet’s suggestions for using photography and VoiceThread to tell stories about trips, etc. I could see my students taking “behind-the-scenes” photographs of their video shoots and using VoiceThread to reflect on their projects.

References:

Brooks-Young, S. (2010). Teaching with the tools kids really use. (Kindle Edition). Available from http://www.amazon.com/Teaching-Tools-Kids-Really-ebook/dp/B00486THRE/ref=sr_1_2?ie=UTF8&m=AG56TWVU5XWC2&s=digital-text&qid=1296870495&sr=8-2

Churches, A., Crockett, L., & Jukes, J. (2010). The Digital Diet: Today’s digital tools in small bytes. Canada: 21^st Century Fluency Project.

Personal Photoshop Brushes - Set of 10

 

Too many to show individually, but I left open my brush pallet.

Photoshop Alternatives – Free & Open-Source

Some people complain about software that is open-source and/or free. While I’ll admit that these programs can be a little “buggy” at times, I am still a fan of free and open-source software as you can try out and have a copy of the full version with no out-of-pocket costs.

Here are a few of my favorites:

GIMP: http://www.gimp.org/

Considered the free, Photoshop alternative.

From the website: “GIMP is an acronym for GNU Image Manipulation Program. It is a freely distributed program for such tasks as photo retouching, image composition and image authoring. It has many capabilities. It can be used as a simple paint program, an expert quality photo retouching program, an online batch processing system, a mass production image renderer, an image format converter, etc.”

Reviews: There are a number of tutorials for learning the program, depending on your skill level and wants. However, the interface is fairly intuitive with tools commonly found in Photoshop. It works on all platforms and maintains a similar interface across all for better usability. Like Photoshop and other programs, GIMP can be extended (filters, file formats, etc) through plug-ins, which are also free and open source.

InkScape: http://inkscape.org/

Not a raster-based program like Photoshop (which is great for editing photographs), InkScape is a free vector-based digital line drawing and design program. Most people use a combination of both raster and vector programs for most projects. InkScape works on all platforms – PC, Mac, and Linux. There’s also a weblog of tutorials for learning the program, what it’s capable of, and ideas for utilizing its features.

From website: “An Open Source vector graphics editor, with capabilities similar to Illustrator, CorelDraw, or Xara X, using the W3C standard Scalable Vector Graphics (SVG) file format. Inkscape supports many advanced SVG features (markers, clones, alpha blending, etc.) and great care is taken in designing a streamlined interface.”

Reviews: Typical of open-source programs, some people have complained that the program crashes when loading templates, etc. However open-source programs are constantly being updated to improve stability, usability, and functionality, so “bugs” come and go quickly. InkScape has been around for over 5 years, still actively developed, and getting better with age!



Scribus: http://www.scribus.net/canvas/Scribus

An open-source desktop publisher (think InDesign). Available for all platforms: PC, Mac, and Linux. Like most, they also have a help wiki and tutorials of how to use the program and features.

From website: “Underneath a modern and user-friendly interface, Scribus supports professional publishing features, such as color separations, CMYK and Spot Color support, ICC color management or versatile PDF creation.”

Reviews: Some reviewers find Scribus to have more functionality when exporting files than other desktop publishing programs, however, because it is a free program it does not have Pantone color integration (which is copyrighted and must be licensed).

Blender: http://www.blender.org/

Not an image editor, Blender is a free, open source 3D modeling and animation program. Since 3D modeling can be somewhat complex (but amazing once you master it!) there are lots of tutorials to help out new users.

From website: “model - shade - animate - render - composite - interactive 3d” “Blender is the free open source 3D content creation suite, available for all major operating systems under the GNU General Public License.”

Reviews: Some people tell me that they found past versions of this program to be “clunky,” “buggy,” and not very intuitive. However I have yet to find a 3D modeling program that is intuitive and easy to use!

Audacity: http://audacity.sourceforge.net/

 
Okay, so it’s not image editing or vector drawing. But it is a free, open-source audio editor. I use it a lot for recording, cutting, and processing audio files like voiceovers. It has a simple interface and is easy to use.

Photoshop Layers Basics Chapter - Collage and Modification

Original Tutorial

Modified Version

Memorable Advertising Icons - CBS Sunday Morning

I was watching the CBS Sunday Morning show, "The Money Issue." This particular show focused mainly on advertising - from advertising geared towards Baby Boomers (who won't buy products that are advertised for "old" people) to advertising icons that are being remade for this generation.

I couldn't find a video of the "Memorable Advertising Icons" segment (probably due to copyright), but they did have a slide show. Recognize any of these Icons from your childhood?

The show also mentioned the Icon Advertising Museum coming soon to KC.

Artistic Thinking: Read and React Week 7

Tech Topic: The iBrains! Technology and the Mind

How has technology impacted our brains?  What are the implications of this for an educational setting?

According to Small & Vorgan (2008), technology is stimulating different parts of our brain, creating new neural pathways and weakening older, lesser-used pathways (p.1).  For older, more hard-wired digital immigrant brains, this means that our brains are selectively rewiring the connections already created through a lifetime of experiences. However for younger, developing and more malleable digital native brains, this means that these brains learn more quickly and are also more susceptible to the adverse effects such as social deprivation. Small & Vorgan (2008) describe research performed by the authors with UCLA to explore changes in the brain when using technology and found that using search engines activates a different part of the brain than traditional activities like reading a book (pp. 14-17). As we are only capable of forming a limited number of connections within our brain the types of stimulation we are exposed to on a daily basis will determine how our brains work. Young minds require a balance of environmental stimulation and human contact. If developing brains are only exposed to environmental stimuli without human contact, social skills and the ability to read facial or gestural cues may not fully develop. In an educational setting, where there is face-to-face contact, the development of social skills is vital for a peaceful classroom environment. As Small & Vorgan (2008) point out, we live in a world where human contact exists and those with social skills will be at an advantage (p. 20). Thus education that promotes the development of social skills will create well-rounded, knowledgeable people. Collaborative projects and group work become vitally important.

In what ways does learning in and through the arts impact our cognition (and vice versa)?

As our brains evolve to become more wired for understanding our digital world we become more socially isolated. However the arts promote human communication, discussion, and empathy through big ideas such as Story. Small & Vorgan (2008) describe a phenomenon of “Techno-Brain Burnout” where technology users are in a state of constant stress and busyness that reshapes the underlying brain structure and is best relieved by occasional breaks and unplugging from technology (pp. 18-19). In comparison, the arts teach how to maintain creativity by stepping back, taking breaks, and solving problems from different approaches. Jensen (2001) points out that Fine Art programs foster commitment to tasks by practices in self-discipline and the development of social skills through teamwork (p. 63). The author also explains that art making is an active process that involves the whole brain, with more than 35 areas for processing visual information (p. 55). Our brain is constantly interpreting what we see by combining prior knowledge with current perception. Jensen (2001), citing others, explains that: “When art is integrated in to the curriculum, the competency scores in other subjects have increased” (p. 59). Although not always promoted in traditional school settings, when learning, we look for connections between ideas across all subject matter. The arts function as a visual method for exploring these connections.

How can we as educators use the brain-based information presented in both texts to impact instruction and/or promote arts advocacy?

For instruction and arts advocacy I remember a comment made by a fellow peer when I first read the Jensen book. Very observant, she reminded us that the importance of art in education and in interdisciplinary approaches should not be limited to graphic organizers alone – which is heavily promoted as practical suggestions by Jensen. While graphic organizers and intertexts are very important for organizing, connecting, and creating ideas, the importance of visual art also lies in its ability to promote social skills. According to Smith & Vorgan (2008), as time spent with human contact decreases, the circuitry controlling our ability to socialize weakens, making social interactions awkward and prone to misunderstandings (p. 2). When analyzing art, students look for nuances in formal elements, implied meanings, and social functions, further developing their mental abilities to interpret interactions and promote discussion and communication skills. Jensen (2001) also promotes art in the curriculum to enhance community building and the inclusion of all students, even those with special needs (p. 64). Although some school administrators and parents may view social skill development as too “soft” for academic institutions, to best prepare students for the world they will be entering educators must look ahead to the future. The technology we use not only rewires our brain but automates many traditional tasks, making creativity, expression, imagination, and other “soft,” “human” skills – respected in arts education – highly prized and valued.

Resources:

Jensen, E. (2001). Arts with the brain in mind. Alexandria, VA: Association for Supervision and Curriculum Development.

Small, G. and Vorgan, G. (2008). iBrain. Indiana: Collins Living.