1. The document provides instructions for creating icons by starting with verbal definitions, finding examples to illustrate the definitions, and creating examples that show strong uses of terms.
2. It also discusses adding metaphors to the icon creation process by mind mapping yourself to find metaphors you are familiar with from your interests and experiences.
3. Tips are provided for using thumbnail sketches and applying concepts like EOA/POD to review and clarify understandings, as well as placing historical periods on continua to better understand relationships over time.
See->Sort->Sketch : Pen & Paper Tools to get from Research to Design : IA Sum...Kate Rutter
In the world of user experience, learning about your customers is key to making great stuff. But design research reports are dense and boring. Unlock the power of sketching and pen and paper tools to create research outputs that are vibrant, sticky and that reflect personality, human perspective and that move seamlessly into design.
IA Summit 2010 presentation
This powerpoint will look at the basic differences between concept maps, mind mapping, graphic organizers, and outlines ... all as a form of graphically representing mental schema. By Jesse Gentile
Process over product in Art Education: A Student Centered Approach to Making ArtChristine Miller
This presentation highlights how to create more flow in a students' art making process. Emphasizing process over product in art education creates a student centered approach. Different strategies and techniques are incorporated into the author's lesson plan format: Question Formulation Technique, Artful Thinking, Studio Thinking, Big Ideas, and the Spiral Workshop featuring ideas by Olivia Gude and others.
Essential Question Strategies and the Question Formulation TechniqueChristine Miller
Learning about the Question Formulation Technique in my graduate studies at Texas Woman’s University has been one of the most valuable additions to my teaching toolkit. This presentation has links to one of the developer’s TEDx talk as well as a video that was made in my classroom at the beginning of the year’s Sculpture I class. You can find out how I have the students return to the essential questions they generated for themselves throughout their creative process, from initial design to their end of project reflection. QFT is a powerful, easy and meaningful way to help our students be more engaged and in charge of their learning.
Understanding big ideas as basis for art curriculumLizlangdon
Starting with an explanation of Understanding by Design, this presentation emphasizes that art develops understandings of facets of knowledge that are not touched upon in other subject areas
See->Sort->Sketch : Pen & Paper Tools to get from Research to Design : IA Sum...Kate Rutter
In the world of user experience, learning about your customers is key to making great stuff. But design research reports are dense and boring. Unlock the power of sketching and pen and paper tools to create research outputs that are vibrant, sticky and that reflect personality, human perspective and that move seamlessly into design.
IA Summit 2010 presentation
This powerpoint will look at the basic differences between concept maps, mind mapping, graphic organizers, and outlines ... all as a form of graphically representing mental schema. By Jesse Gentile
Process over product in Art Education: A Student Centered Approach to Making ArtChristine Miller
This presentation highlights how to create more flow in a students' art making process. Emphasizing process over product in art education creates a student centered approach. Different strategies and techniques are incorporated into the author's lesson plan format: Question Formulation Technique, Artful Thinking, Studio Thinking, Big Ideas, and the Spiral Workshop featuring ideas by Olivia Gude and others.
Essential Question Strategies and the Question Formulation TechniqueChristine Miller
Learning about the Question Formulation Technique in my graduate studies at Texas Woman’s University has been one of the most valuable additions to my teaching toolkit. This presentation has links to one of the developer’s TEDx talk as well as a video that was made in my classroom at the beginning of the year’s Sculpture I class. You can find out how I have the students return to the essential questions they generated for themselves throughout their creative process, from initial design to their end of project reflection. QFT is a powerful, easy and meaningful way to help our students be more engaged and in charge of their learning.
Understanding big ideas as basis for art curriculumLizlangdon
Starting with an explanation of Understanding by Design, this presentation emphasizes that art develops understandings of facets of knowledge that are not touched upon in other subject areas
Art & Activity: Engaging Visual Literacy Skills & Prior Knowledge to Explore ...Kate Gukeisen
This activity, created for MoMA's Art & Activity MOOC, involves students in closely looking at artwork from Post World War I Germany, which they have studied in their world history class. The activity has students looking at artwork in three different group sizes to determine a central idea and to draw conclusions based on prior knowledge, discussion, and personal reflection. Students are engaged as investigating, recording, reporting, and reflecting throughout this activity.
The activity relies the following "big question" to frame investigation: Do you think the central idea of this work reflects what you have learned about Post World War I German society?
A detailed look at the elements of a preschool lesson plan that relies on the use of an art object as a focus of inquiry for a lesson in shape recognition. Created to go along with my final project for MoMA's MOOC Art & Inquiry, March 2014.
Workshop on Visual Thinking and Visual Literacy for the Independent School Association of British Columbia (Mulgrave School, Feb, 2015).
Bear in mind the videos won't play but thy are all located in our G+ community at
https://plus.google.com/u/0/communities/113762614515763343967
With the changing media landscape, our streams, memes, and zines have exploded with imagery, ushering in a need for visual literacy skills. We have some false beliefs about visual language - that it is equated with “art”, requiring “talent” from “creative types” - and therefore it is unfortunately often not overtly taught and practiced in schools. Technology has affected knowledge in such a way as to diminish the value of “raw” information and increase the value of sense-making, as well as chip away at attention spans, sparking a need for distillation of complex ideas. Images can essentialize the cumbersome in beautiful ways. They have a “stickiness” for the viewer and challenge the critical thinking of the creator.
Marguerite HelmersThe Elements of Critical ViewingMargueri.docxinfantsuk
Marguerite Helmers
The Elements of Critical Viewing
Marguerite Helmers (1961- ) is Professor of English at the University of Wisconsin, Oshkosh, where she teaches courses in Visual Rhetoric, The Rhetoric of Literature, and Film & Literary Studies. She has edited the two scholarly texts: Intertexts: Reading Pedagogy in College Writing Classrooms (2003) and The Traveling and Writing Self (2007). The following essay is adapted from Chapter Two of her book The Elements of Visual Analysis (2006).
A New Language
When you look at a family photograph, an image in an advertisement, or a poster on a coffee shop wall, what do you see? How might you turn your initial positive or negative reaction into a critical process of analysis? Critical viewing entails looking closely at an image to comprehend its structure and to evaluate the information presented. “What you see is a major part of what you know,” writes Donis Dondis, author of a popular visual studies handbook. Our goal is to move from being passive consumers of images to active interrogators. This takes study. Initially, if possible, we should think consensually and sympathetically, reading the image in the way that it appears to be intended to be read, avoiding critique until after we examine the elements of the image. This process involves a degree of intellectual largesse on our part, meaning that we grant to the author of the image our attempt to understand his or her judgments, even if we disagree. Thinking consensually is not always possible, especially when we view images of war, strife, and privation, because the images cause us to react with horror and outrage. Yet, our repulsion can be an agent for meaningful change as we seek to investigate the conditions under which images were created and disseminated.
Even though we begin by examining what the creator may have intended, we need to keep in mind that there is never a single interpretation of an image, so our goal is not to discover the right interpretation, but to offer potential readings of an image.
The goal of this chapter is to help you establish a process and develop a language for examining visual images. You not only want to describe what is there before you, you also want to understand why the creator made certain choices. Sylvan Barnett, the author of several texts on analyzing fine art, writes that we “see” with more than our eyes: when we look at objects and images, we engage emotions, memory, and ideology (the system of values and beliefs into which we have been educated).
Before continuing with your work, remember two things. First, to see images in their original contexts. While digital technology has made it possible for many art galleries, museums, and image lovers to put high-quality color images of paintings, photographs, and sculpture online, they all appear on the same small, flat screen. Missing is the context of viewing: the hushed tones of the art museum or the buzz of the coffee house. The ambient no ...
This is a transcription of the Business901 Podcast, An Inquiry into the Meaning of Making. Seung Chan Lim, nicknamed Slim discusses his journey and finally his project, Realizing Empathy. Through this project Slim hopes to share ideas, tools, and other ways to facilitate a meaningful, sustainable, and constructive conversations between and among diverse perspectives whether that’s between people or between people and materials or between people and machines by using “making” as the shared metaphor.
Purpose and Learning ObjectivesIn this assignment, you shoul.docxdenneymargareta
Purpose and Learning Objectives
In this assignment, you should practice writing using the writing process and developing a well-constructed analysis essay in formal register. The essay should show how an analysis of the visual components of an image leads to a better understanding of the image.
Process for Completion
The first step in this process will be to choose an image. Browse the images available through the Gordon Parks Foundation Archives. The link is available near the end of Unit 3. Choose an image that you find engaging and that you feel offers ample opportunity for analysis. Some images are interesting, but they’re difficult to talk about. The image you choose will be the subject of your essay.
After you have chosen your image, you should engage in some prewriting activities using the ideas and terms presented in Unit 4. First, take stock of your initial reactions to the image. What emotions did you feel as you first looked at the photograph? What aspects about the image lead viewers to react a certain way?
Before you begin writing, you will want to perform some research. This assignment requires at least one source (print or web). If you're choosing an image about the Civil Rights Movement, you might want to research the movement. If you're choosing an image about Flavio in Rio de Janeiro, you might want to research how Gordon Parks met Flavio. You're welcome to use more than one source, but be sure to keep track of the information you gain from your source so that you can cite the source appropriately.
Next, analyze the image by looking closely at the content, framing, composition, focus, color, lighting and context. What interesting or unique features do you notice about the image? What is the cultural or historical context of the image? You should record all of these activities. Some of them will become important pieces of your final draft.
Next, it will be time to find your focus and begin generating a working thesis statement. For this assignment, your thesis will make a claim about the
meaning
of the image. In other words, what message does the image communicate? Remember, every image tells a story and an image may tell a different story depending on who is looking. Once you have decided what idea or story the image communicates to you, you will need to explain how content, framing, focus, color, angle and lighting come together to create that story or convey meaning. Your thesis will be more specific if you show which visual elements your essay discusses and what they do to create meaning. So, an example thesis might be something like this: “Through content, framing, and angle, the image demonstrates how segregation affected not only adults but also the children of black families in the South.”
After completing ...
Art & Activity: Engaging Visual Literacy Skills & Prior Knowledge to Explore ...Kate Gukeisen
This activity, created for MoMA's Art & Activity MOOC, involves students in closely looking at artwork from Post World War I Germany, which they have studied in their world history class. The activity has students looking at artwork in three different group sizes to determine a central idea and to draw conclusions based on prior knowledge, discussion, and personal reflection. Students are engaged as investigating, recording, reporting, and reflecting throughout this activity.
The activity relies the following "big question" to frame investigation: Do you think the central idea of this work reflects what you have learned about Post World War I German society?
A detailed look at the elements of a preschool lesson plan that relies on the use of an art object as a focus of inquiry for a lesson in shape recognition. Created to go along with my final project for MoMA's MOOC Art & Inquiry, March 2014.
Workshop on Visual Thinking and Visual Literacy for the Independent School Association of British Columbia (Mulgrave School, Feb, 2015).
Bear in mind the videos won't play but thy are all located in our G+ community at
https://plus.google.com/u/0/communities/113762614515763343967
With the changing media landscape, our streams, memes, and zines have exploded with imagery, ushering in a need for visual literacy skills. We have some false beliefs about visual language - that it is equated with “art”, requiring “talent” from “creative types” - and therefore it is unfortunately often not overtly taught and practiced in schools. Technology has affected knowledge in such a way as to diminish the value of “raw” information and increase the value of sense-making, as well as chip away at attention spans, sparking a need for distillation of complex ideas. Images can essentialize the cumbersome in beautiful ways. They have a “stickiness” for the viewer and challenge the critical thinking of the creator.
Marguerite HelmersThe Elements of Critical ViewingMargueri.docxinfantsuk
Marguerite Helmers
The Elements of Critical Viewing
Marguerite Helmers (1961- ) is Professor of English at the University of Wisconsin, Oshkosh, where she teaches courses in Visual Rhetoric, The Rhetoric of Literature, and Film & Literary Studies. She has edited the two scholarly texts: Intertexts: Reading Pedagogy in College Writing Classrooms (2003) and The Traveling and Writing Self (2007). The following essay is adapted from Chapter Two of her book The Elements of Visual Analysis (2006).
A New Language
When you look at a family photograph, an image in an advertisement, or a poster on a coffee shop wall, what do you see? How might you turn your initial positive or negative reaction into a critical process of analysis? Critical viewing entails looking closely at an image to comprehend its structure and to evaluate the information presented. “What you see is a major part of what you know,” writes Donis Dondis, author of a popular visual studies handbook. Our goal is to move from being passive consumers of images to active interrogators. This takes study. Initially, if possible, we should think consensually and sympathetically, reading the image in the way that it appears to be intended to be read, avoiding critique until after we examine the elements of the image. This process involves a degree of intellectual largesse on our part, meaning that we grant to the author of the image our attempt to understand his or her judgments, even if we disagree. Thinking consensually is not always possible, especially when we view images of war, strife, and privation, because the images cause us to react with horror and outrage. Yet, our repulsion can be an agent for meaningful change as we seek to investigate the conditions under which images were created and disseminated.
Even though we begin by examining what the creator may have intended, we need to keep in mind that there is never a single interpretation of an image, so our goal is not to discover the right interpretation, but to offer potential readings of an image.
The goal of this chapter is to help you establish a process and develop a language for examining visual images. You not only want to describe what is there before you, you also want to understand why the creator made certain choices. Sylvan Barnett, the author of several texts on analyzing fine art, writes that we “see” with more than our eyes: when we look at objects and images, we engage emotions, memory, and ideology (the system of values and beliefs into which we have been educated).
Before continuing with your work, remember two things. First, to see images in their original contexts. While digital technology has made it possible for many art galleries, museums, and image lovers to put high-quality color images of paintings, photographs, and sculpture online, they all appear on the same small, flat screen. Missing is the context of viewing: the hushed tones of the art museum or the buzz of the coffee house. The ambient no ...
This is a transcription of the Business901 Podcast, An Inquiry into the Meaning of Making. Seung Chan Lim, nicknamed Slim discusses his journey and finally his project, Realizing Empathy. Through this project Slim hopes to share ideas, tools, and other ways to facilitate a meaningful, sustainable, and constructive conversations between and among diverse perspectives whether that’s between people or between people and materials or between people and machines by using “making” as the shared metaphor.
Purpose and Learning ObjectivesIn this assignment, you shoul.docxdenneymargareta
Purpose and Learning Objectives
In this assignment, you should practice writing using the writing process and developing a well-constructed analysis essay in formal register. The essay should show how an analysis of the visual components of an image leads to a better understanding of the image.
Process for Completion
The first step in this process will be to choose an image. Browse the images available through the Gordon Parks Foundation Archives. The link is available near the end of Unit 3. Choose an image that you find engaging and that you feel offers ample opportunity for analysis. Some images are interesting, but they’re difficult to talk about. The image you choose will be the subject of your essay.
After you have chosen your image, you should engage in some prewriting activities using the ideas and terms presented in Unit 4. First, take stock of your initial reactions to the image. What emotions did you feel as you first looked at the photograph? What aspects about the image lead viewers to react a certain way?
Before you begin writing, you will want to perform some research. This assignment requires at least one source (print or web). If you're choosing an image about the Civil Rights Movement, you might want to research the movement. If you're choosing an image about Flavio in Rio de Janeiro, you might want to research how Gordon Parks met Flavio. You're welcome to use more than one source, but be sure to keep track of the information you gain from your source so that you can cite the source appropriately.
Next, analyze the image by looking closely at the content, framing, composition, focus, color, lighting and context. What interesting or unique features do you notice about the image? What is the cultural or historical context of the image? You should record all of these activities. Some of them will become important pieces of your final draft.
Next, it will be time to find your focus and begin generating a working thesis statement. For this assignment, your thesis will make a claim about the
meaning
of the image. In other words, what message does the image communicate? Remember, every image tells a story and an image may tell a different story depending on who is looking. Once you have decided what idea or story the image communicates to you, you will need to explain how content, framing, focus, color, angle and lighting come together to create that story or convey meaning. Your thesis will be more specific if you show which visual elements your essay discusses and what they do to create meaning. So, an example thesis might be something like this: “Through content, framing, and angle, the image demonstrates how segregation affected not only adults but also the children of black families in the South.”
After completing ...
FIN 340 Useful Excel Functions for Capital.docxssuser454af01
FIN
340
Useful
Excel
Functions
for
Capital
Budgeting
Net
Present
Value
=NPV(rate,
value1,
value2,
…..)
This
function
does
not
account
for
the
initial
investment,
so
that
must
be
accounted
for
separately.
The
function
assumes
that
‘value1’
represents
the
cash
flow
in
year
1.
Rate
represents
the
cost
of
capital.
Internal
Rate
of
Return
=IRR(values,
guess)
This
function
assumes
that
the
first
cash
flow
occurs
in
year
0,
thus
the
first
value
you
enter
represents
the
initial
investment.
You
can
enter
in
a
guess
for
the
IRR,
but
this
is
not
necessary.
Profitability
Index
There
is
no
separate
Excel
function
for
the
PI.
However,
we
can
use
the
NPV
function
instead
to
calculate
the
PV(cash
inflows)
and
then
divide
that
by
the
initial
investment.
Additional
Useful
Function
=IF(logical
test,
value_if_true,
value_if_false)
The
=IF
function
can
be
useful
to
determine
whether
a
particular
project
value
results
in
an
accept
or
reject
decision
for
the
project.
The
logical
test
would
be,
for
example,
NPV
>
0
for
a
project.
If
this
were
true,
then
the
next
term
in
the
function
would
indicate
what
happens
if
the
test
is
true,
and
the
last
term
in
the
function
would
indicate
what
happens
if
the
test
is
false.
Generic
example:
In
cell
A6,
you
enter
in
a
value
between
-‐100
and
100.
In
cell
A7,
you
have
the
following
=IF
statement:
=IF(A6
>
0,
“Positive
or
Zero”,
“Negative”)
If
the
value
entered
in
cell
A6
is
less
than
zero,
then
you
will
find
“Negative”
in
cell
A7.
Otherwise
you
will
find
“Positive
or
Zero”
in
cell
A7.
=ABS(value)
The
=ABS
function
returns
the
absolute
value
of
the
referenced
cell.
Great
Reference
Sheet
for
Basic
Excel
Functions:
http://www.customguide.com/cheat_sheets/excel-‐2013-‐quick-‐reference.pdf
Review the Symposium Presentation sample here: https://prezi.com/ktwtsikgzvqb/are-fairytales-racist/?utm_campaign=share&utm_medium=copy (Links to an external site.) and think about it in terms of how you might wish to create your own Symposium Presentation. What ideas does your primar ...
Artifact Analysis WorksheetAn artifact is something made by a hu.docxrossskuddershamus
Artifact Analysis Worksheet
An artifact is something made by a human.
It can be a form of art or a form of self-expression that has meaning to you. It can be anything that a human conceived of as art and deliberately crafted.
For this assignment, you are being asked to share your artifact with your classmates. Please consider this as you select your artifact by choosing something you are comfortable sharing and avoiding potentially offensive material.
In the Learning Resources area, there is also a document on “reading” images and text. It includes many questions which can guide deeper analysis of your artifact.
Share your artifact or a link to your artifact in the space below.
Include a description of the artifact and include research on the background of the artifact. For example, information about the artist involved.
*** Make sure to cite your sources by including a list of any outsides sources of information you are using to answer this question. Remember, research is always a good thing as it shows effort.
What does this artifact mean to you? Please explain.
To explore this, consider these additional questions:
How has it inspired or moved you? Has this artifact helped make your life or the life of others better? How does it connect to your life or to the educational journey you are starting along with your classmates?
Many people have artifacts displayed in their home; for example, a certain painting on their wall. In a way, we’ll be creating a virtual gallery of artifacts by sharing our choices as a class in the Class DocSharing area.
How does your artifact fit into our class gallery? How do you think your artifact communicates your life perspective to the class? How do you think others will interpret your choice of artifact?
Discuss in your own words, how technology has changed human art making and human art sharing. How do you, or could you, use technology in making your own art?
You will submit your completed worksheet as your Week 2 Assignment using the link at the bottom of the assignment page in the classroom.
Additionally, for Week 3, you will post your artifact in the DocSharing area. You will find instructions about how to do this on the next page. Only post the artifact, not the completed worksheet.
Again, you need to do both of these:
Submit for Week 2 AND post to DocSharing for Week 3.
As stated above, you will be asked to share your artifact in the Class DocSharing area to use for the Week 3 Assignment 1.
To do this, click on the DocSharing link in the left-hand navigational window (red arrow below):
Then, click on the Class DocSharing area to enter this space.
From here, you will click “Create Blog Entry” on the top towards to the left:
Then fill in the appropriate information and hit Post Entry at the bottom right.
(Please do NOT post your entire worksheet- post only your artifact)
You should now see your entry. Sometimes a larger link or file will take a little longer to upload..
The Senior Literacy Writing Handbook 1 is a workbook for students undertaking Units 1&2 VM Literacy or VPC Literacy. This workbook is filled with a huge range of every day texts with different purposes – from workplace texts, social media posts and online campaigns through to pamphlets and street side posters. Accompanying activities will guide students to explore, evaluate and respond to the different purposes, features and issues within the texts through prior knowledge activities, note taking, writing, speaking and research activities. Students will also be scaffolded to develop their own ideas and create their own versions of texts they study throughout the workbook.
6The Key to a Mental Map for Exploring the LiteratureKeyworomeliadoan
6
The Key to a Mental Map for Exploring the Literature
Keywords
assumptions; concepts; ideologies; mental map; metaphors; models; perspectives; theories
In
Part Two
, we further develop the ideas from
Part One
by demonstrating how to critically analyse texts in greater depth. As you embark on reading a range of literature using the Critical Synopsis Questions in
Part One
, you will probably identify a small number of texts as being particularly central for your topic. These are the texts with the greatest potential to inform your thinking and your subsequent writing. So it will be a good investment of time to scrutinize these texts in greater depth. Doing so successfully and efficiently requires a refined grasp of how academic enquiry works and a more extensive array of questions to guide your critical engagement.
To help you sharpen your in-depth critical analysis skills, we show you how to develop a
mental map
that can guide your thinking as you explore the social world. The map will enable you to find patterns in the ways that authors discuss their topics and in how they develop their argument in trying to convince their target audience. For many of our illustrations, we draw on the abridged version of the journal article by Wallace (2001) in
Appendix 2
.
The present chapter introduces the mental map, which consists of a key and four components, by exploring the key in detail.
Chapter 7
discusses the first component: the detailed warranting of arguments. We pay special attention to checking how well the claims made in the conclusion of an argument are matched by the warranting employed to try and make them convincing.
Chapter 8
sets out the three other components in turn: the main kinds of knowledge that authors may claim to have, the types of literature they produce and their ‘intellectual projects’ or reasons for studying the social world. We show how, in principle, they can be used to inform an analysis. Then, in
Chapter 9
, the mental map is put to work on a real example. We use it in demonstrating a structured approach to the Critical Analysis of Wallace’s article, inviting you to try it out for yourself. In
Chapter 10
, we provide our own completed Critical Analysis of this article as an illustration. It includes an accompanying commentary explaining our reasons for each step we have taken. Finally, in
Chapter 11
, we begin by exploring how a Critical Analysis of this kind can be used as the platform for writing a Critical Review of a particular text. By way of illustration, we offer our own Critical Review of Wallace’s article, drawing on the earlier Critical Analysis. Thus, we mirror, with an in-depth analysis, the procedures we illustrated in
Part One
using the five Critical Synopsis Questions to create a less-detailed Critical Summary. As in
Part One
, the approach that we first describe and illustrate for one text can be expanded to cover multiple texts. We end the chapter with structured advice on how to ...
Visual Thinking Across the Curriculum: Whistler Conference 2017
009 mind maps and big ideas
1.
2.
3.
4.
5.
6.
7.
8.
9. How to come up with icons
Coming up with icons is easier to explain from the point of
view from the EOAPOD vocabulary process. First, we start
with verbal definitions. We have all done vocabulary
lessons from the very early grades. We start with a
definition and draw our first understanding by making the
written definition into a visual definition. Next, we find an
example and illustrate it. This shows that we can identify
the vocabulary outside of the context of the lesson. Third,
we find an example of the vocabulary word in action.
After doing these first steps we then create an example that
shows the strongest use of that term and draw that. Hey,
you have an icon!
Icons should contain cultural and historical information. This
means that when you look at them they should work just
like an icon on the computer, they should trigger the
memory of what you have learned
10.
11.
12.
13. Adding Metaphor
Next you have to add metaphors to the process. One
thing that can help you figure out your favorite
metaphors is to do a mind map about yourself. To do
this, create a bubble in the center of the paper. Then
draw lines radiating from that center bubble to the main
things in your life, home, activities, hobbies,
entertainment, things you like to do and so on. When
you map yourself out like this, you will probably see
things that you like that can serve as a metaphor they
will be things you know well because you like them, for
example, comic books! A good metaphor is one that
you like and that also creates relationships between
the vocabulary words.
Often, the first assignment we did on identity does this as
well. So, look at your Ashley Bickerton portraits for
ideas.
14.
15. Big ideas are ideas that help us understand multiple phenomena (different things) as
part of a general trend. These can be kinda complicated so I like to break them down
as continua between opposites. As the saying goes, most things in life are neither
black or white but shades of gray. So check these out and see if they help.
Abstract----------------------------------------------------Naturalistic : Realism
Religious---------------------------------------------------Secular : Religion
Emotive/Metaphoric/Symbolic------------------------Narrative : Story
Emotive----------------------------------------------------Logical : Kind of Message
Abstract----------------------------------------------------Narrative : Interpretation
Ideal Forms/archetypes---------------------------------Commodity : Intention
Concept----------------------------------------------------Commodity : Intention
Intention---------------------------------------------------Interpretation : Failure of Language
Cooperation-----------------------------------------------Competition : Interrelationships
Peace-------------------------------------------------------WAR : Cooperation or conflict
Cultures----------------------------------------------------Artists (by name): Orientation to society
War Heroes-----------------------------------------------Tyranny :Heroes Journey
Tradition-------------------------------------------------Innovation : rate of change/progress
Appeal---------------------------------------------------Threat : Propaganda
Do this ------------------------------------------------- Don't do that : Persuasive Propaganda
This happened-----------------------------------Happened this way : History Painting Prop.
Other Big Ideas: Understanding of an art work is a process. Art is a verb. Art grows in
understanding with outside information but can lead to inaccurate conclusions. Is there
bad art? Is art whatever you want it to be? Can art be understood without outside
information? Is Visual Thinking a different kind of thinking or just another “translation?”
16. Hints
Use thumbnails to be more specific and to be doing
more -- as opposed to less -- thinking in visual terms.
Use EOA/POD to review and clarify your
understandings by applying them to the art and why
they are placed where they are along the continua. In
order to really understand what is going on, place all
the periods we studied on each of these continua
(timeline mind map), but start with a big sheet of paper
and/or small print. The Big Ideas are hard. You don't
have to do x and y axis. So just rearrange the
historical information on one left to right or top to
bottom axis. If you can do both, well then you are truly
an impressive thinker!!!!!
I have a hard time doing this. I make two and then
combine them. Not all of them work together.
17. Other Big Idea themes and ideas: What is it like to be human in
different eras? What experiences are true for all times and what
are specific to a culture in place and time? How does the
external appearence of a time period look and how did it feel,
how would today look to future or past generations and is that
what it feels like to you? Is propaganda ever close to the truth
of a time? Is there any one truth in a time period? To what
degree does architecture influence behavior? What ideas can
be built into a design to effect the ways people act? Has
respect changed over time? Who gets respect in what periods
and why? Why are artists mostly anonymous at some time
periods and not at others? How come we know so much about
generals but less about artists?
18. Creating Big Idea Maps
Big Idea Maps divide the image frame into x (and y coordinates for
the daring!) coordinates like a time line or continua. They are
formed by taking a continua from the Big Ideas section (or those
of your own choosing) and setting the ideas on either side of the
page.
In the next example online software made possible by the new Web 2.0
Framework is shown by how it works and what it is. The x axis is
content that is
shared--------filtered
The y axis is
online application-------------social networking
So, the top left are widgets that share, the top right filters several sources
or online applications,
The bottom left is content sharing and the bottom right takes content and
shares it from several sources meaning databases and other sites.
Discourse in our world is becoming increasingly complex.
This is a powerful way to convey a lot of information with a comparatively
small amount of explanation.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29. How to come up with icons
Coming up with icons is easier to explain from the point of
view from the EOAPOD vocabulary process. First, we start
with verbal definitions. We have all done vocabulary
lessons from the very early grades. We start with a
definition and draw our first understanding by making the
written definition into a visual definition. Next, we find an
example and illustrate it. This shows that we can identify
the vocabulary outside of the context of the lesson. Third,
we find an example of the vocabulary word in action.
After doing these first steps we then create an example that
shows the strongest use of that term and draw that. Hey,
you have an icon!
Icons should contain cultural and historical information. This
means that when you look at them they should work just
like an icon on the computer, they should trigger the
memory of what you have learned 9
30.
31.
32.
33. Adding Metaphor
Next you have to add metaphors to the process. One
thing that can help you figure out your favorite
metaphors is to do a mind map about yourself. To do
this, create a bubble in the center of the paper. Then
draw lines radiating from that center bubble to the main
things in your life, home, activities, hobbies,
entertainment, things you like to do and so on. When
you map yourself out like this, you will probably see
things that you like that can serve as a metaphor they
will be things you know well because you like them, for
example, comic books! A good metaphor is one that
you like and that also creates relationships between
the vocabulary words.
Often, the first assignment we did on identity does this as
well. So, look at your Ashley Bickerton portraits for
ideas. 13
34.
35.
36. Hints
Use thumbnails to be more specific and to be doing
more -- as opposed to less -- thinking in visual terms.
Use EOA/POD to review and clarify your
understandings by applying them to the art and why
they are placed where they are along the continua. In
order to really understand what is going on, place all
the periods we studied on each of these continua
(timeline mind map), but start with a big sheet of paper
and/or small print. The Big Ideas are hard. You don't
have to do x and y axis. So just rearrange the
historical information on one left to right or top to
bottom axis. If you can do both, well then you are truly
an impressive thinker!!!!!
I have a hard time doing this. I make two and then 16
combine them. Not all of them work together.
37. Other Big Idea themes and ideas: What is it like to be human in
different eras? What experiences are true for all times and what
are specific to a culture in place and time? How does the
external appearence of a time period look and how did it feel,
how would today look to future or past generations and is that
what it feels like to you? Is propaganda ever close to the truth
of a time? Is there any one truth in a time period? To what
degree does architecture influence behavior? What ideas can
be built into a design to effect the ways people act? Has
respect changed over time? Who gets respect in what periods
and why? Why are artists mostly anonymous at some time
periods and not at others? How come we know so much about
generals but less about artists?
17
38. Creating Big Idea Maps
Big Idea Maps divide the image frame into x (and y coordinates for
the daring!) coordinates like a time line or continua. They are
formed by taking a continua from the Big Ideas section (or those
of your own choosing) and setting the ideas on either side of the
page.
In the next example online software made possible by the new Web 2.0
Framework is shown by how it works and what it is. The x axis is
content that is
shared--------filtered
The y axis is
online application-------------social networking
So, the top left are widgets that share, the top right filters several sources
or online applications,
The bottom left is content sharing and the bottom right takes content and
shares it from several sources meaning databases and other sites.
Discourse in our world is becoming increasingly complex.
This is a powerful way to convey a lot of information with a comparatively
small amount of explanation. 18