Construct Maps & Problem Statements by Graduate Students & Visiting Scholar in A ED 502: Research in Art Ed, Fall 2002
The purpose of this
action research is to give opportunity to the students not only to explore
the concept of identity in general, but also to investigate
their own identity as a part of culture around them. I intend to design
a nine-week unit of art course for 10 middle school (7th grade) students,
which may help them understand relationships between their self-identity
and visual culture.
There will be two
parts of this course. In the first three weeks, students will be exploring
various concepts of identity to explain their own definition of what
is identity?. With some activities, each student will construct
his/her own map of identity by using various art forms.
This action research will be established in the light of three theoretical frameworks: The critical theory, Feminist approach, and Social Constructivism. The data will be collected from participant observations, personal and group interviews, student journals, concept maps and art products and my own teaching journal.
Sharif Bey © 2002
Sharif Bey © 2002
Problem Statement #1:
My study concerns on-line teaching and learning computer graphics. The
purpose of the study is to develop a distance educational model, which
can improve the learning efficiency for college students in academic programs
of arts and design. I will combine two sources to develop an on-line curriculum.
First, I will analyze historical documents to develop content. Secondly,
I will interview computer graphic specialists and scholars in both industry
and academies to define various frameworks for teaching computer graphics.
In a four-month case study of the on-line course, I will evaluate undergraduate
student learning of computer graphics.
Problem Statement #2:
Students from diverse
arts fields desire computer graphic courses as part of their undergraduate
art education. The demand for such courses challenge institutions to provide
enough faculty and computer lab teaching facilities. Can on-line computer
graphic courses fulfill students' educational needs to learn how to communicate
ideas in digital media? The purpose of this study is to develop and evaluate
an on-line computer graphics course for undergraduate college students
in academic programs of arts and design.
I will review historical
documents on _______, recent developments in on-line technologies, educational
theories of on-line teaching, and interactive design for active learning.
I will also interview leading computer graphic specialists and scholars
in both industry and academics to compare various frameworks for teaching
computer graphics. From these interviews and research of five major computer
design educational programs in the United States, I will develop an online
computer graphic course for students majoring in art and design in a large
northeastern United States university. In a four-month case study of the
on-line course, I will evaluate student learning of computer graphics
with a focus on student ability to translate idea into computer graphics
in a way that is effective for specific presentational formats (e.g.,
print or time-based), and desired viewer or audience of the graphic designed
Danielle L. Crowe © 2002
studies about degree of influence of manga on students and art educational
effect of manga are very insufficient. So, at first, I try to survey how
much Korean elementary students are exposed to and influenced by culture
of manga. Because of limitation of area, I will ask colleague (elementary
teachers) to survey instead of me. And then, I will interpret that situation
and find out the differences between students' desires of drawing manga
and teachers' believes and practices of teaching manga in art class.
of all, I will collect mangas drawn by students and I will try to find
out how students who have different genders and levels of artistic development
recognize and use characteristics of manga and what are positive effects
that art teachers can use in their art classes. For this research, I will
restrict objects of my study to 5 or 6 elementary schools' 2nd, 4th and
6th grade students and art teachers or teachers in the south area of Seoule,
the capital of Korea.
Problem Statement #4:
Todd McCannon © 2002
Renee Kredell © 2002
The purpose of this ethnographic study is to analyze the impact and educational efficiency of a video film, Mu-Lan, on a selection of three or six, four-year-old children of various ethnic backgrounds (namely, Asian, White, and Latino), in terms of their generated knowledge of gender, culture, and morality to understand the role of the media art, both its form and content, and that of parent participation in such activities on children's education and growth.
Problem Statement #2:
In this case study, I will analyze the impact of some popular TV and/or Hollywood video programs (The specific program is to be decided upon after a survey of what programs people most often expose their children to) on the formation of young children's knowledge and opinion of gender and age. The major construct focused upon include girl's and boy's image (feminine and masculine), gender role, and ageism. I will decide on a case of a three to four (or a four to five) year old girl after conducting the survey, and will observe closely how much knowledge and what kind of impression/opinion she has gained after a one-week TV view or after the Hollywood video view.
Li Yujie © 2002
Maryellen Murphy © 2002
everything that the Theory of Chaos and Order has to offer, What is a
new model for change within public school education? How can secondary
teachers of art, vocational and technology education become change
agents, while operating within and around established bureaucratic structures
which are deeply committed to closed limit-cycle systems (to collusion
and automatism), unwilling, even reluctant to change, and not burn out,
destroyed ore leave teaching altogether? What new approaches can be designed,
and implemented, using a fundamentally positive more organic or spiritual
manifestation, borrowing from Vaclav Havels phrase using the
power of the powerless, to exert more subtle influences, thus facilitating
greater participation in the creation of more creative, open systems of
education addressing issues of learning, freedom, making-meaning, empowerment
and equity? Are secondary level public schools truly capable of dramatic
change? Are charter schools and school-within-a-school models the only
answer, or is there a new model we havent come up with yet?
2) While taking into account the notions of Structure and Anti-Structure: Consider the reflections of a teacher sharing a cautionary tale promoting change in secondary level educational delivery systems filtered through the eyes of her formalist point of view which has undergone transformation in response to postmodern society and seven years of teaching in the same school. When you think youre doing a good job, think again, are you really? Who are you serving? And are you serving who you think you are? How can a teacher go about the process for creating a climate of support and funding for progressive, pioneering, and challenging curriculum with appropriate infrastructure while planting the seeds of resilience, collaboration, interdependence, and social action in both faculty and students? How does one proceed and what are some possible examples, and strategies (methodologies) to consider as well as avoid?
My expertise is grounded in teaching through vocational education theory and practice, a passion for color theory and 2D design while simultaneously embracing "computer arts and technology" at the secondary level. Looking forward from this perspective, I intend to research, develop and propose new guidelines, criteria and ingredients for an Interdisciplinary Foundations Art & Theory curriculum for the post secondary environment. I plan to review existing frameworks and curriculum standards to assess what is of value and to find possible intersection points where expansion of new models could deepen connections and meaning to students lives, in both, an immediate sense as well as in the future. Observation of current practices and professional discourse will also inform my ability to know what is important to keep, what needs to be redefined and revitalized and what contents can be allowed to fade away. Technology is a defining condition for the part that new media plays in the future direction of Foundations. What are the implications and expectations the technology component places of both teachers and students? I count on interviewing former BFA graduates to check for understanding and value ofFoundations curriculum and whether or not those students decided to pursue an MFA. I am hoping that the findings of research and interviews, combined, will inform the new directions in Foundations curriculum and practice. I would also like to determine if there are any motivating factors that lead students to continue art making professionally or not. And what may have played a role or applied in their choice of career endeavors. An ultimate goal would be to identify the necessary support system to assist students in making the connection towards attaining an MFA degree and maintaining their involvement in the arts and related industries.
Problem Statement #3:
a passion for color theory and 2D design that I applied to computer arts
and technology at the secondary level. From this perspective, I intend
to research, develop and propose new guidelines, criteria and ingredients
for an Interdisciplinary Foundations Art & Theory Curriculum for the
postsecondary environment. I plan to review existing frameworks and curriculum
standards to assess what is of value while looking for intersections and
points for expansion of these new models, which could deepen connections
and meaning in students lives. My observation of current practices
and professional discourse will also inform my research about what aspects
are important to continue, what needs to be redefined or revitalized and
what should be segued out of the curriculum.
Technology is a defining condition of the new media and how it plays out in the future directions of Foundations & Critical Theory. What are the implications and expectations the technology component places on both teachers and students? My methodology includes interviewing former BFA to assess for their understanding and value of Foundations curriculum. I am curious about what percentage of BFA graduates chose to pursue and MFA and if there is a correlation of that decision positive or negative, to Foundation classes. I hope my findings will inform the new directions in Foundations curriculum and practice. I want to investigate the motivating factors that lead students to continue art making professionally. I want to look at the ways those factors played a role in career choices. Finally I want to identify the support system necessary to assist students in making connections towards attaining an MFA degree and maintaining their involvement in the arts and related industries.
Maryellen Murphy © 2002
examine the debate/discourse on art education
that is, the teaching of visual arts in Finland over the past 30 years
(specially in the comprehensive art education). My goal is to advance
self-understanding in the profession, as well as offer tools to analyze
the curriculum development work by the Department of Art Education at
the University of Art and Design, Helsinki, through a historical perspective.
The implicit presumption is that history and tradition exist in many ways
in the present and in present-day practices, and our activities conceal
many traditions to which we should not be blind.
This dissertation research will continue the study started in my licentiate dissertation (1999), in which, the change taking place in art education was analyzed. In the earlier research I examined the crisis in art education during the late 1960s and early 1970s. The concept of paradigm was employed as a heuristic tool to explain the change in the art education ideas as certain kind of shift in the conception of the world. The primary data consisted of interviews with teachers. The secondary data consisted of debates by the profession, particularly those in Stylus, a journal published by the Art Teachers Association in Finland since 1907. In addition to the interviews, I studied art education texts, such as reports, manuals, official plus that dated back to the times when my informants or co-researchers were students or in the beginning of their career.
Pirkko Pohjakallio © 2002