|    Syllabus   |   Calendar   |   Assignments   |   Student Blogs & WebQuests  |   Lino   |   Exhibition   | 



 

Project 1: CONCEPTS in Art Education: Teaching, Learning & Social Media

aed322_slide1

ASSIGNMENT: Select a concept that you want to learn about and you want others to learn about too. Research and plan a way to teach peers in the course to engage with the concept. This is a semester long project in which you have 20 minutes twice during the semester to lead the class in different ways to learn about and engage with the concept. By the end of the semester you should have used a minimum of 10 different technologies to engage in the concept with 5 that you were unfamiliar with its potentials. Document in your blog the 10 technologies used, why you selected them, what you believe are their potential, and what you found challenging. Present (Dec. 3) about one technology in class in teaching about your selected concept.

THREE TEACHING APPROACHES (30% of course grade)

  1. Map position and power of concept in tropes, products, ideologies, and practices. Present in the NAEA Interactive Café. (Sept. 8) 7%
  2. Lead the class in different ways to learn about and engage with the concept (September 10) 7%
  3. Documentation, Reflection, Technologies presentation about your selected concept (December 3) 16%

BEGINNING of SEMESTER TEACHING PROCESS (Sept. 1-10)

Select a concept by 9/1.

Power and Influence of Concept

Due 9/1: Blog entry: To identify the types of power that impact your life, make a list of what you perceive to be powerful influences on your life. As you read about the types of power discussed in chapter 6 of Engaging Visual Culture, review your list and note the ways in which different types of power influence your daily activities. For example, consider the questions below:

  • What images move you emotionally? When an image affects your emotional state, does the image hold power over you in some way?
  • Is it the image itself or its context that gives the image its power?
  • How can money (symbolized in a variety of ways by clothes, dwellings, cars, parties, and sponsorships) be both a type of domination power and transformative power?

Select two readings about your concept, read them, and bring to class on 9/3.

Begin in class on 9/3, complete by 9/15: Studio art faculty, art educators, art professionals, artists, art and art education students, and others are invited to participate in the Judy Chicago Dialogue Portal Part 2, "Difference in Studio Art Teaching: Applying Judy Chicago's Pedagogical Principles". In a 2002 interview, Chicago described her methodology as “a model where the teacher helps to first make each student feel valued. Listening to what students have to say communicates that their experience is worthy of examination and that it offers potential content for art making. If you can turn your experience into art making, then it validates your experience.” Resources on applying Judy Chicago's teaching methodology is on the portal site at http://judychicago.arted.psu.edu/dialogue/studio/, as well as six questions.

Select a minimum of one question and add a thoughtful response in the dialogue portal in a way that situates your concept in art education discourse. Login to join the conversation at http://judychicago.arted.psu.edu/dialogue/join-the-dialogue/
Judy Chicago and others are reading the responses.

1. DIVERSITY AWARENESS: In her book, Institutional Time, Judy Chicago has called for a dialogue aimed at transforming art curriculum so that it becomes more reflective of the changes in consciousness, concerning gender, race, and other identities, that have taken place over the course of the last thirty years. What are the challenges and opportunities for doing this?

2. SOCIALLY-RESPONSIVE CURRICULUM: What questions can guide content-based art toward meaningful art that can lead to personal and social transformation?

3. ACTIVISM: Can art help transform existing oppressive structures and if so, how can such art be encouraged in the classroom?

4. POSITIONALITY: Feminist inquiry is concerned with the politics of location (i.e., positionality) and politics of knowledge production. What are the challenges, opportunities, and strategies for bringing such inquiry into art education?

5. POWER: It is not possible to shed power imbalances in the teacher/student relationship no matter the intent. Judy Chicago acknowledges that students often position the teacher as authority and she recognizes the difficulties of opening students to discovery through research, dialogue, experimentation, and reflection. Chicago’s pedagogy begins with research, dialogue, and self-presentations. From the self-presentations and shared readings emerge topics that a skilled facilitator identifies through active listening and questioning as underlying issues and then challenges students into confronting their greatest concerns, first by asking students to search for their content in art by others and in other forms of discourse on the topic. What are some strategies or teaching and learning experiences that can prepare teachers to be such facilitators? How does a facilitator/teacher guide without directing students?

6. CIRCLE: Chicago’s teaching begins with participants sitting in a circle, all facing each other, without tables that would hide their nonverbal body language. Such exposure encourages active listening. Chicago also expects each member to contribute to the discussion by taking turns in responding to important questions under group consideration. Chicago informs participants that they can pass their turn in the circle and then the facilitator can circle back to ask those who passed to contribute when ready. However, everyone is expected to participate. For those who have tried this approach either as learners or teachers, what advice do you offer? For those who have not tried this approach, what are the challenges or reasons you have not.

Data Visualization & Mapping Concept

Select a theme, trope, code, lived experience, privilege, concept, bias, awareness, or value and use Google maps, or other media to either set up an interactive visual map in which others can contribute to the mapping of knowledge and experience. Or, select a product you use/wear/see—create a visual map that traces its social, environmental, political, & health performance.  Or, use data visualization to present your concept. Provide a key code for the map. Good Guide and Skin Deep are good resources to product mapping. Other examples of mapping are below.

Due 9/8: Post on your blog (1) a URL that goes to your concept map/visualization or image, and (2) a description of your map of power and influence of your selected concept.

Examples of mapping tropes, products, ideologies, and practices

“maps that mobilize both histories and geographies of power” (Alexandra & Mohanty, 2010, p. 31).

Tools for Mapping

In class on 9/8, discuss & post map and description of concept map in the NAEA Interactive Café.

Due 9/10: Teach (20 minutes for each) by leading the class in different ways to learn about and engage with your selected concept.

END of SEMESTER TEACHING: TECHNOLOGIES

By the end of the semester you should have used a minimum of 10 different technologies to engage in the concept with 5 that you were unfamiliar with its potentials. For example linked here are my notes from Tom Lauerman's presentation on 3D printing and from elsewhere to create a 3D printing resource for k-12 art education.

A. In a blog entry document the 10 technologies (5 of which were new to you) that you have used/experienced this semester, why you selected them, what you believe are their potential, and what you found challenging.

B. In a presentation consider: What is social media and why does it matter? How might smart technologies (smart phones, tablets, apps) be used in art education? Explore the pedagogical, social, and cultural implications of social media in art education and limitations, issues, and concerns related to using social media in art education. Browse the Appendix A, B and C in the “New opportunities for interest-driven arts learning in a digital age” report. Pick 1-3 item(s) from the list, figure it out, and prepare a 15-minute presentation on 4/21 in which you provide:

  1. an overview of the application/software
  2. a visual culture or art educational use (such as in relation to your concept) of the app
  3. how the app may support interest-driven arts learning (such as in relation to your concept)
  4. your blog entry documentation of the technologies you have used this semester, why you selected them, what you believe are their potential, and what you found challenging.

References on Social Media Mapping

Humans make and use maps all the time to locate themselves and others in space and in time. We use maps to find our way and to show others how to get here and there. Artists, including Jaune Quick-to-See Smith, have remapped hegemonic perceptions of history of physical and conceptual geographies through their art.

Nina Katchadourian’s artworks in the form of “maps” and “charts and systems” are provocative maps of the everyday. For example, “The Genealogy of the Supermarket interrelates people who appear on common products in the grocery store and organizes them so that they appear to be members of one large family.” (From the artist’s statement)

What is Missing?Maya Lin Studio has created a digital memorial “not as a singular static object, but as a work that can exist in multiple forms and in multiple sites simultaneously.”  Envisioned and developed by Maya Lin, the What is Missing? Foundation mission is to create, through science-based artworks, an awareness of the disappearance of species due primarily to habitat degradation and loss.  http://whatismissing.net/#/home

HarassMap Consciousness-raising activists’ efforts that attempt to end violence against women via social media has the potential to lead to collective action and a collective solution when shared personal issues are understood to be political in nature and those who care unite and take action in hopes of creating positive socio-cultural change. For example, HarassMap begun in 2009 at http://harassmap.org/en/what-we-do/the-map/ is a website that enables women worldwide to anonymously report acts of sexual harassment via text message and other ways to report. Harassment locations are marked on the website and local community outreach efforts are coordinated where harassment occurs (Human Rights First, 2012).

GenderArtNet is an experimental mapping project exploring the interrelation of gender, ethnicity, race, class and sexualities in contemporary Europe. Concept and development: Bettina Knaup in cooperation with Maria Ptqk and the media art organisation Constant vzw, Brussels. http://genderartnet.constantvzw.be/emerge/


EVALUATION CRITERIA for Project 1 CONCEPT Mapping, Teaching & Social Media (30 points):

Possible Points
(30 total)

Activities

C grade (70-79%)

B grade (80-89%)

A grade (90-100%)

7 points

1 Mapping, Visualization, Social Media

 incomplete

not fully developed

You have presented a mapping or data visualization of a concept on your blog and in the NAEA Interactive Café, and participated in the Judy Chicago Dialogue Portal

7 points

2 Concept Teaching

incomplete

not fully developed

You have lead the class in different ways to learn about and engage with your selected concept.

16 points

3 Technologies

 incomplete

not fully developed

Part A: In a blog entry you have documented 10 technologies (5 of which were new to you) that you have used/experienced this semester, why you selected them, what you believe are their potential, and what you found challenging. (8pts)

Part B. You have made a presentation in which you provided: (a) an overview of selected application/software; (b) a visual culture or art educational material using the app, and (c) how the app may support interest-driven arts learning (8 pts.)