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  • \n
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  • READ\n
  • The traditional classroom environment, often consisting of a centralized network, does not always allow for an open communication process to occur. \n
  • READ\n
  • Decentralized or constructivist approaches to art education can often allow for a rhizomatic, multilinear flow of emerging knowledge within a dialogical space of teaching and learning. This kind of aesthetic classroom experience, or dialogical space, has been written about by various curriculum theorists - each defining the phenomenon with different language.\n
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  • Within multiplicity it is not the elements that matter but the relationship between them. The curriculum is about the experience, the process, the relationship between the teacher and students. \n
  • Within multiplicity it is not the elements that matter but the relationship between them. The curriculum is about the experience, the process, the relationship between the teacher and students. \n
  • article coming out in May in journal “Art Education” - expands and articulates some of these ideas\n
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  • Alexander looks at how social media tools, such as bookmarking, can play a role in learning. One of the things the author notes is that these tools provide overview of someone’s process in research/learning; tracking a student’s process. I feel that in art school, this archive is even more beneficial to the student as they work through their ideas, like an open source \nsketchbook that can be shared and commented upon.\n- Delicious accounts connected to a LIST for the class that is tagged\n- tagging in general for themes and topics, even if the students are only connecting to one another through a Wordpress blog\n
  • Although I’ve used Ning and provide embedded links to Flickr and Youtube, my online teaching experience takes place mostly within Moodle > the course management system that Emily Carr University uses.\n
  • I first developed an online version of a Foundation studio course in 2005 and for the first couple of years had the interesting opportunity to teach both online and regular f2f sections of this course simultaneously. \n
  • Creative Process\n
  • Creative Process\n
  • Creative Process\n
  • Creative Process\n
  • Creative Process\n
  • Creative Process\n
  • Creative Process\n
  • Creative Process\n
  • Creative Process\n
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  • Creative Process\n
  • Creative Process\n
  • Creative Process\n
  • Photographic representation of art practice\n
  • Conversation, Dialogue and Critical Thinking\n\n
  • Conversation, Dialogue and Critical Thinking\n
  • Conversation, Dialogue and Critical Thinking\n
  • Synchronous Chats\n
  • Multiple windows for simultaneous viewing\n
  • Archiving conversations to refer back to\n
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  • Video\n
  • Self-reflexivity\n
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  • Promoting Critical Discourse\n> social awareness project\n\n\n
  • Promoting Critical Discourse\n> social awareness project\n
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  • Myth of digital natives - do not want complicated visual experiences of learning, but we need to be using these tools in order to show how they can be used for learning.\n
  • David Darts - all courses compiled and archived on a wiki with course communication happening via Google groups because that’s what the students choose to use, and since they all have gmail accounts - encourages students to create personal wikis for accumulating process\n
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  • - experiments with using Twitter in English 100 courses at Emily Carr\n- more examples of ways other art educators instigate the recording of creative process (e-portfolios, etc.) - extended slideshow on panel blog\n
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  • Transcript

    • 1. < Art in the Age of Networked Learning >HEIDI MAY mayh@ecuad.caEmily Carr University of Art and Design (Vancouver, CA)PhD student, Dept. of Curriculum & Pedagogy, Faculty of Education, Univ. of Brit. Columbia (Vancouver, CA)web: http://heidimay.catwitter: @hmm__
    • 2. Interests• conceptual overlaps between contemporary relationaland networked art practices and current discussions aboutpedagogy > both explore relationships and processes in-between individuals• why use the internet to teach art?- how might online technologies and social media beincorporated into art and design curriculum in a way thatresponds to these shared interests?- how might we use these tools to foster creativeprocesses and critical discourse?• specific to this panel, how might we do so in a way thatinstigates learning and understanding of our being with/ina digital visual culture? http://heidimay.ca
    • 3. FIRST, SOME THEORY... ... making connections between curriculum theory and ideas related to networked learning... http://heidimay.ca
    • 4. Complexity theory in education embraces acollaborative and non-linear experience of learning,rejecting the use of linear, machine-based metaphors. http://heidimay.ca
    • 5. centralized networkCurriculum + Pedagogy1. Theory of Knowledge in
    • 6. Decentralized approaches to teaching are mostappropriate for learning situations in which there existsmore than one response to a topic.It’s about reconfiguring the exchange of knowledge.Setting up open communication and creating activelearners as opposed to passive participants. http://heidimay.ca
    • 7. decentralized network1. Theory of Knowledge in Curriculum + Pedagogy
    • 8. rhizomatic experience
    • 9. Curriculum theorist Ted Aoki:rhizomean curricular landscape http://heidimay.ca
    • 10. 1. Theory of Knowledge in Curriculum + Pedagogy
    • 11. 1. Theory of Knowledge in Curriculum + Pedagogy
    • 12. Complexity theory collectives elaboratingDecentralization emergent knowledge through a temporal epistemologyRhizomatic Experience http://heidimay.ca
    • 13. TEMPORAL EPISTEMOLOGY:A quest for knowledge that is not representationalbut rather performative-based.A way of interacting with materials and ideas thatis not about exploring something static, but rathersomething that is always in flux. http://heidimay.ca
    • 14. How can these theories be applied to art and design learning?collaborative and dialogue and active learning conversation peer interaction and accessibility http://heidimay.ca
    • 15. Recording and Archiving Creative Process and Dialogue“...openness remains a hallmark of this [Web 2.0] emergentmovement, both ideologically and technologically” (Alexander, p.34).Alexander, B. (2006). Web 2.0: A new wave of innovation for teaching andlearning? EDUCAUSE Review, 41(2), 34-44. http://heidimay.ca
    • 16. Example: NING
    • 17. Example: Moodle
    • 18. Example: MoodlePROCESS FORUMS
    • 19. Example: MoodlePROCESS FORUMS Student Example #1 “Abstract Representation” Assignment: Create an abstract piece that represents an experience with a type of music, a recreational activity/sport, or an interaction with a technological object. Idea = Knitting
    • 20. PROCESS FORUMS
    • 21. PROCESS FORUMS
    • 22. PROCESS FORUMS
    • 23. PROCESS FORUMS
    • 24. PROCESS FORUMS Student Example #2 “Narrative Sequence” Assignment: Create an interesting narrative sequence based on an everyday activity, capturing the ‘rhythm’ of the event through placement of forms and colour. The objective is to challenge traditional narrative formats. Idea = Feeding the fish
    • 25. PROCESS FORUMS
    • 26. PROCESS FORUMS
    • 27. PROCESS FORUMS
    • 28. Posting the completed piece to the project Forum
    • 29. CRITIQUE Instructor final comments
    • 30. WRITTEN REVIEWS Peer Reviews > Strengthen writing skills and teach students how to be critical about art work.
    • 31. WRITTEN REVIEWS Peer Reviews > Strengthen writing skills and teach students how to be critical about art work. Casual Responses Peer Review
    • 32. Moodle Chat
    • 33. Multiple windows to view work and type comments simultaneously
    • 34. Inserting archived chats into discussion forums for reference
    • 35. Video chats allow for students to physically show work in progress
    • 36. • Personalizing Knowledge with Self-Reflexivity Integration of web cams and video blogging 10 second videos, audio muted
    • 37. • Personalizing Knowledge with Self-Reflexivity 10 second video, audio muted
    • 38. "...Sometimes in face to face classes there is not enoughactual time to spend adequate time on each project socritiquing can sometimes become very generalized and lessspecific to each persons piece. Lots of time and effort goesinto each piece that students create and I feel that the timeand effort spent critiquing the piece should parallel this, theonline environment achieved this better then any face to faceart/design class I have taken. Of course all of that alsodepends on the instructor and students as well."- Erica Hargreaves, Emily Carr online student, FNDT 109 VisualCommunication, Spring 2008 http://heidimay.ca
    • 39. Promoting Critical Discourse...(Lange, 2007): “...by being vulnerable and sharingintimate moments and choices, it is possible topromote increased public discourse about formerlyuncomfortable, distasteful, or difficult topics in waysthat other media and other methods have not” (p. 13) http://heidimay.ca
    • 40. Student projectTheme:Social Awareness“In this piece, I am commenting on a few different aspects of one whole idea; the idea being, that mass mediapromotes unrealistic body images to society. I chose to zero in on a smaller, but very common result of these imagesin the media; which is the rise in eating disorders. Media can be a culprit for many other social problems, but it iscertainly supporting the creation of peoples warped opinions of what is beautiful and "normal".I guess i hope that, from this piece, the viewer gets the irony im pointing out. This irony being that society hasbecome so obsessed with body image, that being thin is the new epidemic. This gives reason to the text and my face.. itried to show a confident look as if to say... "arent YOU bulimic?". It seems that people have this false feeling of powerfrom being thin, and "desirable".”
    • 41. WRAPPING UP.. http://heidimay.ca
    • 42. A course management system like Moodle provides a ‘hub’and a home base. Incorporating other social media mightmake sense if students are already using thosecommunication tools.Being open to a multilinear experience is important, butinstructors need to choose appropriate tools for the contentof the course and the intended learning experience.Instructors should feel as if they can create hybrid modelsthat might connect open source media to applications/systems put in place by educational institutions. http://heidimay.ca
    • 43. Example: David Darts, NYU
    • 44. Example: David Darts, NYU
    • 45. Example: David Darts, NYU
    • 46. Example: David Darts, NYU - Social Media INclassroom
    • 47. Example: David Darts, NYU - Social Media INclassroom
    • 48. Thank you☺ http://heidimay.ca

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