Friday, December 12, 2008
Do schools kill creativity?
Sir Ken Robinson makes an entertaining and profoundly moving case for creating an education system that nurtures (rather than undermines) creativity.
Andreina and Marco, summarize (in 20 minutes) the speaker's point of view, explaining his vision of the future of education. Once you have listened carefully to the talk, click here to go to your Google Docs to write your summary. You can also write your summary here by clicking the Comments link below.
Good luck!
Helwing
Genes v. Memes.
Starting with the simple tale of an ant, philosopher Dan Dennett unleashes a devastating salvo of ideas, making a powerful case for the existence of memes: concepts that are literally alive.
Marco, summarize (in 20 minutes) the speaker's point of view, explaining what Memes are and how they guide human evolution. Once you have listened carefully to the talk, click here to go to your Google Docs to write your summary. You can also write your summary here by clicking the Comments link below, at the end of this post.
Good luck!
Helwing
Saturday, November 22, 2008
About the piece:
This video shows (in excerpts) a special viewing of Doug Aitken's installation "Migration" on October 2, 2008. Doug Aitken invited the musicians Lichens, White Rainbow and Arp to perform live music improvisations to the installation, replacing the film's original soundtrack.
"Migration" is included in the 55th Carnegie International exhibition "Life on Mars" where the piece is projected on the museum's façade through January 2009.
Migration (2008) is an odyssey through a contemporary American landscape of seemingly abandoned hotels and motels. Encompassing executive airport suites and desolate, nondescript inns inhabited, or haunted, by mammals and birds indigenous to the American West, Migration's sequences evoke a scenario in which places of temporary human habitation are confronted with instinctive and wild forces.
"In "Migration" the movements of wild North American migratory animals are transposed upon the ubiquitous space of modern roadside hotels and motels. As the wild birds and animals inhabit these mysteriously vacant and sterile interiors we're taken on a haunting odyssey through the contemporary American landscape. With the film alternating between three billboards within the gallery space, the viewer is left to determine his own place in the often desolate and alienating transitory spaces which man inhabits."
About the artist:
Doug Aitken's art is concerned with stimuli and stories that are asynchronous and fractured. Through the orchestration of multiscreen moving-image installations he has frequently touched on themes of urban isolation, emotional alienation, and expansive natural wilderness. The "characters" he directs—whether humans, machines, animals, or landscapes—often exhibit uncanny behaviors or communicate in strange statements, lending Aitken's immersive audiovisual environments the sense of an unfolding waking dream. Characteristically using up to a dozen or more projectors, monitors, and speakers, Aitken delivers a multimedia experience for our time that suggests a separate category, somewhere between cinema and architectural sculpture.
Luz Maria,
Watch the video above. Then, write a comment in relation to what the artist thinks about Modernism, specially in relation to the ways we have organized and shaped our surroundings, and, conversely, ourselves. Also, comment on how the artist relates his work formally with the current state of world affairs.
About the exhibition:
Ian Monroe’s exhibition “The Instantaneous Everything” at Haunch of Venison Berlin draws its title from an earlier work by Ian Monroe, and plays with the proposed notion of a single identifiable moment in which the entirety of a universe comes into being - both real and imagined.
The show - Monroe’s second solo show in Berlin - consists of constructed images and sculptures made over the last year and a site-specific floor piece. VernissageTV met with Ian Monroe on the occasion of the opening of the exhibition. VernissageTV correspondent Sabine Trieloff spoke with him about his work.
The exhibition runs through December 20, 2008.
Haunch of Venison Berlin, October 31, 2008.
I promise I'll send a happier exhibition next time!
Helwing
Talk.
Click and comment below!
Thursday, November 20, 2008
Tuesday, August 26, 2008
Why talk about art?
There is no universal form instantly understood by anybody by just looking at it. Even the simplest of marks has a density of meanings and references. our way of looking is loaded with complexities of attitudes, ideas, experiences, and meanings that shape what is in front of us. Thus, we can say that as a society, it is you and I rather than the artist who define what art is.
So, if you don't ask questions, you have no way of really seeing, let alone deciding. Ask: why does it look the way it does?
Oh, just a quick note about context: Is a runner sprinting in the Olympics different from another one sprinting inside a gallery? If so, why?
In addition to promoting visual awareness and a better understanding of our material culture, talking about art provides us with an opportunity to clarify, verbalize, articulate, and better understand our own responses to objects and images in their environment, as well as learn to appreciate others' responses.
Influencing Factors
Factors influencing our responses to art (Vincent Lanier)
* Social attitudes toward a specific work
* Cultural view of the art form
* Perceptual skills (awareness and experience)
* Recognition of formal qualities (such as the elements and principles of design)
* Knowledge of specific symbols
* Associations with personal experience
* Historical significance
* Judgment
* Relationships of artwork to life
Some Approaches
There are a variety of approaches for talking about material culture and the visual environment, including art. The artwork, your purposes, and your audience will help determine which approach you select.
Regarding art particularly, these approaches assume that objects and images are purposefully created (with intent): that there are reasons why the object or image looks and/or functions the way it does and that often there are messages or meanings that are intended to be communicated to the viewer.
For young students, one useful analogy is to think of themselves as visual detectives, looking for clues. For older students this could also include a discussion of the different styles, processes, types of clues, in detection--from Sherlock (descriptive and empirical) to Magnum PI (intuitive).
Anyways, remember that conceptually speaking, some of today's artist function more as semantic DJs, mixing up messages and meanings new and old, either for a new take on our contemporary society, or just for kicks.
The following approaches are not presented in any particular order--and it should be noted that they may be blended together as appropriate depending on your instructional objectives.
Imitative (subject-matter content) & Expressive Qualities
Questions focus on the literal, symbolic, or abstracted content, and are aimed at understanding and/or interpreting the meanings, messages, feelings, or mood being conveyed to the viewer.
This approach is particularly accessible to younger students because it begins with talking about their own responses to the image or object.
The teacher's role should be to validate all responses while asking clarifying questions. The elements and principles of design can be useful tools in this dialogue (and extend understanding of Why I like "that"); however subject-matter associations will usually play a more powerful role in influencing student responses. It can be useful to point out that one student's reasons for liking an image may be the very reason another student dislikes the image--both are valid.
Formal Visual Qualities
Questions focus on the structural organization of the work and aim at describing and analyzing the visual content in terms of the formal elements and principles of design in order to evaluate the visual "success" of the work and better understand how the work is "put together" and accomplishes its intent.
Young students can learn about and identify the elements and principles of design in visual imagery; however this approach tends to down-play the subject-matter content and with young children is most appropriate when discussing nonrepresentational or some abstract images. As students acquire abstract thinking skills, this approach is useful in developing "objectivity" and analytical thinking processes.
Cultural Heritage &
Historical Significance
Questions are aimed at understanding the context in which the work was created--who, what, when, where, why (for whom and for what purposes). It is helpful to include in this discussion how the image/object is similar or different from related objects/images that students are familiar with from their own culture or time.
Historically: How was the work thought of or used then; and how is that similar or different to how we think of or use it now in our own culture and time? How has it changed? Why? how does the work intertwine itself with art history.
Culturally: How is this work similar to or different from works serving similar purposes in our own and other cultures? Why? Is there a cross-cultural link in the work.
This focus can be adapted to most age levels--from basic awareness and exposure to objects/images from other cultures or times, to more in-depth inquiries by older students.
Elements and Principles of design.
Borrowed and mixed from: STArt: Arts and Media Basics
So, if you don't ask questions, you have no way of really seeing, let alone deciding. Ask: why does it look the way it does?
Oh, just a quick note about context: Is a runner sprinting in the Olympics different from another one sprinting inside a gallery? If so, why?
In addition to promoting visual awareness and a better understanding of our material culture, talking about art provides us with an opportunity to clarify, verbalize, articulate, and better understand our own responses to objects and images in their environment, as well as learn to appreciate others' responses.
Influencing Factors
Factors influencing our responses to art (Vincent Lanier)
* Social attitudes toward a specific work
* Cultural view of the art form
* Perceptual skills (awareness and experience)
* Recognition of formal qualities (such as the elements and principles of design)
* Knowledge of specific symbols
* Associations with personal experience
* Historical significance
* Judgment
* Relationships of artwork to life
Some Approaches
There are a variety of approaches for talking about material culture and the visual environment, including art. The artwork, your purposes, and your audience will help determine which approach you select.
Regarding art particularly, these approaches assume that objects and images are purposefully created (with intent): that there are reasons why the object or image looks and/or functions the way it does and that often there are messages or meanings that are intended to be communicated to the viewer.
For young students, one useful analogy is to think of themselves as visual detectives, looking for clues. For older students this could also include a discussion of the different styles, processes, types of clues, in detection--from Sherlock (descriptive and empirical) to Magnum PI (intuitive).
Anyways, remember that conceptually speaking, some of today's artist function more as semantic DJs, mixing up messages and meanings new and old, either for a new take on our contemporary society, or just for kicks.
The following approaches are not presented in any particular order--and it should be noted that they may be blended together as appropriate depending on your instructional objectives.
Imitative (subject-matter content) & Expressive Qualities
Questions focus on the literal, symbolic, or abstracted content, and are aimed at understanding and/or interpreting the meanings, messages, feelings, or mood being conveyed to the viewer.
This approach is particularly accessible to younger students because it begins with talking about their own responses to the image or object.
The teacher's role should be to validate all responses while asking clarifying questions. The elements and principles of design can be useful tools in this dialogue (and extend understanding of Why I like "that"); however subject-matter associations will usually play a more powerful role in influencing student responses. It can be useful to point out that one student's reasons for liking an image may be the very reason another student dislikes the image--both are valid.
Formal Visual Qualities
Questions focus on the structural organization of the work and aim at describing and analyzing the visual content in terms of the formal elements and principles of design in order to evaluate the visual "success" of the work and better understand how the work is "put together" and accomplishes its intent.
Young students can learn about and identify the elements and principles of design in visual imagery; however this approach tends to down-play the subject-matter content and with young children is most appropriate when discussing nonrepresentational or some abstract images. As students acquire abstract thinking skills, this approach is useful in developing "objectivity" and analytical thinking processes.
Cultural Heritage &
Historical Significance
Questions are aimed at understanding the context in which the work was created--who, what, when, where, why (for whom and for what purposes). It is helpful to include in this discussion how the image/object is similar or different from related objects/images that students are familiar with from their own culture or time.
Historically: How was the work thought of or used then; and how is that similar or different to how we think of or use it now in our own culture and time? How has it changed? Why? how does the work intertwine itself with art history.
Culturally: How is this work similar to or different from works serving similar purposes in our own and other cultures? Why? Is there a cross-cultural link in the work.
This focus can be adapted to most age levels--from basic awareness and exposure to objects/images from other cultures or times, to more in-depth inquiries by older students.
Elements and Principles of design.
Borrowed and mixed from: STArt: Arts and Media Basics
Friday, February 22, 2008
Wednesday, January 23, 2008
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