reflection-final project

This final project allowed me to experiment in a hypothetical realm of museum education and with alternative options for information distribution.

I was able to dedicate more time to researching the VTS methodology, a structure in which I’d been interested… but one in which I’d  had few opportunities to incorporate into practice.   I was challenged to  think beyond the strict implementation of someone else’s  ideas and  to consider  how those ideas are filtered by my own habits and temperament.  Recording and replaying my conversations with Mara made me acutely aware of small tendencies that hindered my communication.  For example, I digitally removed many of my natural agreeances (especially  in the Hopper podcast).  It was never my intention to identify “correct” observations.  My visit to the museum with Mara was long overdue.

I am not satisfied with the blog’s layout and color palette.  It feels too severe and uninviting for my already hesitant target audience.  If I were to do this again–since none of the other wordpress templates appealed to me–I might build my own website (with some assistance!) to achieve a “look” compatible with the content.

All in all… I’m very excited about my expanding digital media skill set.

Thanks for a great semester!

final project-blog

more info tomorrow…

but the blog that I shared yesterday can be found at:

www.lookingtolearn.wordpress.com

thanks for your inspiring presentations!

anniep

Interactive Narrative

The Body by Shelley Jackson

Given the many accolades received by Shelley Jackson for her work, I chose to explore her interactive narrative, The Body. I also wanted to confront my discomfort with the idea of “getting lost” in–or not being able to traditionally navigate through–my browsing experience.

The Body was far from scary. I enjoyed immersing myself in the meandering text… plus the text never meandered off a cliff into another land; all paths existed in the same conceptual space. Also, I quickly realized that, since the links changed color after they had been clicked, I often had access to pre-treaded territory. Is there a way to stop a link from changing color? Or would that frustrate the reader?

Surprisingly, I found that my own minor frustrations came from my inability to see the end of a “chapter”. Through reading Jackson’s narrative, I realized that I often flip through the pages of a physical book to acquaint myself with the layout. This is particularly true if I don’t have hours of reading time and would like to set a specific pace. In considering my superficial attachment to page numbers and attributing it to the school structure… I began to question whether or not interactive narratives could replace textbooks in history or science classrooms. Well, maybe “replace” should read “supplement”.

Interactive narrative “textbooks” would certainly support learner-centered curricula. Students would have the opportunity to explore most fully those topics or details of interest to them… while occasionally running into other “necessary” information. Their ability to chose would enhance their sense of discovery and ownership of the material. However, a teacher would find new challenges when organizing group projects, conducting discussions or formatting assessment procedures. Perhaps students could work in small teams, navigating together, and reflecting individually and as a group? Or perhaps the narrative would have a manageable number of branches…with each student taking several days to navigate solo before coming together as a class to further dissect/reiterate the information? In this way, all students would pass through the same ideas while the nonlinear format would lend a sense of individuality and freedom to the learning process. Also, it would be super cool if there was space on each page for students to leave relevant comments/observations about the text. Margin notes hipified.

I’m also thinking that online museum collections could be accessed through interactive narratives. Instead of (or in addition to) being herded based on institutionalized curatorial decisions and/or traditional search engines, viewers/readers could follow a more personalized path. Chronology would not dictate direction, nor would style or medium… unless the participant pursued such routes. I believe that, as the internet inherently provides an overwhelming number of choices, the interactive narrative format would strip away distracting sidebars and overly partitioned interfaces to allow for a more satisfying immersive experience.

peace

DMCA: the Law Today

Digital Millennium Copyright Act (DMCA): the Law Today

http://www.wipo.int/copyright/en/ecommerce/ip_survey/chap3.html#_ftn98 :

- DMCA provides the right to claim to be the “performer or performances” and have the right to “object to any distortion, mutilation or other modification of his performance that would be prejudiced to his reputation.”

- Digital copyright treaties are intended to be internationally participatory.  Guidance is provided to governments who are in the process of adopting treaties.  These governments have the opportunity to modify the treaties according to their needs (see below).  International adherence to the treaties will result in the expansion of global and domestic e-commerce through securing the dissemination of original material.

 http://www.wipo.int/copyright/en/faq/faqs.htm#rights :

- Countries may “grant exceptions for uses deemed to be in the public interest, such as for non-profit, educational and research purposes.”

-You do not need to register to be protected.  Protection of the work is acquired by its existence.

http://www.wipo.int/copyright/en/ecommerce/ip_survey/chap3.html#_ftn98 :

- The Big Question: Do the temporary copies of material stored in RAM constitute infringement?

Podcast Con’t

Wow- thanks for your comments!  I’m going to clarify… and ask for a bit o’ help:

Ok, so my intention is to talk about art (and record my conversations) with a small group of kids in the Corcoran Museum.  This project is not intended to be “research” in the sense that I would be carefully selecting my focus group, etc.  I would simply like to engage with a group of children (let’s say ages 7-13) in an art-viewing context.  Ideally, these kids WANT to be looking at art on some level… but their degree of “experience” is not really a factor in this project… in fact, a mixture of participants would add some variety and guide me in making future improvements.

Also, since I’m not teaching at the moment (nor do I want to deal with permission slips)… I’m thinking that I might call upon my friends for assistance.  Hhhmmmm….Jacqui, perhaps your sister(s) want to be involved?  Amanda, perhaps your cousins would be interested?  I’m not even sure how old these family members are… but I know that you have access to them   If anyone else has young family members/friends who want to participate… please pass them along.  Again, this is going on a personal blog.  Sure, it would be cool to someday be involved with the museum… but I should probably see how this project turns out first.  I’m thinking that I would do this on a Saturday.
I’m just throwing it out there…
Please let me know if you have any other suggestions-
thanks! see you soon,
ap

Leo Rubinfien Alternative

For the podcast described below, I might change my focus to either shows from the permanent collection…or the satirical cartoons.  I will have to spend more time in the galleries tonight.

Final Project Proposal: Podcast

Since I am not currently teaching, I would like to create a teaching tool that would supplement a visit to the Corcoran Museum. This tool would take the form of a podcast, and be available online for general access. Since, unlike other major museum institutions, the Corcoran does not currently offer podcasts, I believe that my tool would be particularly valuable.

With the help of Christina Perry’s blog, I have researched the content and delivery of other museums’ podcasts (Smithsonian American Art Museum, National Gallery of Art, MoMA’s Red Studio, etc.) in hopes of honing my own intentions. Though these podcasts differ depending on their target audience (age, subject of interest, etc.), their goals are similar: disseminate factual information, respected opinions and/or student interpretations regarding artworks and their display. In my podcast, I would like to expand these goals so that, in addition to presenting an informative discussion, the discussion itself would act as a model for museum visitors. In other words, in addition to including information about the current exhibition, Wounded Cities: Photographs by Leo Rubinfien, I plan to include a recorded VTS-style conversation, which will take place inside the gallery between myself, a group of children and a selected photograph.

Visual Thinking Strategies, or VTS, was developed by Abigail Housen and MoMA’s former Director of Education, Phillip Yenawine. VTS is a curriculum and teaching method that uses fine art to enhance students’ critical thinking skills. Through guided observation and discussion, VTS directly supports language development, the ability to draw conclusions based on evidence, problem-solving in unfamiliar situations and understanding the existence of multiple “correct” answers. Through listening to this podcast, future visitors to the Corcoran (families, school groups, etc.) may not only be equipped with historical and curatorial information pertaining to the current exhibition, but also equipped with a methodology for approaching and exploring individual artworks in any context.

Creating a concise podcast that includes all of my aforementioned aspirations will be…well… trial and error. My first steps will be to compile as much information as possible about the current exhibition, decide which aspects of the exhibition will be my focus and arrange short interviews with those staff members who may be able to fill gaps in my research. I will arrange for a small group of school-age viewers to accompany me to the exhibit where I will record our conversations. I understand that significant editing will be required to create a meaningful comprehensive podcast. Also, I plan to include an image of the work(s) discussed. Since this project resides in a more-or-less hypothetical realm, I will post this podcast on a WordPress blog.

Although I am unfamiliar with the technology, I believe that my proposal is worthwhile and feasible. Please comment with concerns and suggestions!

Thanks

Computer Games

Computer Games: Implications for Art Education

I. Computer and Video Game History

With all of the flashy computer games vying for our attention, it it easy to lose track of their amazing inception spearheaded by a few ingenious fellows. However, before I jump into the facts I must admit that, for some strange reason, I previously believed that video games predated computer games. I was clearly wrong.

Video games played through televisions would not have been possible without the development of their predecessors on early computers. In fact, “video” in “video game” refers to a raster display device: a data structure characterized by a grid of pixels, or points of color, which can be viewed through a monitor or other display medium.  Personal computers and video game consoles are merely “platforms” used to display games… the basic premise of user and interface remains the same.  Therefore, although I offer concrete examples of games played on computers, the quest for educationally fulfilling interactives spans all platforms of electronic gaming.

The Facts:

“In 1952, A.S. Douglas [completed] his PhD degree at the University of Cambridge on Human-Computer interaction. Douglas created the first graphical computer game – a version of Tic-Tac-Toe.”

“William Higinbotham created the first video game ever in 1958… called “Tennis for Two”. (Follow the link to see more info and play an updated game!)

“In 1962, Steve Russell invented SpaceWar!. Spacewar! was the first game intended for computer use. Russell used a MIT PDP-1 mainframe computer to design his game.” Below is an image of the gamers in action.

_

“In 1967, Ralph Baer wrote the first video game played on a television set, a game called Chase.”

Then came arcade games, video game consoles and Silicon Valley… and computer games still have so much potential!

II. Computer Games in the Classroom

**While researching this topic, I was initially unable to distinguish between a “computer activity” and a “computer game”. Many websites use these terms interchangeably… though I could sense a fundamental difference in their ability to engage participants. After looking up basic definitions, I am concluding that “computer game” refers to a competitive activity involving skill and/or chance played according to a set of rules. Oftentimes games are played with two or more people, but as our virtual world expands, a single person may compete against a computer. It is this sense of competition or urgency that lends games their motivational force.

Computer games were originally developed for entertainment value, but their value as education tools has been steadily rising due to increased computer usage and web expansion. Below I’ve discussed a handful of worthwhile games. Many others exist, and many have yet to be developed…

Existing games of interest to the art educator:

1. GWAP (Games with a Purpose)

GWAP, created by a team at Carnegie Mellon University, is a seemingly simple site offering five basic gaming options. The site is intended to help programmers train computers to better serve humans; as players agree on words and actions, these agreements are recorded and used to enhance search engines.

After registering and selecting a game, the site links you with an online partner. (Yes, it’s unfortunate that you have to register–and be 13 years old–but this is due to the chat functionality. The game can, if asked, use your profile to select a similar partner.) My favorite game, ESP, presents an image visible to both you and your partner. You both type in as many descriptive words as you can…with the hope of typing the same word. The more you match, the higher your score climbs. After the game, you have the option of chatting…(social networking possibility). All of the above is good… but in ESP, students practice looking! I know this sounds simple, but looking skills are the foundation of any arts curriculum. There is even a”recap” function where you can revisit each image, consider the matching words and elaborate further to build vocabulary and draw awareness to the communicative capabilities of simple imagery. (Oh… and students may flag any offensive content…which I saw none of. This could also lead to an interesting discussion.)

2. Getty Games (from the Getty Museum)

Most major museum websites have activities and/or games for children. I first visited the MoMA site and, although they offer student podcasts, kid-friendly artists’ interviews and “art-making” activities, games are not their forte. However, the Getty’s site has a couple of cool games with clear benefits. Not only do players have the opportunity to view and learn about works of art, their primary task often revolves around looking closely. In many cases, a teacher could obtain images of works used in the games for subsequent discussions and/or projects…Getty Games could be used as warm-ups.

3. eduweb

This site offers sophisticated games and interactives about art, history, science and technology. The participant always has a goal… whether that be to successfully reach the end of an adventure or finalize construction on a building according to client requests. Eduweb offers amazing educational role-playing games including WolfQuest, which has immersive graphics and a dynamic online community. All categories provide rich lesson material.

Before finding the eduweb home page, I came across one of their first art history adventures: A. Pintura, Art Detective: The Case of Grandpa’s Painting .  This detective game, although the graphics are basic and it provides relatively few options, quickly navigates the player through art historical information and imagery while encouraging him/her to draw comparisons. The language is simple and appropriate… yet has an appealing edginess.

III. Making Your Own Computer Game; Examining Existing Computer Games

Unfortunately, I could not find any truly simple game-making websites. In fact, if anyone knows of one… please let me know. I did find a site, www.pictogame.com… but you are only able to input a picture and write a title. This is not very exciting.

I did find some seemingly user friendly software, but could not download it onto my computer. This software, Gamemaker 7.0, can be found at http://www.yoyogames.com/make. Like other software we have discussed in class, Gamemaker 7.0 can be used to create both simple and complex professional products. However, the online tutorials look complicated enough to warrant MANY HOURS of teacher practice before introducing it to students. In addition to using the software in the classroom (and perhaps more practical in the beginning), teachers can create small games to reinforce information in their lessons.

If neither students nor teacher are able to create computer games, students may be asked to examine existing games. For example, students might discuss the use of visual elements to dictate the focus of the scene and enhance player immersion. Students could explore anything from plot and characters to the professional requirements of a game developer.

IV. Thinking Beyond

Like most digital media, computer games are only becoming more prolific. Whether we as educators choose to create our own games, use existing games, spread information about educational gaming or voice our opinions about what should be considered by the gaming industry, we need to be aware of the tool and its potential.

I end (or begin) with an elegant student video: http://www.youtube.com/watch?v=mfv_hOFT1S4

Teaching Tactics 201: Honorable Conduct

Hi Kate and Chelsea,
Perhaps by the end of my blog entry I will think of some fabulous connection to digital media… but until then…

This conversation about teacher conduct immediately made me think of my high school Honor Board. Since “shy” is of course synonymous with “honorable”, I was elected Chair of our newly instated system. This meant that I heard quite a bit about the university honor systems that were to be our role models… namely those of ivy league institutions.

Regardless of the institution, there permeated the same basic components: 1) A committee–or series of committees– is comprised of members of the academic community (professors, students and administrators). 2) Any member of the community may report student violations of the system. 3) The honor system in designed to be student-centered and student-directed. 4) There exists a formal legal document/constitution outlining violations, procedures, etc. 5) In most instances, ALL members of the academic body are required to adhere to the honor system… though, strangely, students are often the only subgroup vulnerable to prosecution within the stated system. Now I’m sure there are systems for addressing faculty misconduct; however, they seemed to be separate from the “school-wide” systems which many institutions offer as evidence of their prestige.

On a UNC Chapel Hill webpage, I was hoping to find evidence of the opposite–evidence that faculty too could be brought in front of an Honor Committee. Having been directed to Appendix B, I read:

“Whereas faculty members and students at the University of North Carolina at Chapel Hill share a commitment to the pursuit of truth, and the dissemination of knowledge to succeeding generations of citizens devoted to the high ideals of personal honor and respect for the rights of others; and Whereas, these goals can only be achieved in a setting in which intellectual honesty and personal integrity are highly valued; others are trusted, respected, and fairly treated; and the responsibility for articulating and maintaining high standards is widely shared; and Whereas the University can effectively set and maintain high standards for academic integrity only through the individual and collective commitment of its faculty to this end; and Whereas the Faculty Council, on behalf of the faculty, wishes to provide renewed guidance to colleagues on how best to achieve this important objective; now therefore the Faculty Council resolves…” (http://instrument.unc.edu/instrument.text.html#appendicesb)

The above sounds promising… but the follow-up has a different tone. The remainder of the section discusses faculty “awareness” of student conduct, “communicating expectations and administering examinations,” “oversight” of student behavior and “involvement” in the implementation process. I am not arguing against proven systems of order, respect and civilized academic growth, but I am reiterating your question, Chelsea: If all members of an academic community have pledged adherence to the same system of values, especially if that system touts it’s foundation of judicial equality, is it not confusing that some members are exempt from the system’s stated modes of evaluation? hhmmm….

It is also interesting to think how the Internet is gnawing away at ageism. I wonder how the exchanging of ideas via faceless portals will eventually transform entrenched hierarchical institutions… (so goes my digital media plug). Or is ageism merely inverted?

GIMP – OSS tool for educators

(FYI: This is the first blog entry I’ve written directly in WordPress… rather than cut-and-paste from Word. Proprietary software is so old school.)

I have chosen to report on GIMP (GNU Image Manipulation Program). Find it at www.gimp.org.

As far as I can tell, this open source software tool for educators is sort of like Photoshop + a 10000 more things (many of which have yet to be determined). Though the program highlights its use for photo retouching, image manipulation and image authoring, its list is extensive: “It can be used as a simple paint program, an expert quality photo retouching program, an online batch processing system, a mass production image renderer, an image format converter, etc.” GIMP claims to be easily expandable with an “advanced scripting interface allow[ing] everything from the simplest task to the most complex image manipulation procedures to be easily scripted” (http://www.gimp.org/about/introduction.html).

Let’s say you spend your days teaching about art instead of writing computer software. Why is GIMP exciting? It’s free! GIMP is available in many languages and works on many operating systems. As previously stated, it can serve many of the same functions as Photoshop: image creating, photo manipulating/enhancing, etc. GIMP also offers a familiar set-up with layers, channels, histogram, etc… and you can customize the appearance of your screen. It also seems to enable users to consolidate processes as they work… for example: change opacity as you paint. GIMP offers a variety of file formats and file save/transport options (using “protocols”?…at this very moment, I don’t know what this means).

Perhaps the coolest things I’ve noticed about open source software (as opposed to commercial options) are the tutorials. GIMP offers numerous easy-to-find tutorials using easy-to-understand language. The tutorials are written from a variety of voices, often in casual speech. This factor helps to ease new-user (teacher) anxieties… and helps students see that real people build not only youtube videos, but professional software programs.

GIMP can be dowloaded as a complete package. Of course, the “news” section of the site mentions the fixing of many glitches and bugs. The existence of glitches and bugs seems inevitable with early trials of open source softeware products… so educators might refrain from testing the latest releases on school computers.