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- The document discusses developments in
Slideshow is a companion to Gardner's Art Through the Ages (Global) textbooks. Prepared for ART 102 at Montgomery County Community College. Jean Thobaben - Adjunct Innstructor.
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Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
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http://sandymillin.wordpress.com/iateflwebinar2024
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Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
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This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
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7. SEVENTEENTH-CENTURY EUROPE
Protestantism still dominated northern Europe, while in the south Roman Catholicism
remained strong after the Counter-Reformation. The Habsburg empire was now divided
into two parts, under separate rulers. [Map 23-01]
37. Pietro da Cortona THE GLORIFICATION OF THE PAPACY OF URBAN VIII
Ceiling in the Gran Salone, Palazzo Barberini, Rome. 1632–1639.
Fresco. Palazzo Barberini, Italy/Canali Photobank, Milan, Italy. [Fig. 23-14]
45. Jusepe de Ribera MARTYRDOM OF ST. BARTHOLOMEW
1634. Oil on canvas, 41-1/4" × 44-7/8" (1.05 × 1.14 m).
National Gallery of Art, Washington, DC. Rosenwald Collection (1950.14.744). Image
courtesy the National Gallery of Art, Washington. [Fig. 23-17]
47. Francisco de Zurbarán ST. SERAPION
1628. Oil on canvas, 47-1/2 × 40-3/4" (120.7 × 103.5 cm).
Wadsworth Atheneum, Hartford, Connecticut. Ella Gallup Sumner and Mary Catlin
Sumner Collection Fund. Wadsworth Atheneum, Photo: Allen Phillips. [Fig. 23-18]
49. Diego Velázquez WATER CARRIER OF SEVILLE
c. 1619. Oil on canvas, 41-1/2" × 31-1/2" (105.3 × 80 cm).
Victoria & Albert Museum, London. V&A Images/Victoria and Albert Museum. [Fig. 23-19]
64. Peter Paul Rubens RUBENS'S HOUSE
Italianate addition built 1610–1615. Looking toward the garden: house at left, studio at
right; house restored and opened as a museum in 1946. From an engraving of 1684.
Rijksmuseum, Amsterdam. [Fig. 23-25]
65. Peter Paul Rubens THE RAISING OF THE CROSS
Made for the church of St. Walpurga, Antwerp, Belgium. 1610-1611.
Oil on panel, center panel 15'1-7/8" × 11'1-1/2" (4.62 × 3.39 m),
each wing 15'1-7/8" × 4'11" (4.62 × 1.52 m).
Now in Cathedral of Our Lady, Antwerp. Onze Lieve Vrouwkerk, Antwerp Cathedral,
Belgium/Bridgeman Images. [Fig. 23-26]
76. Hendrick ter Brugghen ST. SEBASTIAN TENDED BY ST. IRENE
1625. Oil on canvas, 58-15/16" × 47-1/2" (149.6 × 120 cm).
Allen Memorial Art Museum, Oberlin College, Ohio. R.T. Miller Jr. Fund (1953.256).
Bridgeman Images. [Fig. 23-31]
82. Judith Leyster SELF-PORTRAIT
1635. Oil on canvas, 29-3/8" × 25-5/8" (74.6 × 65.1 cm).
National Gallery of Art, Washington, DC. Gift of Mr. and Mrs. Robert Woods Bliss
(1949.6.4). Image courtesy the National Gallery of Art, Washington. [Fig. 23-34]
86. Rembrandt van Rijn THE COMPANY OF CAPTAIN FRANS BANNING COCQ
(THE NIGHT WATCH)
1642. Oil on canvas, 11'11" × 14'4" (3.63 × 4.37 m) (cut down from the original size).
Rijksmuseum, Amsterdam. [Fig. 23-36]
92. Rembrandt van Rijn SELF-PORTRAIT
1658. Oil on canvas, 52-5/8" × 40-7/8" (133.6 × 103.8 cm).
The Frick Collection, New York. Henry Clay Frick Bequest. (1906.1.97).
Photo: Michael Bodycomb. [Fig. 23-39]
94. Johannes Vermeer VIEW OF DELFT
c. 1662. Oil on canvas, 38-1/2" × 46-1/4" (97.8 × 117.5 cm).
Royal Picture Gallery, Mauritshuis, The Hague. [Fig. 23-40]
96. Johannes Vermeer WOMAN HOLDING A BALANCE
c. 1664. Oil on canvas, 15-5/8" × 14" (39.7 × 35.5 cm).
National Gallery of Art, Washington, DC. Widener Collection (1942.9.97). Image courtesy
the National Gallery of Art, Washington. [Fig. 23-41]
98. Gerard ter Borch THE SUITOR'S VISIT
c. 1658. Oil on canvas, 32-1/2" × 29-5/8" (82.6 × 75.3 cm).
National Gallery of Art, Washington, DC. Andrew W. Mellon Collection. Image courtesy
the National Gallery of Art, Washington. [Fig. 23-42]
104. Jacob van Ruisdael VIEW OF HAARLEM FROM THE DUNES AT OVERVEEN
c. 1670. Oil on canvas, 22" × 24-1/4" (55.8 × 62.8 cm).
Royal Picture Gallery, Mauritshuis, The Hague. [Fig. 23-45]
106. Pieter Claesz STILL LIFE WITH TAZZA
1636. Oil on panel, 17-3/8" × 24" (44 × 61 cm).
Royal Cabinet of Paintings Mauritshuis, The Hague. [Fig. 23-46]
108. Rachel Ruysch FLOWER STILL LIFE
After 1700. Oil on canvas, 30" × 24" (76.2 × 61 cm).
The Toledo Museum of Art, Ohio. Purchased with funds from the Libbey Endowment.
Gift of Edward Drummond Libbey (1956.57). The Toledo Museum of Art, Toledo, Ohio
(1956.57) [Fig. 23-47]
110. Anna Maria Sibylla Merian PLATE 9 FROM THE METAMORPHOSIS OF THE INSECTS
OF SURINAM
1719. Hand-colored engraving, 18-7/8" × 13" (47.9 × 33 cm). Getty Research Institute,
Los Angeles (89-B10750) [Fig. 23-48]
122. Georges de La Tour MARY MAGDALEN WITH THE SMOKING FLAME
c. 1640. Oil on canvas, 46-1/4" × 36-1/8" (117 × 91.8 cm).
Los Angeles County Museum of Art. Gift of the Ahmanson Foundation (M. 77.73).
[Fig. 23-52]
130. Claude Lorrain A PASTORAL LANDSCAPE
c. 1648. Oil on copper, 15-1/2" × 21" (39.3 × 53.3 cm).
Yale University Art Gallery, New Haven, Connecticut. Leonard C. Hanna, Jr., B.A. 1913,
Fund (1959.47). Image courtesy Yale University Art Gallery. [Fig. 23-56]
135. INTERIOR, BANQUETING HOUSE, WHITEHALL PALACE
Ceiling paintings of the apotheosis of King James and the glorification of the Stuart
monarchy by Peter Paul Rubens. 1630–1635.
Historic Royal Palaces Enterprises Ltd. [Fig. 23-58]
SEVENTEENTH-CENTURY EUROPEProtestantism still dominated northern Europe, while in the south Roman Catholicism remained strong after the Counter-Reformation. The Habsburg empire was now divided into two parts, under separate rulers. [Map 23-01]
Pietro da Cortona THE GLORIFICATION OF THE PAPACY OF URBAN VIIICeiling in the Gran Salone, Palazzo Barberini, Rome. 1632–1639.Fresco. Palazzo Barberini, Italy/Canali Photobank, Milan, Italy. [Fig. 23-14]
Jusepe de Ribera MARTYRDOM OF ST. BARTHOLOMEW1634. Oil on canvas, 41-1/4" × 44-7/8" (1.05 × 1.14 m).National Gallery of Art, Washington, DC. Rosenwald Collection (1950.14.744). Image courtesy the National Gallery of Art, Washington. [Fig. 23-17]
Francisco de Zurbarán ST. SERAPION1628. Oil on canvas, 47-1/2 × 40-3/4" (120.7 × 103.5 cm).Wadsworth Atheneum, Hartford, Connecticut. Ella Gallup Sumner and Mary Catlin Sumner Collection Fund. Wadsworth Atheneum, Photo: Allen Phillips. [Fig. 23-18]
Diego Velázquez WATER CARRIER OF SEVILLEc. 1619. Oil on canvas, 41-1/2" × 31-1/2" (105.3 × 80 cm).Victoria & Albert Museum, London. V&A Images/Victoria and Albert Museum. [Fig. 23-19]
Peter Paul Rubens RUBENS'S HOUSEItalianate addition built 1610–1615. Looking toward the garden: house at left, studio at right; house restored and opened as a museum in 1946. From an engraving of 1684. Rijksmuseum, Amsterdam. [Fig. 23-25]
Peter Paul Rubens THE RAISING OF THE CROSSMade for the church of St. Walpurga, Antwerp, Belgium. 1610-1611.Oil on panel, center panel 15'1-7/8" × 11'1-1/2" (4.62 × 3.39 m),each wing 15'1-7/8" × 4'11" (4.62 × 1.52 m).Now in Cathedral of Our Lady, Antwerp. Onze Lieve Vrouwkerk, Antwerp Cathedral, Belgium/Bridgeman Images. [Fig. 23-26]
Hendrick ter Brugghen ST. SEBASTIAN TENDED BY ST. IRENE1625. Oil on canvas, 58-15/16" × 47-1/2" (149.6 × 120 cm).Allen Memorial Art Museum, Oberlin College, Ohio. R.T. Miller Jr. Fund (1953.256).Bridgeman Images. [Fig. 23-31]
Judith Leyster SELF-PORTRAIT1635. Oil on canvas, 29-3/8" × 25-5/8" (74.6 × 65.1 cm).National Gallery of Art, Washington, DC. Gift of Mr. and Mrs. Robert Woods Bliss (1949.6.4). Image courtesy the National Gallery of Art, Washington. [Fig. 23-34]
Rembrandt van Rijn THE COMPANY OF CAPTAIN FRANS BANNING COCQ(THE NIGHT WATCH)1642. Oil on canvas, 11'11" × 14'4" (3.63 × 4.37 m) (cut down from the original size).Rijksmuseum, Amsterdam. [Fig. 23-36]
Rembrandt van Rijn THREE CROSSES (FIRST STATE)1653. Drypoint, 15-1/6" × 17-3/4" (38.5 × 45 cm).Rijksmuseum, Amsterdam. [Fig. 23-37]
Rembrandt van Rijn THREE CROSSES (FOURTH STATE)1653. Drypoint, 15-1/6" × 17-3/4" (38.5 × 45 cm). Rijksmuseum, Amsterdam. [Fig. 23-38]
Rembrandt van Rijn SELF-PORTRAIT1658. Oil on canvas, 52-5/8" × 40-7/8" (133.6 × 103.8 cm).The Frick Collection, New York. Henry Clay Frick Bequest. (1906.1.97). Photo: Michael Bodycomb. [Fig. 23-39]
Johannes Vermeer VIEW OF DELFTc. 1662. Oil on canvas, 38-1/2" × 46-1/4" (97.8 × 117.5 cm).Royal Picture Gallery, Mauritshuis, The Hague. [Fig. 23-40]
Johannes Vermeer WOMAN HOLDING A BALANCEc. 1664. Oil on canvas, 15-5/8" × 14" (39.7 × 35.5 cm).National Gallery of Art, Washington, DC. Widener Collection (1942.9.97). Image courtesy the National Gallery of Art, Washington. [Fig. 23-41]
Gerard ter Borch THE SUITOR'S VISITc. 1658. Oil on canvas, 32-1/2" × 29-5/8" (82.6 × 75.3 cm).National Gallery of Art, Washington, DC. Andrew W. Mellon Collection. Image courtesy the National Gallery of Art, Washington. [Fig. 23-42]
Jan Steen THE FEAST OF ST. NICHOLASc. 1660–1665. Oil on canvas, 32-1/4" × 27-3/4" (82 × 70.5 cm).Rijksmuseum, Amsterdam. [Fig. 23-43]
Emanuel de Witte PORTUGUESE SYNAGOGUE, AMSTERDAM1680. Oil on canvas, 43-1/2" × 39" (110.5 × 99.1 cm).Rijksmuseum, Amsterdam. [Fig. 23-44]
Jacob van Ruisdael VIEW OF HAARLEM FROM THE DUNES AT OVERVEENc. 1670. Oil on canvas, 22" × 24-1/4" (55.8 × 62.8 cm).Royal Picture Gallery, Mauritshuis, The Hague. [Fig. 23-45]
Pieter Claesz STILL LIFE WITH TAZZA1636. Oil on panel, 17-3/8" × 24" (44 × 61 cm).Royal Cabinet of Paintings Mauritshuis, The Hague. [Fig. 23-46]
Rachel Ruysch FLOWER STILL LIFEAfter 1700. Oil on canvas, 30" × 24" (76.2 × 61 cm).The Toledo Museum of Art, Ohio. Purchased with funds from the Libbey Endowment.Gift of Edward Drummond Libbey (1956.57). The Toledo Museum of Art, Toledo, Ohio (1956.57) [Fig. 23-47]
Anna Maria Sibylla Merian PLATE 9 FROM THE METAMORPHOSIS OF THE INSECTS OF SURINAM1719. Hand-colored engraving, 18-7/8" × 13" (47.9 × 33 cm). Getty Research Institute, Los Angeles (89-B10750) [Fig. 23-48]
Georges de La Tour MARY MAGDALEN WITH THE SMOKING FLAMEc. 1640. Oil on canvas, 46-1/4" × 36-1/8" (117 × 91.8 cm).Los Angeles County Museum of Art. Gift of the Ahmanson Foundation (M. 77.73).[Fig. 23-52]
Claude Lorrain A PASTORAL LANDSCAPEc. 1648. Oil on copper, 15-1/2" × 21" (39.3 × 53.3 cm).Yale University Art Gallery, New Haven, Connecticut. Leonard C. Hanna, Jr., B.A. 1913, Fund (1959.47). Image courtesy Yale University Art Gallery. [Fig. 23-56]
INTERIOR, BANQUETING HOUSE, WHITEHALL PALACECeiling paintings of the apotheosis of King James and the glorification of the Stuart monarchy by Peter Paul Rubens. 1630–1635.Historic Royal Palaces Enterprises Ltd. [Fig. 23-58]