1,682 Matching Annotations
  1. Jun 2020
    1. learning experiences or intake sessions—times when students are absorbing content or skills through some sort of medium

      So when a student is in a "passive" mode of absorbing information - enhancing it with note-taking is important.

    1. Some schools also plan to reconfigure dorms to create family-sized clusters of uninfected students, who could socialize in relative safety, if only with their suite mates.

      Wow, what a horrible to create even more social exclusion.

    2. A number of American colleges and universities have decided to bring students back to campus this fall

      this is ironic given administration obsession with switching to online otherwise.

    1. Annotation sessions expire after one hour. You'll receive a warning message. Your annotations, feedback, and files are saved on the page. When you return, you can resume working.

      You can sit on a student's document in the annotate view for one hour before you get a session expiration. It will save your progress.

    2. Bb Annotate grading workflow

      Supported formats here:

      word, powerpoint, excels, open office, digital images, medical images and pdf.

  2. May 2020
    1. Light & Shadow with Steve Huston

      The fact he specifically uses the terms light and shadow makes his approach chiaroscuro.

    1. But there are also broader considerations to be taken into account at this point. What about those non-elite women and men of whom we know even less, who were instrumental in the formation of the Jesus movement? An historical account fixated on the biographies of Great Men can only take us so far. Investigating the intersection of their emergence with the material conditions involved in historical change helps us piece together a more robust picture of early Christianity, but it also gives us insight into the world-historical forces which now happen to condition us.

      Early Christianity has always been an interesting thing to read about and it's a sad thing that there's not a lot of popular or good reads about it.

    2. Jesus delivers parables that not only draw on earthy, agricultural concepts, and relations between landlords and tenants and masters and slaves,

      it was talking to the masses by making references to the things they knew.

    3. “The history of the world is but the biography of great men,” wrote nineteenth-century historian Thomas Carlyle. Great Men might be out of fashion

      The great men theory while good for compelling biodramas, ignores the material realities that bring about such individuals. You can still talk about individuals but have to keep in mind what was around them.

    4. Class struggle

      the conflict between the ruling class and the subservient or developing new class. This occurs in every historical epoch and society. The end process is a resolution of the contradictions borne out of this struggle.

    1. Building Your Personal Style | Part 1 w/ Bill Perkins, Ch 4.

      Matrix

      the underlying design pattern which may be defined through light and dark shapes at their greater point of contrast.

      This division can be formed by the division of light and shadow, or Chiaroscuro.

      Or through the division of light and dark, or Notan.

      The matrix of an image may also be the result of creative integration of the two.

      In Fig 1. The greater point of contrast is between the area in light and area in shadow.

      In Fig 2. In Notan, it is a thing of light vs dark. This is all local values. A dark yellow vs a very light red.

      We cannot dismiss one of the concepts. We can separate the ideas and then combine them as needed. It will make you a stronger designer to view things different as using light and shadow and then managing your local values with light and dark.

      Fig 1. Man standing - the emphasis was on local values. The value changes are subtle. The shirt of the man is much whiter than the lit room in the background, that is not "realistic" but it was done by design.

      When you look at Norman Rockwell paintings, we see the "form" but in reality he designed by Notan.

      Fig 2. Painting by Dan McCaw? he has combined form, light vs shadow and mass vs form. In the painting he uses notan as a contrast to the bit of form, so it contrasts enough to guide the eye. His painting approach is textured, but you can see it well-designed throughout.

      Sometimes you need an intermediate value (gray). In the landscape painting we have the light of the sky (white), the dark masses of the shadow (black) and the silhouette of the trees (grey).

      7:27 mins Another way to look at things The image on the left was designed through chiaroscuro and the design of shapes replies on how the light and shadow falls on the shapes of the woman's form.

      The image on the right, the contrast of local values is more dominant, and it uses local values and the patterns of light vs. dark.

      Left, ambient soft light.

      center, strong light that divides the ball into two pieces.

      right side, combination, the images are made up of both chiaroscouro and notan.

      There is a balance between the two concepts.

      Light is not respecter of form

      Charles Hawthorne.

      Left, line dominant

      Center, mass dominant

      Right, light vs shadow dominant.

      These are the elements of making images. How do you put them together is up to each artists.

      If you create a credible context in your image, then it is believe-able. You have to have some means of understanding, relateable to the audience to draw them into the image.

      If you are doing representational art, you are gonna build that relationship with the world and make it resonate to those in our world to make it believeable.

      We all have our sensibilities, so it general comes down to what you are attuned too.

      Line calls attention to the surface, sits on the surface of any panel or object. Mass defines its local value. Form is going to define/affect its light vs shadow approach.

      Workshop Activity

      Create a matrix that breaks the image down into 3 values. Block the image out.

    2. Building Your Personal Style | Part 1 w/ Bill Perkins

      chronological timeline

      Notes

      Intro to Visual Literacy


      Flat mass/ shape

      Forms/rendering of light vs shadown

      Line / texture


      Visual arts should be treated as just another language - I see Math the same way - and it is used to communicate, feelings, and ideas like a written language with its own set of components and their relationships. So we gotta think of grammar in art? You don't often put verbs before subjects or breaks too frequently, so think about that when you draw.

      Slide 2

      As society has advanced, our modes of communication have accelerated. Along with new artistic directions and different methods. However, the principles have not changed.

      With this information overload we gotta become more visually literate so we can communicate clearly and understand things.

      recommendation: 1941 Maitland Graves "the Art of Color and Design" - he lists the elements of design, line, value, shape, proportion, color, direction, and texture.

      Important quote

      Bruce Block presented and wrote a book called The Visual Story (1988?) - he talks about line, tone, color, shape, space, rhythm, and movement.

      A Primer to Visual Literacy (1973)

      Visual elements are not the same as the medium. We are looking at dot, line, shape, direction, tone, color, texture, dimension, scale, and movement.


      Workshop activities

      • The visual matrix
      • Primaries of Design
        *  The Line, Mass, Form principles
        
      • Visual components
        • Line, tone, color, shape, space, rhythm, transitions
      • Methods of Measure
        • Major Key-proportion
        • Minor Key-range of contrast

      So part of the initial presentation is coming to the same words and understanding their definition.

      For example in the subject of color, people might use the words

      hue :: chroma :: color;

      value :: tone :: light;

      saturation :: brightness :: brilliance.

      So we want to define our terms and create our own terminology of common ground. Funny enough we have the same dilemma or challenge in the Instructional Design or in socialist theory! Words have meaning!

      This isn't a how to make images but studying the components of image making!

    3. n this first part, Bill gives an introduction to understanding style and how we as a society as well as individually develop our own sense of what we find aesthetically appealing.

      Understanding style and how we find things aesthetically pleasing.

    4. Building Your Personal Style | Part 1 w/ Bill Perkings, Ch 3.

      Since kindergarden we are being asked to recognize patterns.

      This exercise was meant to look for similar shapes and different. Repeating patterns. It is the basis for a lot of concepts.

      Learning to read, we escalate to other symbols - A B C D E... Learning numbers, we look at 1 2 3 4 5...

      We are building a vocabulary of symbols. Which are letters which are numbers. Next we learn about order.

      Order/Value what is something compared to something else.

      3 < 8 (the < becomes a symbol of "less than") 5 > 2

      Patterns Symbols Orders

      This is the essence not just for reading, and math; but also for image making. Art however has its own language, characteristics and dynamics. A lot of artists have devoted time to breaking things down into harmonous basic principles like pre-mixed colors.

      The important thing to keep in mind: visual language components do not have a predetermined meaning until you put other things next to it. A line is a line until you have a line and a curve.

      Looking for patterns helps us finds rhythms and patterns into our images.

      Identifying symbols to add to our visual library and create connections and connotations.

      Value, creating dominance or subordination in our image making by making one thing bigger in relations to another.

      Note break: following along with instructor

      Attempt

      The static image is a denotation - has no implied meaning. The use of position in a figure-ground relationship of a circle and a square, indicates relations of size, movement, etc.

      We are putting marks on a page that offer greater connotation than the mark itself.

      Our eyes or personal preference comes is drawn to contrast. In some cases we use that mark that sits on the surface next to an illusion. A brush mark next to an extremely rendered set of detail, to create contrast of surface to illusion. Creates tension.

      Contrast? Define it. Omg is this going to be dialetical?

      Our images will begin with a figure ground and a black and white pattern.

      A matrix is the skeleton of your image.

    1. Building Your Personal Style (Feb. 2014) | Part 2 Bill Perkins


      Notes Outline

      • Intimidating and complex subject of building your styles
      • fundamentals of primary elements throughout history
      • major and minor keys
      • how to create clarity in your work
      • evaluate his own personal work and explain why he made those decisions.

      Chapter 2

      BP goes through a series of paintings and how they use the concepts of flat mass (notan) or form, light and shadow (chiaroscouro), etc.

      In order periods the line and texture become dominant in various periods.

      There was a reason artists like Monet and Manet have flatter images than previous artists.

      An influx of japanese block prints caused those artists to rebel or make more mass (notan) compositions.

      On Sargent - he sets up his image on Notan and then delivers form where he wants you to look.

      There are no absolutes in here. There's only some of the important concepts that are repeated throughout history.

      Arranged by concepts

      Workshop Activity

      Grab from a variety of artists you like - you have the PDFs for a variety of those. And study them as well as try to identify if they are mass/notan or form/chiaroscuro and line/texture.

      How to create a bad image Not being deliberate on whether you are laying down your shape, form, etc. If you combine line, mass and form without distinction, you get a design mud.


      Chapter 3

      BP starts analyzing a Norman Rockwell. You gotta be clear with the ideas and design choices you are making.

      Workshop Activities Idea

      Do some figure drawing, think and write of how you'd tackle the figure first.

      Discussion on Value System

      We have two ways to measure: the major key and minor key.

      Your Major Key is the larger amount of your image that is comprised light, medium or dark - or could also be comprised of a color.

      Your Minor Key is the range of contrast between your image.

      Understanding this two concepts and measuring or referencing these values, you can manage the mood of the image. For example a happy image, you can do a high major key light, and high minor key for contrast. If you want to do a dreamlike setting, you can do middle major key and moderate to low contrast for minor key. For a scary image, you can do a dark major key and a moderate or high minor key for contrast.

      10:30 minutes

      Tone is a strong visual component.

      resume tomorrow

    1. Bill Perkins 10 Weeks

    Annotators

    1. Study Journal


      Entry 1 5/15/2020

      Start with personal style Part 1 and 2 as it cannot hurt to get a small primer on what makes for good visual design. Take copious notes.

      Study from James Gurney's Color and Light book; Juliette Aristedes books; etc.

    1. Ask for a helping hand. If youare trying to improve your attitudeand outlook on life, ask a friendor family member to tell you whenyou’re slipping back into your oldhabits. A gentle reminder to lookon the bright side may be all youneed

      I know Kara and help me with this part.

    2. Is your life really so bad?Look around you and chances are\RX·OOÀQGVRPHRQHZKRLVZRUVHoff than you. Look at all the thingsyou can be grateful for and yourattitude will change for the better

      I know my life isn't so bad. My problem is what about other people's lives? I think we ought to be concerned for them.

    3. Be good to yourself. You can beyour own best friend or your ownworst enemy. Make sure you eatwell and get enough rest. Stressand bad health habits are enoughto give anyone a bad attitude.

      I love you. Keep your chin up Manny.

      I love you. Love Kara and Love Matteo too.

    4. Enjoy a hobby. It’s important tohave a hobby or enjoyable activitythat you can fall back on whenthings get tough or you’ve had along, hard day.

      Draw and read books from now on. Maybe cut video games a little except for Warzone.

    5. Develop positive friendships.,W·VGLIÀFXOWWRPDLQWDLQDSRVLWLYHattitude when your friends or co-workers have negative attitudes. The company you keep can LQÁXHQFH\RXUDWWLWXGH

      I should keep in contact with everyone in my group list. I said I would but I should mean to do it now.

    6. Stop a bad day in its tracks. Just because you woke up on the wrong side of the bed doesn’t mean your entire day is lost. Make an effort to change the course of your day early, and don’t let it set the tone for the rest of the day.

      Find ways to change a bad morning into a good afternoon.

    7. ise and shine! Get up a bit earlier and take a short walk in the morning. Fifteen minutes in the fresh air is a great way to feel uplifted and mentally prepared to make the most out of your day

      Get up earlier than Kara and Teo and go out for myself? Save this for the weekends?

    Annotators

    1. utogenics—This techniqueuses verbal commands to leadyour body to a more relaxed state.Repeated words or phrases focusRQWKHVSHFLÀFSK\VLFDOUHVSRQVHVassociated with relaxation.

      Look up Autogenics on Youtube.

    2. Imagery or visualization—This involves relaxing while using your imagination to create a visual image of a relaxing, soothing or healing place or thing.

      Look up visualization youtube videos.

    3. Meditation—This is a form of relaxation that has been practiced in many cultures for centuries.

      Find a guided meditation app, youtube channel or podcast.

    4. Deep breathing—One of the simplest relaxatio

      up the amount of deep breathing exercises from the apple watch.

    Annotators

    1. Laugh. Laughter is indeed the best medicine.

      Watch a few comedies in the next few weeks.

    2. Recognize your strengths and focus on projects that allow you to use them.

      I am curious and organized. Start working on tailoring your own study program for this month and a half.

    3. MagellanHealth.com/memberB-TI01-1005rev1 (5/14) ©2014 Magellan Health Services, Inc.Accept limits. We can accept what we cannot change by changing what we can. Make choices that are realistic, not out of reach

      Get organized with a better schedule every day.

    4. Think big. Think in terms of long-range goals, not just day-to-day problems.

      For this next month or so, read books, draw, write about art, write about learning, being a student, and learn to program.

    5. Take charge. Although you can't control other people's actions, you can control your response to what comes your way.

      If I don't get the freelance job, I can at least concentrate on improving myself - my art, my skills, read more, etc.

    6. Get organized. Being unorganized creates stress and leaves you feeling out of control and overwhelmed.
      • Clean the bathroom
      • Wash the dishes
      • clean the living room
      • take care of kiddo.

    Annotators

    1. Keep things in perspectiveWork and social events can impact how you feel about yourself.

      Even if I didn't get that freelance job my life is still going pretty well.

    2. A great strategy for building self-esteem is to keep a “victory log.” Keep track of both short-term (e.g., cleaning the house)

      DayOne Journal to catalogue victory events, and small things I've succeeded at going forward.

    3. Emotional reasoning—AssumingWKDW\RXUQHJDWLYHHPRWLRQVUHÁHFWthe way things really are

      I keep thinking that my negative view of the world makes it worse than it truly is.

    4. Jumping to conclusions—Thinking negative things eventhough there are no facts tosupport them

      Having this problem right now.

    5. Write down your strengths, special talents and the parts of your personality you like best.

      I'm curious.

      I'm hard working.

      I pick up most things easily.

      I am caring.

      I am funny or easy to talk to.

    Annotators

    1. Thickness of the neck

      However you represent the head, whether it is relatively simply yet characteristic, or incredibly refined, you can now identify the start of the neck from the chin. The digastric plane is the bottom plane, it gives the head thickness. It will be useful when drawing the head from other angles - the biggest hurdles is working in a flat 2d plane while seeking to depict volume.

      The gesture from the chin to the bottom of the neck is curved and downward. It is better to make the neck a little too long than too short. You then come from the bottom of the skull, the key here will be not to make the back of the neck too skinny.

      Notice that the neck starts very low in the front and very high in the back. Think of your shirt collars, it sits high in the back and low at the front.

  3. sites.google.com sites.google.com
    1. notes for finishing the website. First half of the week, Monday through Wednesday

      Review Getting Started page

      Add the correct/updated syllabus to syllabus webpage.

      We have 2,000 points, divy up the points for each unit, and then properly recalculate the point values for assignments in Unit I.

      Create a public calendar with the assignments from here and embed it instead of my public art study calendar.


      Introduction

      • Add buttons for the skill checks
      • Add buttons for other assignments
      • Add buttons for forums.

      Find Images to replace placeholders.

      Unit I

      Read and summarize transcripts for the purpose of a few text based pages.


      Resources & Support

      Clean up the resources and support pages and include the type of job aids or resource websites you would share in an actual art class.


    1. 17:14

      Kinda wild that I have been working on the diagram assignment and one of the things I thought was very important was "label your work!" And here we are, lmao.

    1. Expand and improve state broadband connectivity to ensure opportunities for anytime, anywhere learning:

      This requires political action and negotiating from a place of power. But most states are stupidly in the pocket of big corporations. Letting businesses dictate terms.

    2. Recommendations• Establish an “innovation zone” to catalyze the development of new learning models. Provide the flexibility to waive certain regulations and requirements to schools and systems that are ready to implement personalized, competency-based learning.

      We are currently creating a new type of course and training for art students. But one of the things we have to implement is training instructors or coaches to handle some of the educational aspects.

    3. Building capacity in the field is important for human capital development, planning, scaling effective models, and implementation quality. It is critical to support teachers and leaders to develop skills for planning, managing, and leading evolving system requirements in new personalized, digital learning environments and through learning opportunities that connect them with experts and colleagues.

      Mandatory and voluntary trainings, PUHLEASE!!!!

    4. State policies can either enable or impede next-generation learning models. Many state regulations were drafted in an era before digital learning and should be reviewed and updated.

      get with the times old man!

    5. reward high-quality programs and courses with performance-based funding models

      I got problems with the idea of performance-based funding models.

    6. iNACOL has led the field in identifying quality standards for provider eligibility and appropriate outcomes-based performance metrics for transparency and accountability. One of the key challenges for the entire field of K–12 education in any delivery mode – traditional, blended or online learning – is the lack of independent, valid assessments spanning the entire K–12 curriculum. Outside of new assessments aligned with state standards required for accountability, there are many untested subjects, grade levels and courses offered by online learning providers. Until appropriate independent, validated, third-party assessments are developed and adopted, true quality assurance will present a challenge

      We are playing the fucking wild west with kids' education. You fucking love to see it.

    7. Allow multiple authorizers to authorize, oversee, and evaluate multi-district, full-time public online schools (whether charter-, district-, or state-run), so that any student in the state has the opportunity to attend.

      Avoid the pressure to approve the programs even if they are bad.

    8. Per-pupil funding formulas should be weighted to provide the resources necessary to support at-risk students, students with disabilities, and English language learners.

      I've been arguing very seriously of having a "fix disability issues with content" department, not just an office of disability resources.

    9. Full-time online schools should be funded at a level sufficient to cover all operating costs, including teaching, learning, and student support services

      Full-time online programs should be funded at the same basis as non-online programs, perhaps even more. Given the cost of licensing.

    10. could take them from a licensed teacher online and might collaborate with students from across the state and with diverse backgrounds.

      This is where culturally responsive teaching is important.

    11. cross the education system, licensed, effective teachers are developing skills in using digital content and platforms to provide highly differentiated instruction. Students might take more time on certain lessons or move ahead once they demonstrate competency. Students in rural, urban, and underserved communities

      I don't think a lot of faculty do this yet.

    12. redesign state systems of assessments to support competency-based learning:–Measure individual student growth along personalized learning progressions. –Use multiple measures of learning, including performance-based assessments. –Include summative assessment data as a validator for student-centered accountability.–Allow students to take through-course and end-of-course assessments when ready.• redesign state data systems around systems-level supports for teaching and learning.

      I like these!

    13. Base student progression on demonstrated mastery of the competencies

      I like this idea, but of course, that'd be a little more difficult to measure but more effective. Our art program can benefit from this!

    14. redefine Carnegie Units or credits

      Carnegie units or credits would be college credits, right?

      The standard Carnegie unit is defined as 120 hours of contact time with an instructor—i.e., one hour of instruction a day, five days a week, for 24 weeks, or 7,200 minutes of instructional time over the course of an academic year.Aug 29, 2013

      https://www.edglossary.org/carnegie-unit/

    15. his policy brief provides concrete, actionable recommendations for state policymakers. There are five key issues in the iNACOL State Policy Framework:1. Create Competency-Based Education Systems2. Improve Student Access and Equity3. Measure and Assure Quality from Inputs to Outcomes4. Support Innovative Educators5. Support New Learning Models Through Connectivity, Data Systems, and Security

      Security is an issue often overlooked or left to another department.

    16. educators have grasped the power of new learning models to close achievement gaps and extend access to high-quality learning opportunities.

      Wasn't there some controversial study that achievement stay about the same?

    Annotators

    1. Seven states that require online learning experience as part of high school graduation or reported a high number of online course enrollment are included in this report (see table 1).

      ew why

    Annotators

    1. Educators face many challenges, both in the design phaseand teaching phases of their online courses. One such challengeis the ability to create online courses that reflect the instructor’scommitment to inclusive excellence, diversity, and social jus-tice.B

      Faculty have to feel compelled to do these things, otherwise they won't do them.

    2. As curriculum designers, we must have knowledge aboutour student population as we design and teach any givencourse.

      that's something e-intelligence can provide to some extent.

    1. Itissimplebecauseitdemandsforethni-cally different students that which is alreadybeing done for many middle-class, EuropeanAmericanstudents—thatis,therighttograpplewithlearningchallengesfromthepointofstrengthandrelevancefoundintheirownculturalframesofreference.Itisprofoundbecause,todate,U.S.education has not been very culturally respon-sive to ethnically diverse students.

      It hasn't been culturally responsive because it is dominated by white supremacy.

    2. This preparation requires a more thor-ough knowledge of the specific cultures of dif-ferent ethnic groups, how they affect learningbehaviors, and how classroom interactions andinstructioncanbechangedtoembracethesedif-ferences.

      The biggest question is who does this training. There have been known controversies of putting white people as the heads of critical race studies programs.

    3. The components of the preparation for andpracticeofculturallyresponsiveteachingincludedin this discussion are not inclusive.

      I have seen teaching or presenting in classrooms not just as lecturing but improv. Being on your toes. Culturally responsive teaching would be a part of their repertoire. It is also more effective, when it comes from a place of wholehearted and genuine empathy.

    4. Research indi-cates that culturally relevant examples have pos-itiveeffectsontheacademicachievementofeth-nically diverse students.

      One way of having this be even more effective is hiring or recruiting professors of color. Culturally responsive training is fantastic, but faculty of color might have an improved chance of reaching those students.

    5. In contrast, the communicative styles of mostethnic groups of color in the United States aremore active, participatory, dialectic, and multi-modal.Speakersexpectlistenerstoengagewiththemastheyspeakbyprovidingprompts,feed-back,andcommentary.

      might explain why that kid would talk so much during class.

    6. ersonal, moral,social, political, cultural, and academic knowl-edge and skills are taught simultaneously. Forexample, students are taught their cultural heri-tages and positive ethnic identity developmentalongwithmath,science,reading,criticalthink-ing, and social activism.

      How would one tackle this from a conservative point of view. Conservative beliefs are often biased towards not just individuals but towards the wrong headed concepts of systematic beliefs. Putting the responsibility of failure on families rather than a proper understanding of systemic issues.

    7. Caring is a moral imperative, a social responsi-bility, and a pedagogical necessity. It requiresthat teachers use “knowledge and strategic think-ing to decide how to act in the best interests ofothers...[and] binds individuals to their soci-ety, to their communities, and to each other”(Webb,Wilson,Corbett,&Mordecai,1993,pp.33-34).

      sounds like commie speak.

    8. Teachers have to care so muchabout ethnically diverse students and theirachievement that they accept nothing less thanhigh-level success from them and work dili-gently to accomplish it (Foster, 1997; Kleinfeld,1974,1975

      How do I reach these kiiiiiids?!

    9. how to usecultural scaffoldingin teach-ing these students—that is, using their own cul-tures and experiences to expand their intellec-tual horizons and academic achievement.

      I haven't read Capital but its marks are all over my body.

    10. Athird critical component of preparation forculturally responsive teaching is creating class-roomclimatesthatareconducivetolearningforethnicallydiversestudents.Pedagogicalactionsare as important as (if not more important than)multicultural curriculum designs in implement-ing culturally responsive teaching. They are notsimply technical processes of applying any “bestpractices” to underachieving students of color,however

      Acknowledging that some or most of the founders of any discipline had racist, problematic, or malignant ideas or biases, and acknowledging those issues. Will help students feel comfortable.

    11. because their content reflects andconveys particular cultural, social, ethnic, andpolitical values, knowledge, and advocacies. Formanystudents,massmediaistheonlysourceofknowledge about ethnic diversity; for others,what is seen on television is more influentialand memorable than what is learned from booksinclassrooms.

      Faculty can be role models, and providing "hidden knowledge" or enticing students with knowledge they were never taught before is just as important as all of the understanding and training they initially signed up for.

    12. This is the knowledge, ideas, andimpressions about ethnic groups that are por-trayed in the mass media. Television programs,newspapers, magazines, and movies are muchmorethanmerefactualinformationoridleenter-tainment.

      Examples that flip white supremacy 1619, feminist frequency tropes vs. video games, this communications on white supremacy.

      https://docs.google.com/document/d/11ACklcUmqGvTzCMPlETChBwS-Ic3t2BOLi13u8IUEp4/edit

      Asao B. Inoue, #4C19 Chair's Address

    13. Other instructional plans used frequently inschools are called thesymbolic curriculum(Gay,1995). They include images, symbols, icons, mot-toes, awards, celebrations, and other artifactsthatareusedtoteachstudentsknowledge,skills,morals, and values. The most common forms ofsymbolic curricula are bulletin board decora-tions; images of heroes and heroines; trade books;and publicly displayed statements of social eti-quette, rules and regulations, ethical principles,and tokens of achievement.

      Images representing students from various ethnicities would help students feel at ease.

    Annotators

  4. Apr 2020
    1. decontextualizing women, their issues, and theiractions from their race and ethnicity; ignoringpoverty; and emphasizing factual informationwhileminimizingotherkindsofknowledge(suchas values, attitudes, feelings, experiences, andethics).

      I think because we live in a society that fails to understand the importance of feelings, values and attitudes, the faculty needs to be taught about it.

    2. There are several recurrent trendsin how formal school curricula deal with ethnicdiversity that culturally responsive teachers needtocorrect.Amongthemareavoidingcontrover-sial issues such as racism, historical atrocities,powerlessness, and hegemony

      ha! called it.

    3. Culturally responsive teach-ers know how to determine the multiculturalstrengths and weaknesses of curriculum designsandinstructionalmaterialsandmakethechangesnecessary to improve their overall quality. Theseanalyses should focus on the quantity, accuracy,complexity, placement, purpose, variety, signif-icance, and authenticity of the narrative texts,visual illustrations, learning activities, role mod-els, and authorial sources used in the instruc-tional materials.

      One of the things I see on Lefty Twitter is how often college students complain that the intro or other courses are using controversial authors, who might have contributed a something to the field but were advocates of white supremacy.

      Nothing takes people out quicker than thinking this person was problematic, without the teacher even acknowledging it.

      That's one thing I think culturally responsive teaching can benefit from, acknowledgement not just of the contributions from various ethnic groups, but the necessary facing up of past "founding fathers" of their field and the damage they might have caused.

    4. Three kinds of curricula are routinelypresent in the classroom, each of which offersdifferent opportunities for teaching culturaldiversity. The first isformalplans for instructionapprovedbythepolicyandgoverningbodiesofeducationalsystems.Theyareusuallyanchoredin and complemented by adopted textbooksand other curriculum guidelines such as the“standards” issued by national commissions,statedepartmentsofeducation,professionalasso-ciations, and local school districts.

      first kind of curricula is formal

      • passed down from on high, down.
      • system or district wide
      • governing bodies or educational systems
      • while they are updated, they may still be lacking important information.
    5. a) which ethnicgroups give priority to communal living andcooperativeproblemsolvingandhowthesepref-erences affect educational motivation, aspira-tion, and task performance; (b) how differentethnic groups’ protocols of appropriate waysfor children to interact with adults are exhibitedininstructionalsettings;and(c)theimplicationsof gender role socialization in different ethnicgroups for implementing equity initiatives inclassroom instruction.

      not only how each ethnic group interacts with educational settings, and authority, but also how those value systems clash within a classroom full of people from various ethnicities.

    6. Culture encompassesmanythings,someofwhicharemoreimportantfor teachers to know than others because theyhave direct implications for teaching and learn-ing.

      people from various culture have different approaches to life.

    7. .Itisbasedontheassump-tion that when academic knowledge and skillsare situated within the lived experiences andframes of reference of students, they are morepersonally meaningful, have higher interest ap-peal,andarelearnedmoreeasilyandthoroughly(Gay, 2000).

      help students learn better by having them use their own personal experiences or apply concepts to their lived experience.

    Annotators

    1. Authoring Systems for Educational Software

      Class to take this summer EDIT 5322

    Annotators

    1. "In the social production of their life (that is. in the production of the material values necessary to the life of men – J. St.), men enter into definite relations that are indispensable and independent of their will, relations of production which correspond to a definite stage of development of their material productive forces." (Marx, Selected Works, Vol. I, p 269).

      RIP to you but I'm different.

    2. When the Russian capitalists, in conjunction with foreign capitalists, energetically implanted modern large-scale machine industry in Russia, while leaving tsardom intact and turning the peasants over to the tender mercies of the landlords, they, of course, did not know and did not stop to reflect what social consequences this extensive growth of productive forces would lead to; they did not realize or understand that this big leap in the realm of the productive forces of society would lead to a regrouping of social forces that would enable the proletariat to effect a union with the peasantry and to bring about a victorious socialist revolution.

    3. Secondly, because, when improving one instrument of production or another, one clement of the productive forces or another, men do not realize, do not understand or stop to reflect what social results these improvements will lead to, but only think of their everyday interests, of lightening their labor and of securing some direct and tangible advantage for themselves.

      most people do not think of finding ways to bring about communism through the use of productive forces, but what if we did?

    4. The third feature of production is that the rise of new productive forces and of the relations of production corresponding to them does not take place separately from the old system, after the disappearance of the old system, but within the old system; it takes place not as a result of the deliberate and conscious activity of man, but spontaneously, unconsciously, independently of the will of man It takes place spontaneously and independently of the will of man for two reasons.

      Where are we when it comes to new productive forces, and humankind's relations to it?

    5. this struggle, however, has now reached a stage where the exploited and oppressed class (the proletariat) can no longer emancipate itself from the class which exploits and oppresses it (the bourgeoisie), without at the same time for ever freeing the whole of society from exploitation, oppression and class struggles...." (Engels' Preface to the German Edition of the Manifesto.)

      why were Marx and Engels so confident that the liberation of the proletariat would emancipate all of society?

    6. For this reason socialist production in the U.S.S.R. knows no periodical crises of over-production and their accompanying absurdities. For this reason, the productive forces here develop at an accelerated pace; for the relations of production that correspond to them offer full scope for such development.

      The USSR was the only country with supposed "socialist" relations to the means of production. When it engaged in trade with other countries it becomes beholden to the commodity production relation of other countries. Your hard earned, high quality steel can become part of the same commodity crisis of over production. How does it deal with that? Probably by increasing demand within its own economic zone, but that can only go so far. You could argue that a socialist country could store the overproduced commodity. They could sell it for cheaper and still distribute even wages, rather than increase unemployment.

    7. But having developed productive forces to a tremendous extent, capitalism has become enmeshed in contradictions which it is unable to solve. By producing larger and larger quantities of commodities, and reducing their prices, capitalism intensifies competition, ruins the mass of small and medium private owners, converts them into proletarians and reduces their purchasing power, with the result that it becomes impossible to dispose of the commodities produced. On the other hand, by expanding production and concentrating millions of workers in huge mills and factories, capitalism lends the process of production a social character and thus undermines its own foundation, inasmuch as the social character of the process of production demands the social ownership of the means of production; yet the means of production remain private capitalist property, which is incompatible with the social character of the process of production.

      succinct rewording of what's wrong with capitalism.

    8. Five main types of relations of production are known to history: primitive communal, slave, feudal, capitalist and socialist.

      It's 2020, have we observed others or reevaluated which falls under which?

    9. In contrast, an instance in which the relations of production completely correspond to the character of the productive forces is the socialist national economy of the U.S.S.R., where the social ownership of the means of production fully corresponds to the social character of the process of production, and where, because of this, economic crises and the destruction of productive forces are unknown.

      were they? Is this merely optimistic. The USSR had several crises did they not.

    10. Furthermore, this incongruity itself constitutes the economic basis of social revolution, the purpose of which IS to destroy the existing relations of production and to create new relations of production corresponding to the character of the productive forces.

      This incongruity brings a crisis which will destroy the existing relations of production one way or another, it cannot stay static, or even if you were to try it'd be like trying to plug a sinking ship. The goal should really be to create a new relation of production.

    11. An instance in which the relations of production do not correspond to the character of the productive forces, conflict with them, is the economic crises in capitalist countries, where private capitalist ownership of the means of production is in glaring incongruity with the social character of the process of production, with the character of the productive forces.

      The relation between men and productive forces, and other men, is another determining factor and it becomes a crisis when a social mode of production like capitalist (Read Capital, or anything new really) is owned by a few people. Few in the scale of some public stakeholders or privately-owned businesses by a family or small set of investors.

    12. Hence, the clue to the study of the laws of history of society must not be sought in men's minds, in the views and ideas of society, but in the mode of production practiced by society in any given historical period; it must be sought in the economic life of society.

      what defines 21st century economic production and the society it has brought about?

    13. Hence, if historical science is to be a real science, it can no longer reduce the history of social development to the actions of kings and generals, to the actions of "conquerors" and "subjugators" of states, but must above all devote itself to the history of the producers of material values, the history of the laboring masses, the history of peoples.

      ironic that he makes this point but both liberal and even socialist theoreticians make the mistake of focusing solely on the great men of history.

    14. ) The First Feature of Production

      left off 4/21/2020 10:26 pm

    15. Marx and Engels, Vol. V, p. 429

      where can i get all the collected works of marx and engels?!

    16. "Economists

      economists were merely interested in improving the economic condition. And mensheviks were to the right of bolsheviks so they didn't want to go full on abolishment of the bourgeois state.

    17. Theory becomes a material force as soon as it has gripped the masses." (Marx and Engels, Vol. I, p. 406.)

      bookmark

    18. Speaking of the materialist views of the ancient philosopher Heraclitus, who held that "the world, the all in one, was not created by any god or any man, but was, is and ever will be a living flame, systematically flaring up and systematically dying down"' Lenin comments: "A very good exposition of the rudiments of dialectical materialism." (Lenin, Philosophical Notebooks, p. 318.)

      that's where the atheistic concerns come from.

    19. Hence, in order not to err in policy, one must pursue an uncompromising proletarian class policy, not a reformist policy of harmony of the interests of the proletariat and the bourgeoisie, not a compromisers' policy of the "growing" of capitalism into socialism.

      Bernie is looking more and more sus every day.

    20. there can be no "immutable" social systems, no "eternal principles" of private property and exploitation, no "eternal ideas" of the subjugation of the peasant to the landlord, of the worker to the capitalist.

      Capitalism is human nature is antithetical to dialectical materialist analysis.

    21. It is easy to understand how immensely important is the extension of the principles of the dialectical method to the study of social life and the history of society, and how immensely important is the application of these principles to the history of society and to the practical activities of the party of the proletariat.

      quoteworthy

    22. The dialectical method therefore holds that the process of development from the lower to the higher takes place not as a harmonious unfolding of phenomena, but as a disclosure of the contradictions inherent in things and phenomena, as a "struggle" of opposite tendencies which operate on the basis of these contradictions.

      When we look at so called socialist projects and in them see the inherent contradictions of their modern state. We are looking at the historical remnants of previous struggles to arrive at their current state. And in the minute changes, that western leftists often see as "small gestures" or "socialism in name only", we are actually seeing the evidence that once accumulated into a sufficient quantity should lead to the next qualitative change.

    23. Contradictions Inherent in Nature

      So to start analyzing something, dialectically, we have to look at the inherent contradictions in the system. American democracy and its contradcitions. American economy and its contradictions, What are the contradcitions of neoliberalism? What can be born from the contradictions in our present state of living? etc.

    24. Here prime mention should be made of Darwin, who dealt a severe blow to the metaphysical conception of nature by proving that the organic world of today, plants and animals, and consequently man too, is all a product of a process of development that has been in progress for millions of years." (Ibid., p. 23.)

      interesting.

    25. and that the struggle between these opposites, the struggle between the old and the new, between that which is dying away and that which is being born, between that which is disappearing and that which is developing, constitutes the internal content of the process of development, the internal content of the transformation of quantitative changes into qualitative changes.

      The old world is dying and pregnant with the new world struggling to be born.

    26. Here prime mention should be made of Darwin, who dealt a severe blow to the metaphysical conception of nature by proving that the organic world of today, plants and animals, and consequently man too, is all a product of a process of development that has been in progress for millions of years." (Ibid., p. 23.)

      Yeah this has been the most important argument about evolution. And also why it was viewed as commie propaganda in the U.S.

    27. Contrary to metaphysics, dialectics does not regard the process of development as a simple process of growth, where quantitative changes do not lead to qualitative changes, but as a development which passes from insignificant and imperceptible quantitative changes to open' fundamental changes' to qualitative changes; a development in which the qualitative changes occur not gradually, but rapidly and abruptly, taking the form of a leap from one state to another; they occur not accidentally but as the natural result of an accumulation of imperceptible and gradual quantitative changes.

      Somebody was describing Calculus earlier as the study of those imperceptibly small changes creating leaps and bounds. Imma have to learn calculus?!

    28. The dialectical method therefore requires that phenomena should be considered not only from the standpoint of their interconnection and interdependence, but also from the standpoint of their movement, their change, their development, their coming into being and going out of being.

      on natural phenomena

    29. Contrary to metaphysics, dialectics holds that nature is not a state of rest and immobility, stagnation and immutability, but a state of continuous movement and change, of continuous renewal and development, where something is always arising and developing, and something always disintegrating and dying away.

      Like the heavenly bodies, everything moves and changes and grows. So it is not dialectical to use definitions or concepts about capitalism from 100 years ago to explain how things work today. One has to update their theory as nature and its states change.

    30. The dialectical method therefore holds that no phenomenon in nature can be understood if taken by itself, isolated from surrounding phenomena, inasmuch as any phenomenon in any realm of nature may become meaningless to us if it is not considered in connection with the surrounding conditions, but divorced from them; and that, vice versa, any phenomenon can be understood and explained if considered in its inseparable connection with surrounding phenomena, as one conditioned by surrounding phenomena.

      So you can't explain the reason something happens in nature without understanding the interconnectedness. The result is a focus on systems and how happen upon each other.

    31. This dialectical method of thought, later extended to the phenomena of nature, developed into the dialectical method of apprehending nature, which regards the phenomena of nature as being in constant movement and undergoing constant change, and the development of nature as the result of the development of the contradictions in nature, as the result of the interaction of opposed forces in nature.

      How do you approach nature with one thought and its opposite? Maybe in looking at two differing opinions, what if both are actually wrong, wouldn't the synthesis be also wrong?

    32. Feuerbach as the philosopher who restored materialism to its rights

      Ludwig Andreas Feuerbach First published Mon Dec 9, 2013; substantive revision Thu Nov 17, 2016 For a number of years in the mid-nineteenth century Ludwig Feuerbach (1804–1872) played an important role in the history of post-Hegelian German philosophy, and in the transition from idealism to various forms of naturalism, materialism and positivism that is one of the most notable developments of this period. To the extent that he is remembered today by non-specialists in the history of nineteenth-century religious thought, it is mainly as the object of Marx’s criticism in his famous Theses on Feuerbach, originally penned in 1845 and first published posthumously by Friedrich Engels as an appendix to his book, Ludwig Feuerbach and the End of Classical German Philosophy (Engels 1888). Although never without his admirers, who have included several leading popularizers of scientific materialism in the second half the nineteenth century (cf. Gregory 1977), not to mention the theologian, Karl Barth, Feuerbach’s public influence declined rapidly after the failed revolution of 1848/49 (in approximately inverse proportion to the rising popularity of Schopenhauer). Renewed philosophical attention paid to him in the middle of the twentieth century is largely attributable to the publication, beginning in the late 1920s, of Marx’s early philosophical manuscripts, including The German Ideology, which revealed the extent of Feuerbach’s influence on Marx and Engels during the period culminating in the composition of that historic work (1845–46).

      https://plato.stanford.edu/entries/ludwig-feuerbach/

    33. Dialectical and Historical Materialism

      Dialectical and Historical materialism

    1. Empowerment of Creativity & Feedback is expressed when users are engaged in a creative process where they repeatedly figure new things out and try different combinations.

      Open world games have some of the more creative mechanics, they have thorough physics engines that make the engagement with the world an open-ended puzzle. Innovative ways are rewarded, nowadays in social media.

    2. making art is intrinsically fun

    3. The 8 Core Drives of Gamification

      So these are not necessarily what makes gamification gamification, but the inner motivations that games tap into such as epic meaning or development and accomplishment as a way to engage the user, customer, player, learner, etc.

    4. Epic Meaning & Calling

      From Joseph Campbell's analysis of mythology. We have what's called the heroes' journey and it starts with a calling. It gives the protagonist meaning.

    1. Facilitation in Distance Education

      • the "action" of making an "action" or "process" easy or easier.

      Facilitating learning within a course or a program

      Facilitating teaching at the program, department, division, college, or institituion.

      Facilitation of Learning

      Scaffolding it is a support system that includes setting routines, due dates, self-regulation strategies, teaching them how to measure or check their progress, announcements and guidelines, review notes, etc.

      Pose challenging questions. That have the students think a little harder.

      peer feedback amongst the students. Worked examples - note be careful here as you want to avoid students copying from these worked examples.

      Monitor Routinely check learning progress. Provide self monitoring systems.

      Interact

      Routinely set up weekly meetings or need-based learning. Build activities that allow peer interaction. Guide for communication and expectations.

      Continued 6:03

    1. Culturally responsive

      Culturally relevant teaching or responsive teaching is a pedagogy grounded in teachers' displaying cultural competence: skill at teaching in a cross-cultural or multicultural setting. Teachers using this method encourage each student to relate course content to his or her cultural context.

    1. Leon Trotsky, Georgi Dimitrov, Franz Neumann, and Paul Sweezy, as well as, later on, Nicos Poulantzas.

      Theorists that analyzed fascism.

    1. Fromthedescriptionofthegamesasstatetransitionsystems(e.g.usingFSMs)wecandesignassessmentandadaptationmechanismsbasedoncheckingandmodifyingspecificstatesofthesesys-tems.

      so that's where she got it from!

    2. wecanhighlightclassicpointandclickadventuregames.

      I had completely forgotten about that genre!

    3. Howevertherearehandicapsthatmayaf-fecttheireducationalpotential.Oneofthemainshortcomingstothisapproachisthatthesegamesweredesignedasentertainmentproducts,withouttakingintoaccountpedagogicalandeducationalconsiderations.Evenifrealismandhistoricalaccuracymaycontributetothesuccessofthegame

      Assassin's Creed I, II, etc.

    4. creatingbrandneweducationalgamesthatrivalcommercialgameshasaprohibitivecostinmostcases

      yeah this is not tenable, unless you want to develop something "indie-ish" like minecraft at first.

    5. GamesintheCivilizationseriesaresimulationgameswheretheplayermustmanageandbalancetheconstructionofinfrastructures,militaryprogress,explorationandscientificadvances,startingonatribalscaleandendinginaworld-widescenarioofdifferentcivilizationsinconfrontation(Bitt-anti,2005).

      Now there are simulators for a wide variety of things Truck Driver Simulator, Train simulator, Farm simulator, etc.

    6. InSimCity,thedifferenttitlesinthesagaputtheplayerintheroleofamayorgoverningthecity.TheworkpresentedinKolson(1996)describesexperienceswithdifferenttitlesinthesaga,focus-ingonhowtheyprovidereflectionontopicsregardingsocialdynamicsandevolution.AftertheimpactoftheSimCitygames
    7. Next,weintroducetheproduct-familyapproach

      !!

    8. Thedebateisactuallystartingtofocusmoreonissuessuchasthecostofdevelopment,thecomplexityofintegratingthegamesintothecurriculumortheneedtoassessthequalityofthelearningprocess

      So making games with good graphics or a lot of assets is very complex. But you can use things like minecraft to teach a lot of things just based on a few concepts, without the graphics being a huge issue. The biggest challenge is the assessment. How are we checking that students are learning? Is it an assessment? is it the score they get at the end of a "level", or should we just do games where there are "product" creations?

    9. Thisapproachstudieswhichelementsmakevideo-gamesattractiveandengagingandtrytotakeadvantageoftheseelementsforeducation(Anderson&Bushman,2001;Cordova&Lepper,1996;Gee,2003;Lepper&Cordova,1992;Leutner,1993;Malone,1981;Porter,1995).

      It gets progressively difficult. Often has tutorials to help you out of a tight spot. You are discovering things on your own and practicing things over and over. You don't hit a final "failure state" so you can always try again and again. They have interesting narratives. The graphics are often a plus.

    10. Onasociallevel,theconceptsof‘‘CommunitiesofPractice”(Alavi,1994;Wenger,1998)and‘‘LearningNetworks”(Hummel&Burgos,2005;Johnson&Johnson,1989)establishasocialenvironmentinwhichmotivationisgeneratedthroughpeercol-laboration,peerpressure,groupmeritocracy,andaveryshortfeedbackcycle.

      we want to strive for something like this in the art courses.

    11. Hypermediatechnologies

      Hypermedia, an extension of the term hypertext, is a nonlinear medium of information that includes graphics, audio, video, plain text and hyperlinks. This designation contrasts with the broader term multimedia, which may include non-interactive linear presentations as well as hypermedia. It is also related to the field of electronic literature. The term was first used in a 1965 article written by Ted Nelson.[1]

      The WWW. (World Wide Web) is a classic example of hypermedia, whereas a non-interactive cinema presentation is an example of standard multimedia due to the absence of hyperlinks.

    1. ACTIVITY 3: ASSESSMENT STRATEGIES IN DISTANCE EDUCATION

      From the various assessment strategies listed here, we will be using discussion boards, high and low stakes assessment of the "product" variety. Students need to produce drawings within a certain criteria to try and assess student progress. Not only that but students should learnt hat working on a mastery based skill like drawing requires a lot of practice even if they are struggling, they need to do something not just over and over, but be conscientious of how they do it.

    2. ASSESSMENT

      Assessment is the process of measuring, documenting, analyze, assess, and demonstrate learning

    1. Assessments

      Validate what has been learned and provides opportunities to refine and modify what is being taught.

      Def: the process of measuring, documenting, and interpreting behaviors that demonstrate learning (Simonson, Zvacek, & Smaldino, 2019, p. 238).

      Purpose:

      • evidence
      • feedback
      • evaluation and improvement
      • justification for funding priorities
      • long-term trends[

      1:50 | Definition Assessment is the process of measuring, documenting, analyze, assess, and demonstrate learning.

      Purpose:

      • provide evidence of productivity and outcomes achievement.
      • Provide feedback to both learners and instructors.
      • Program evaluation and improvement.
      • Justification for funding priorities.
      • Identifying and reporting long-term trends.

      Assessment and Evaluation is often used interchangeably but they mean different thing.

      Assessment measures student learning. Evaluation: gauging the success/failure of an entire program/project/course.

      • Evaluation is often larger than assessment.
      • Design process
      • Design implementation
      • Design outcome.

      3:30 | Assessment Purpose

      Assessments are part of instructional strategy.

      Connected to what we do in instruction and learning.

      Alignment

      • Learning objectives
      • Instruction/learning objectives
      • Assessment
      • Materials and technologies

      5:20 | General Principles

      1. Clear Statements of what is to be assessed.
      2. Assessments procedure aligns with characteristics of performance to be measured (learning objectives define the type of assessment).
      3. Comprehensive assessment requires different layers and procedures.
      4. Awareness of individual assessments' limitations
      5. Assessment is a means to an end, not an end in itself.

      6:30


      Assessment Process

      1. Identify instructional goals (learning objectives)
      2. Pre-assess learner needs
      3. provide relevant instruction and learning activities
      4. Assess the intended learning outcomes
      5. Use the results.
        • give feedback
        • identify learning strengths and weaknesses
        • evaluate goals, evaluate curriculum scope and sequence.

      10:30 | Formative & Summative

      Domains of Learning | 12:15

      review this slide

      Affective domain is important. Learners need to find themselves motivated. They also need to find ways to feel like belonging and be part of the learning process.

      Feedback | 15:30

      Grading | 17:10

    1. Rubric | Measurements

      subjective measures and objective measures.

  5. Mar 2020
    1. “If money comes into the world with a congenital blood-stain on one cheek,” he says, then “capital comes dripping from head to toe, from every pore, with blood and dirt.”

      quoteworthy

    1. Anumberofarticleshavecomeoutaboutfacultyrecordingwebcamvideosofthemselvesforstudentfeedback(Kolowich2015).Theproblemwiththismethodisthatthevisualisnotconnectedtoastudent’swork.Asaresult,studentsreportnotknowingwhereintheirworktheinstructor’scommentspertain.Bycontrast,ascreencastconnectsthestudent’sworkwiththefeedback.

      You would think this is an obvious thing that faculty would not overlook, but they can.

    2. Thisprovidesthestudentwithanexperienceakintosittingnexttotheinstructorinhisorherofficewhilegoingthroughtheassignment

      Equivalent but not identical

    3. Anumberofstudieshavedemonstratedthebenefitsofvoicefeedbackforstudents.Butfacultyneednotstopthere.Theproliferationofinexpensivescreencastingsoftwaremakesiteasyforfacultytodeliverscreencastedfeedbacktostudents

      so there is evidence of the benefits of voice feedback and now that it is more readily available, instructors should use it more often.

    4. Theinstructorpullsupthestudent’sworkonthemonitorandrecordshimselforherselfprovidingfeedbackwhilehighlightingtheareasbeingdiscussed.

      you can treat it as a one way conversation, you read outloud the paper and then respond with some questions or mark the places for correction.

    1. House claims that a good critique must include positive reinforcement as well as constructive criticism. House outlines the benefits of art critiques for teachers as a chance to evaluate artwork and an assessment of the fulfillment of project objective

      so we need to have clear objectives.

    2. Chapman describes the inductive approach as a gathering of facts and taking an inventory of visual qualities in a work. After thoroughly taking in the visual elements, the relationships among these visual elements must be compiled into a summary ofthe impressions that “captures the essence of what we have seen” (p. 80). Chapman also warns against premature judgment and emotional reactions. Only after one has described each part of the work, analyzed the relationship among parts, interpreted these relationships, and summarized the recurrent ideas, can one move onto the judgment by citing the information gathered before the judgment stage.

      Chapman approach

    3. Definition of Terms

      Might be useful

    4. develop constructive approachesto critique (formative, peer-to-peer, self-reflective, summative) that are supportive in intent and that offer alternative points of view.” (AI.18). By Art II: Intermediate, students will “use constructive critical approaches to critique (formative, peer-to-peer, self-reflective, summative).
    5. 1) interpret, reflect on, and evaluate the characteristics, purposes, and merits of personal work and the work of others and 2) identify, analyze, and apply criteria for making visual aesthetic judgments of personal work and the work of others.”

      these are good to include in our learning objectives?

    6. Findings suggestthat art criticism and student peer critiques play a fundamental role in educating visually literate students.

      Argue that in the syllabus, peer critiques play a fundamental role in education visually literate students.

    7. The Virginia Standards of Learning and National Visual Arts s

      good to have that as its part of state standards.

    8. Krista Nicole Castrodale

      Might want to reach out to her.

    9. Summer 2014

      Currency: Recent

    10. Peer critique in the secondary art classroom:Strategies for best practices

      Peer critique secondary (college?) best practices

    1. Art Rubric for Assessment of the Discussion & Writing on Art History, Aesthetics and Art Criticism - an Assessment Form

      rubric for writing about art

    1. Questions can be phrased neutrally or affirmatively. Rather than leaving the student with a feeling of failure, the teacher can use questions that present a position of wondering. The teacher can take the position of a collaborative learner.

      It is also, socratic in its methodology?

    2. sandwich method of critique we begin by saying something positive. Secondly, we explain the student's mistake or problem and make our suggestions. Thirdly, we top it off with another compliment about something they did well. Dan's response was that our students will only remember the meat--the bad stuff. Bad stuff sticks in their memory. It kills our creative passion and motivation. It's more empathic to use questions.

      So this is called the sandwhich method. Should we avoid it in its entirety?

    3. Examples of SMART-SOFT Open QUESTIONS:

      example questions

    4. I hope for 100 percent participation. I try to call on quiet students and limit talkative ones. Each session moves to students whose works were not covered in a recent session. Students who are not yet familiar with empathic critique methods are told that they are prohibited from "contributing" negative comments.

      so expect everyone to participate. Give time to the quiet students. Each session move the student work around. "Prohibit" negative comments.

    5. Positive empathic critique strategy never says what is wrong, and never makes "better-than-thou" suggestions

      Never say something is "wrong".

    6. A positive empathic questioning critique process can be the way to make every art lesson teach twice as much. A good assignment, great practice routines, and active creative thinking during the production is great, but the positive empathic questioning critique helps students learn even more about the strategies of self-learning in art and in life.

      this person has a question form! omg! this is partly what I needed!

    7. empathic critique culture helps students rediscover their basic relationship intelligence. They learn to leverage their own natural goodness and helpful instinct to intuit how to make the world a better place. In place of defensiveness and conflict, they experience the mutual benefits of cooperatively hunting and gathering good ideas. What may have been feared as mistakes, become coveted discoveries that promote new insights and learning. Once the studio has a culture of collaborative helpfulness and "friendly" competition, students become part of the teaching/learning network.

      students improve their relationship intelligence. They collaborate on hunting for good ideas. Mistakes become stepping stones to discoveries, new insights and learning. Students become part of the teaching/learning network.

    8. Empathic critique is collaboration, not competition. Empathic class critique in studio art is not a debate session. It is a hunt for visual effects, meaning, purpose, and new ideas. All participants are acting in their own best interest by being their naturally helpful selves. Competition is replaced by mutual discovery.

      definition and new approach called empathic critique

    1. I give some display guidelines for them to follow so the presentation looks good and work can be seen easily by all participants. Students who are not finished might use the time to keep working to finish. It is sometimes found that students without work on display are not as interested and they are more apt to offer negative comments. 

      provide display guidelines on how to present the art work.

    2. Successful Art Class Critique

      bookmark

    1. Before posting your question to a discussion board, check if anyone has asked it already and received a reply. Just as you wouldn’t repeat a topic of discussion right after it happened in real life, don’t do that in discussion boards either.

      Read everyone else's post before posting your own question.

      Stay on topic, don't post irrelevant links, comments thoughts or pictures. Don't type in leetspeak, abbreviations, ALL CAPS, etc.

      Be polite, say please and thank you when soliciting help from your classmates.

      Respect the opinions of your classmates if you disagree. Acknowledge valid points and understand others are entitled to have their own perspective on the issue.

      Be brief when posting in the discussion boards.

      Try and quote what your classmate said if you are referring to something specific. Give them credit.

      Be forgiving of your classmates, they are learning and they too make mistakes.

      Run a spelling or grammar check before posting anything to the discussion board. I'd recommend Grammar.ly.

      Compose your discussion board post in a word or google document and then copy and paste it (save your responses for posterity).

    1. Netiquette Tips

      You will be asked to participate in online discussions and engage with your peers. You should adhere to the following general guidelines (on top of any specific assignment instructions):

      • Use proper language
      • Be precise
      • Avoid emoticons or "leetspeak".
      • Be explanatory. Justify your opinion.
      • Read all comments before hitting submit.
      • Recognize and respect diversity.
      • Tone down your language
      • Control your temper
      • Take your post seriously.
      • Be credible, use sources.
    1. climate change

      Climate change is going to be a disruptive issue not a rosy way to create cooperative networks, imo.

    2. Collapse: Higher education as we’ve known it has largely been shuttered, primarily due to economic reasons (rising costs, declining funding), replaced by a new system of education that prioritizes the needs of the job market and the acquisition of discrete skills over programs and departments unable to provide a return on investment.

      This is a disheartening way to treat the shutting down of humanities that provide students with critical thinking skills and communication tools.

    3. Growth: The next decade of higher education is one characterized by significant progress, with growth coming from increases in adult and remote learners, expansion of online courses and curricula, and professional certification and microcredentialing programs.

      There is an expectation of decrease growth however, so I don't know why this category looks so rosy - here.

    4. Elevation of Instructional Design, Learning Engineering, and UX Design in Pedagogy

      YAY!

    5. this first major revision of the report’s methodology, structure, and content, striven to break the mold of the classic Horizon Report without losing its essential purpose

      interesting to read what was the change of methodology.

    1. Designing a Course Syllabus

      The ultimate goal of a well-designed syllabus, therefore, is to inform students about what is expected of them throughout the semester by outlining content, requirements, policies, and due dates.


      notes


      0:20 - 2:45 Introductions

      2:50 - 3:35 Workshop Objectives

      Course Syllabus as a roadmap 3:56

      Syllabus will be first substantial means of communication with students.

      • Easy to read
      • Roadmap for the semester
      • Primary source of info to guide students for semester.
      • Acts as a Teaching Outline

      4:53 Purpose of a Course Syllabus

      Accessibility and Accomodations

    1. Be explicit about technology requirements:

      a high speed internet connection strong enough to play video. A high quality camera that can take pictures of your work or a scanner that can create PDF of your sketchbook. the ability to join a livestream or view the recorded session.

    2. Describe their responsibilities:   What assignments are required? What are the due dates? What is your policy on late work? Describe plagiarism as it applies to your field. 

      peer reviews require you submit on time.

      prompt feedback can only be expected if they submit on the within a day or two of the due date.

      Late work might still be accepted but cannot expect immediate feedback.

      Plagiarism is not accepted, tracing and just copying a master drawing are both examples of plagiarism.

    3. Describe the skills they need to bring to the course to enable them to succeed. 

      discipline is a skill. Observational skills. Develop their patience.

    4. Step Five:  Develop a calendar.

      weekly events.

    5. Step Four:  Structuring the course to serve learner-centered goals: Building Lessons.

      Building lessons