Art and Media Communications II


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  • 10:00 (start on time)Introduce yourself. Ask participants about backgrounds.AMC II is the second year, or next level of the innovative course using visual arts to teach digital literacy. Art and Media Communications is fundamentally about storytelling.12 lessons, 4 modules (3 per) 32 weeks------In Confronting the Challenges of Participatory Culture: Media Education for the 21st Century, media scholar Henry Jenkins notes, "participatory culture shifts the focus of literacy from one of individual expression to community involvement."[1] This statement articulates one key difference between the first-year innovative course, Art and Media Communications I, and this second-year course, Art and Media Communications II. In this course, students build on the foundational skills practiced in Art and Media Communications I and/or Art I to study how media serves as an amplifier for cultural content, especially as related to contemporary visual art. Not only do students develop more advanced art and technology skills working on small- and large-scale installation projects and transmedia narratives, but they also work intensively in collaborative, student-directed teams focused on community-oriented projects. Art teachers are invited to join us for a post-summit training that will provide them with the skills needed to teach the four thematic modules spanning 32 weeks and consist of 12 scaffolded, interrelated, student-directed projects that comprise this exciting new course.----Open in Browser Tabs (use Firefox as Safari will automatically load the YouTube video of the child with iPad)Katharina Grosse Sze, the installation artist known for creating site-specific environments out of everyday objects like toothpicks, sponges, light bulbs and plastic bottles, has been chosen to represent the United States at the 2013 Venice Biennale. Bang, Big Boom animation (maybe share at break or at end)
  • Pair share. Introduce yourself to someone you do not already know.What do you hope to gain in this session?What was one story you told through technology this week?
  • The reason I wanted your introductions to focus on stories told through technology is that this course hinges on storytelling. Performance artist Laurie Anderson says “technology is the campfire around which we tell our stories.” Think about this: technology is not just a tool, and not just a medium, but a conduit – linking us through the sharing of ideas.
  • First a little background on the Arts and Digital Literacy Initiative – story from Amy Barbee re: Steve Jobs.Begin with story about Steve Jobs and the iPhone.Gutenberg Bible – widely credited with the rise in mass literacyMade the written text the dominant form of communication.That dominant form persisted until today.A new type of literacy is replacing the text and visual art teachers are poised to be at the forefront for teaching this type of literacy.Click to next slide (Kevin Kelly quote).*RFL purchased permission from iStockPhoto to use these images of Steve Jobs in non-commercial/editorial/educational presentations such as this one. The Gutenberg bible image is in the public domain and was also sourced legally from Wikimedia Commons at
  • Read quote.Kevin Kelly is a senior editor at Wired magazine, a publication known for having its finger on the pulse of emerging trends in technology and popular culture.Kelly, K. (2008, November 23). Becoming Screen Literate: How the moving image is upending the printed word. The New York Times Magazine, 48-57.
  • Arts educators hold the keys to many of these problems. You are in a unique position.Several key factors.1. Media are converging….barriers are breaking down. Means of production for media have shifted to everyday computer user.The lines between media are dissolving. The web and new media are driving this. Think about a publication like the New York Times. No longer simply a print newspaper, now it offers video content, interactive blogs and commenting by readers, curricular materials such as Project Share, as well as things such as posters of famous photographs, books of famous events, and other visual assets that permeate our culture. That is just one brand!2. Participatory culture is on the rise.Digital communication touches everyone from corporations to individuals.It is the future of communication and commerce.The arts are to digital communication what grammar and spelling are to the written word.3. Design-thinking is driving businesses.Businesses that harness the power of design outpace their competitors.Daniel Pink: Abundance, Asia, and Automation4. Media and technologies are rapidly converging.Design Council org Design Index “Age of Aesthetics” is here, complete with increasing and intensifying sensory appeals. (use toilet brush example)Postrel, V. (2003). The substance of style. (pp. 1-4New York: HarperCollins Publishers.
  • These four external trends offer up an unprecedented opportunity for arts educators.
  • Students Need These Skills to ThriveSkills in creativity have slowly been declining for the past two decades. A recent study by the Conference Board reports that employers rate creativity and innovation among the top five important skills for workers and believe that the most essential skills for demonstrating creativity are the ability to identify new patterns of behavior or new combinations of actions and integrate knowledge across different disciplines. The same employers rank arts study as the second most important indicator of a potential creative worker, second only to a track record in entrepreneurship (Lichtenberg et al., 2008).Top CEOs consistently rank these skills as the “#1 leadership competency” of the future.This is due to creativity’s role in helping leaders sort through the ever growing complexity in the business world.For example, Frank Rose, a media editor for Wired, writes about the daunting amount of information the world population is producing in his new book, The Art of Immersion. Rose cites a UC Berkley study that found in 2002, the world produced “5 exabytes of information on print, film, tape, and hard drives.”An exabyte is a billion billion bytes. So 5 billion, billion bytes. Rose does the math: this is equivalent to half-a million copies of the Library of Congress print collection. Or, put another way, a Library of Congress print collection produced every 57 seconds. That was in 2002. We can imagine this rate has increased exponentially.Sources:, F. (2011). The Art of Immersion. W.W. Norton: New York. Pp 110-111.
  • Last year’s IBM 2010 Global CEO survey found that CEOs in 60 countries believe creativity is the most important leadership quality and that creativity helps employees capitalize on complexity (IBM, 2010). For the study, IBM researchers interviewed 1,500 CEOs across a wide spectrum of industry sectors in 60 countries and 33 industries. Repeatedly, CEOs defined creativity as the “#1 leadership competency” and saw it as an essential “leadership style” that needs to be cultivated in today’s students.The survey was conducted via 1,500 face-to-face interviews with CEOs and other leaders. According to IBM CEO Samuel Palmisano in his letter at the front of the report, CEO’s report the following:“The world’s private and public sector leaders believe that a rapidescalation of “complexity” is the biggest challenge confronting them.They expect it to continue — indeed, to accelerate — in the coming years.They are equally clear that their enterprises today are not equipped tocope effectively with this complexity in the global environment.Finally, they identify “creativity” as the single most important leadershipcompetency for enterprises seeking a path through this complexity.”
  • Discover The first quarter of the double diamond model marks the start of the project. This begins with an initial idea or inspiration, often sourced from a discovery phase in which user needs are identified. These include: — Market research — User research — Managing information — Design research groups. Define The second quarter of the double diamond model represents the definition stage, in which interpretation and alignment of these needs to business objectives is achieved. Key activities during the Define stage are: — Project development — Project management — Project sign-off. Develop The third quarter marks a period of development where design-led solutions are developed, iterated and tested within the company. Key activities and objectives during the Develop stage are: — Multi-disciplinary working — Visual management — Development methods — Testing. Deliver The final quarter of the double diamond model represents the delivery stage, where the resulting product or service is finalised and launched in the relevant market. The key activities and objectives during this stage are: — Final testing, approval and launch — Targets, evaluation and feedback loops Design Council (2007). Eleven lessons: managing design in eleven global brands A study of the design process. Retrieved June 13 from
  • Many of them are already coming to the classroom with skills in navigating digital media. For instance, take a look at this video from YouTube of a 9 month old who is trying to use a magazine like an iPad. For her, the magazine is broken. Think about this level of interactivity and engagement. Students are coming into school expecting immersive interactive experiences. It is up to us to provide them with experiences that help them forge meaningful paths through the complex world they will face. 9month old2 year old works iPad perfect. (cbs version)
  • The course must teach students how toReflect and evaluateOffer feedback and criticismThink conceptuallyWork as a team and in various rolesCreate meaningful projects of value to them and their communities
  • PEIMS32 weeks12 lessons, 4 modules, 3 per moduleArt and Media Communications IIARMECOM2PEIMS N11701451
  • Art II TEKS “Students rely on their perceptions of the environment, developed through increasing visual awareness and sensitivity to surroundings, memory, imagination, and life experiences, as a source for creating artworks.Perception A “interpret visual parallels between the structures of natural and human-made environments.
  • Note participatory culture when you look at these modules.
  • Guiding principle in course.
  • Processing activity.Jenkins – MacArthur report“Confronting the Challenges of Participatory Culture: Media Education for the 21st Century”Play: the capacity to experiment with one’s surroundings as a form of problem-solving.Simulation: the ability to interpret and construct dynamic models of real world processes.Performance: the ability to adopt alternative identities for the purpose of improvisation and discovery.Appropriation: the ability to meaningfully sample and remix media content.Multi-tasking: the ability to scan one’s environment and shift focus onto salient details on an ad hoc basis.Distributed Cognition: the ability to interact meaningfully with tools that expand our mental capacities.Collective Intelligence: the ability to pool knowledge and compare notes with others towards a common goal.Judgment: the ability to evaluate the reliability and credibility of different information sources.Transmedia Navigation: the ability to deal with the flow of stories and information across multiple modalities.Networking: the ability to search for, synthesize, and disseminate information.Negotiation: the ability to travel across diverse communities, discerning and respecting multiple perspectives, and grasping and following alternative sets of norms.
  • Viewed at a high level, the course moves students through three significant conceptual shifts over the course of the year. Students move from:Telling personal stories to telling collective storiesViewing art as a static object to art as evolving and interactiveWorking in two dimensions to working in three and four (i.e., 3-D + time) dimensions.
  • 10:20In Module 1, Exploring Personal Memory, students study how artists mine their environments for emotional pointers to memories and how they create personal expressions by encoding these images and objects through symbol and metaphor.
  • Read descriptions from document.
  • Activity. 45 minutes total up through lunch.
  • Start: 10:30Presentations 11:20Through lunch at 11:30-11:45.FLOWDavid SherwinCreative Brainstorming and working together.
  • 12:15Transmedia storytelling. Applications submitted to TEA in November
  • According to Henry Jenkins in Transmedia Storytelling 101:“Transmedia storytelling represents a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience.”Transmedia stories are “based not on individual characters or specific plots, but rather complex fictional worlds which can sustain multiple interrelated characters and their stories.” Encyclopedic world building.Multiple points of entry.Satellite stories can exist on their own and can also bring richer understandings to the story on the core channel.Strong collaboration is required.
  • Engage the class in a discussion to elicit prior knowledge and clarify the basic elements of story such as exposition, plot, setting, character, rising action, falling action, climax, and resolution or denouement.
  • Good processing point --- stop and ask where might find? Examples?
  • According to the New Oxford American Dictionary, a multiverse is defined as “an infinite realm of being or potential being of which the universe is regarded as a part or instance.” In other words, in a multiverse, multiple realities involving the same objects or circumstances can exist at the same time. The idea of the multiverse is useful for thinking about how to create stories using our art installation as a point of departure.  Look at the installation itself if it is currently installed, or, if not, review photographs, video, sketches, and process documents. Imagine you were out walking somewhere and suddenly stumbled across the piece, completely out of context, not knowing anything about it. Where did it come from? Why does it exist? Who made it? How might it be a portion of a larger world (or how might it be from another world)? What characters might live in this world? What different stories might someone who sees the installation from a hostile perspective tell versus the story told by a benevolent or peaceful representative?
  • Group practice using art objects (scultpture and installation) to build the multiverse in terms of story.Practice [Easter Island heads maoi]Or OrlyGenger Grosse
  • 12:35 Allow 40 min work time – 1:15 (5 min presentations --- 20 min)Presentations at 1:15 – 1:35Each group will be assigned to one media format and will create a poster depicting the work. If zines, show some illustrations and tell the story. If video, some storyboards, script, story. If game, some levels, rules and objectives. Handouts will be on each table representing the constraints.
  • 1:35Student-centered lessons use 7E (updated 5E) design framework.
  • 5 minutes with partner at table analyze lesson 1:40
  • 1:45
  • 1:50When we piloted the first course in the series, Art and Media Communications 1, we also conducted a formative evaluation of the field test to gather data to inform continued development and improvement of the curriculum and implementation guidelines and to shape the development of the additional courses in the series of which music was next in line. Some key findings from the evaluation were as follows:The course provides meaningful learning opportunities for students and a solid introduction to the full spectrum of 21st century skills. The curriculum guides students to examine a host of personal, social, and cultural big ideas and to practice higher order thinking and collaboration skills as well as art-related hand skills and technical skills. It also introduces career paths in marketing, communications, and digital media and a range of contemporary workplace skills. Teachers participating in the pilot benefitted from teaching this course. Despite a big learning curve, teachers reported that they gained new skills and understanding of their own and other disciplines and were exposed to new pedagogical techniques that will change their teaching practice. Teachers gained important practical experience leading project-based instruction, orienting instruction to smaller, collaborative groups, and shifting from teacher-directed to student-directed learning. Students were engaged and interested in the course. The creative focus, the opportunity to use a range of technologies, and the practical skills gained were of great value to student participants. Students were pleased and surprised at the extent of what they were able to do, and their self-esteem was particularly bolstered when they created meaningful artworks that were recognized by others.  Students reported improved communications skills and had highly positive reactions to the framework of collaboration built into the curriculum. The collaborative nature of course activities was highly appreciated by students. All participants reported that student/student and student/teacher interactions were positive and helpful and focused on the work. High levels of communication and teamwork were cited by students as a key benefit of the course. Challengesidentifying specific teacher technology training and preparation time needsneed for additional support/training to master course-related pedagogical techniquesteacher support in classroom management/strategies for working with at-risk studentsschool practices, such as regularly pulling students out of electives for tutoring, and enrollment realities that impact course fidelity
  • 1:50Some of the practical considerations we gleaned from the pilot and evaluation included the following.--get with district folks in advance for policy for accessing web resources and posting content internally and externally--work with technology staff to download software on computers and test it in advance--work through all tutorials, and lessons in advance technology-based steps (such as downloading saving files)--create weblists--review general social media practices an cyber bullying resources to prepare in advance guidelines for students in using/commenting on blogs, etc., including--group work, collaborative approaches
  • Art classroom with standard supplies and equipmentDigital cameras still and videoLED projectorInternet connection (high speed connection preferred)Computers at least one for every three students and one for the teacherColor inkjet printer
  • Here is the big picture. The Texas Cultural Trust is working with educators to develop similar courses in the fine arts teaching digital literacy. This year we are beginning the music course as well as completing the AMC II course. The following years we will be developing Theatre and Dance courses.
  • Our contact information.
  • End with Martha quote.Each of you offers a unique expression. Your students each offer unique expressions. Art and Media II is about celebrating and synthesizing these expressions. Go forth and make your mark!
  • Art and Media Communications II

    1. 1. Welcome to the Post-Summit! • How have you used technology to tell a story? • What do you hope to learn in this session?
    2. 2. “Technology is the campfire around which we tell our stories.” −Laurie Anderson
    3. 3. 10:00-10:20 Introduction & Background 10:20-10:30 First Semester Overview 10:30-11:30 Activity: Installation 11:30-12:00 Lunch 12:00-12:10 Intro. to Transmedia Storytelling 12:10-12:20 Second Semester Overview 12:20-1:20 Activity: Transmedia Storytelling 1:20-1:30 7E Lesson Framework Analysis 1:30-1:40 Implications for the Classroom 1:40-2:00 Resources, Questions & Closing
    4. 4. “We are now in the middle of a second Gutenberg shift  from book fluency to screen fluency, from literacy to visuality.” - Kevin Kelly, Senior Editor of WIRED
    5. 5. • Media are converging • Participatory culture is on the rise • Design thinking is beginning to drive businesses • Screens are replacing texts as primary tools of communication An Unprecedented Opportunity
    6. 6. IBM 2010 Global CEO Survey 1,500 leaders 60 countries Creativity is the #1 leadership competency for the future.
    7. 7. Creative Problem Solving
    8. 8. Teaching Digital Natives
    9. 9. Innovative Course Description • TEA-Approved Innovative Course • Available 2012-2013 School Year • PEIMS #N1170145 Abbreviation: ARMECOM2 • State Elective Credit: 1
    10. 10. Texas Policy Support: Standards Texas Essential Knowledge and Skills for Fine Arts Texas Essential Knowledge and Skills for Technology Applications Texas College and Career Readiness Standards
    11. 11. Essential Knowledge and Skills 1. Perception & Information Acquisition 2. Creative Expression & Communication 3. Historical/Cultural Studies 4. Response, Evaluation, and Media Literacy 5. Problem Solving 6. Participatory Culture
    12. 12. Scaffolding & Alignment 1. Visual Culture & Identity 2. Imagination & Ideas 3. Collaboration & Communication 4. Social Relevance & Community 1. Exploring Personal Memory 2. Imagining New Worlds 3. Creating Immersive Stories 4. Feeding Collective Intelligence AMC I AMC II
    13. 13. “Participatory culture shifts the focus of literacy from one of individual expression to community involvement.” − Henry Jenkins
    14. 14. Core Media Literacy Skills • Play • Performance • Simulation • Appropriation • Multitasking • Distributed Cognition • Collective Intelligence • Judgment • Transmedia Navigation • Networking • Negotiation
    15. 15. Conceptual Framework with Core Literacy Skills
    16. 16. AMC II Progression
    17. 17. Module 1: Exploring Personal Memory
    18. 18. Module 1: Exploring Personal Memory • Lesson 1: Shadowboxing • Lesson 2: Shadowbox Scenes • Lesson 3: Hidden Worlds and Secret Lives
    19. 19. Module 2: Imagining New Worlds
    20. 20. Module 2: Imagining New Worlds • Lesson 1: Altered Environments and World Building • Lesson 2: Idea Lab – Group Installation Brainstorm • Lesson 3: Site-Specific Installation
    21. 21. “The artist’s world is limitless. It can be found anywhere, far from where he lives or a few feet away. It is always on his doorstep.” −Paul Strand, American photographer and filmmaker
    22. 22. Activity: Site-Specific Installation Task: Alter this environment using materials & responding to word on index card at your table. 5 min 5 min 15 min 15 min Brainstorm Concept Sketch, Negotiate, Distribute Workload Build & Create Art Evaluate and modify, finalize building Timeboxing – Short sprints to reach “impossible” goals Brainstorming & creative production technique based on work of Mihaly Csikszentmihalyi (Flow)
    23. 23. What is transmedia storytelling? • Complex worlds • Multiple entry points • Multiple media formats
    24. 24. Basic Structures of a Story • Exposition – where a story starts • Plot • Setting • Character • Rising Action • Falling Action • Climax • Resolution or denouement
    25. 25. Freytag’s Pyramid: The Story Arc
    26. 26. Written Texts, Printed Media, Film/Video Games, Hypertext and Online Media Linear vs. Non-linear stories
    27. 27. Creating the Multiverse a multiverse is defined as “an infinite realm of being or potential being of which the universe is regarded as a part or instance.”
    28. 28. Module 3: Creating Immersive Stories
    29. 29. Module 3: Creating Immersive Stories • Lesson 1: Introduction to Transmedia Storytelling – Creating the Multiverse • Lesson 2: Telling Digital Stories Through Video • Lesson 3: Online Blogs & Cultivating Fan Fiction
    30. 30. Module 4: Feeding Collective Intelligence
    31. 31. • Lesson 1: Interactive Stories and Game Designs • Lesson 2: The “Happening” • Lesson 3: Reflections – Digital Portfolio Assembly Module 4: Feeding Collective Intelligence
    32. 32. Activity: Transmedia Storytelling • Create a poster to represent and “pitch” your story as if to a producer. • Build off of our installation in some way. • Each group will have 5 minutes to engage us with their story. • Your media and constraints will vary by group. • Brainstorm, collaborate, negotiate, share • Work quickly – 40 minutes to poster presentations
    33. 33. 7E Lesson Framework
    34. 34. 7E Lesson Analysis • Review the lesson handed to you in terms of the 7E framework. • With your partner, analyze how the lesson moves through the 7Es. • What are some differences you observe between this model and other visual arts lessons you have seen in the past? • What might be some of your predictions on how these changes impact the learning experience?
    35. 35. Implications for the Classroom • With a partner from a different group, discuss the process you used to generate your story ideas and think through how you might guide a group of students through the actual creation of these projects. • What modifications to your classroom or instruction might need to be made to help students be successful with lessons like these?
    36. 36. Lessons Learned continued • Work with tech staff in advance • Download, test, practice using software • Don’t forget the small stuff—where to save files • Create weblists in advance • Review best practices in social media • Don’t be afraid of loud and messy group work
    37. 37. Technology & Supplies • Art room & materials • Digital cameras (still and video) • LED projector • Internet connection • Computers • Color printer
    38. 38. Website:
    39. 39. Website:
    40. 40. The Big Picture
    41. 41. Questions?
    42. 42. Contact Information Texas Cultural Trust 823 Congress Ave., Suite 650 Austin, TX 78701 Amy Barbee, Executive Director Caroline Hammond, Project Manager
    43. 43. Resources for Learning 7035 Bee Cave Rd. #101 Austin, TX 78746 Linda Wurzbach, President Judy Jennings, Director of Assessment/Curriculum Amy Guadagnoli, Director of Creative Services Contact Information
    44. 44. Martha Graham quote. “There is a vitality, a life force, an energy, a quickening, that is translated through you into action, and because there is only one of you in all time, this expression is unique.” −Martha Graham