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1.
《The Educational forum》2012,76(4):434-437
Abstract

This article examines how the use of multimedia sources can deepen student engagement, comprehension, and questioning of a variety of texts. Through an American literature project, The Art of War, high school juniors work in collaboration to read, analyze, and create original digital texts using Animoto.com. As a result, educators are able to see academic strengths in students that might otherwise go unnoticed with the sole use of traditional teaching practices and print text.  相似文献   

2.
The paper presents a research perspective on a Secondary school‐based project,, Art on the Net, which explored the interaction between practising artists, students and teachers using digital technologies in the visual and performance arts in school settings. The study illustrated the role that art education plays not only in providing an authentic context for the use of digital technologies, but also in offering insights into conceptualising the nature of ICT capability. The analysis for this paper highlights key themes arising for participants engaged in such intervention projects and illustrates the interaction between professional knowledge and pedagogy in Art and ICT.  相似文献   

3.
Contemporary art requires that art and cultural educators reposition encounters with artefacts, images and performances into a context for new discourses. Whereas digital media and other aspects of visual popular culture predominate the frames of reference of school‐age children, their context (codes) of reference, in large part, do not contain those used by art and cultural education professionals. Most art professionals (con)textualise their interpretations from a more formalistic tradition, unlike school‐age children, whose use of iconographic elements from their experiential subcultures, are projected into the content of their visual encounters. In order to find relevancy for today's art education, interrelationships between the codes of the participant and visual experiences must be built upon the development of new strategies between viewers, artefacts and experts. This article presents the background and use of dialogic strategies for new discourse from the‘Open Dialogue Club’programme between the Department of Art Education at Charles University and the Galerie Rudolfinum, a contemporary art space, in Prague, Czech Republic.  相似文献   

4.
This intrinsic case study examines art museum learning of elementary school students during a week-long visit at the Mackenzie Art Museum. Museums are informative institutions that provide opportunities for visitors to engage with self, others, and society. It is a unique place for visitors to learn beyond classroom settings. This project aims to analyse the discourse around art and understand how young learners utilise discourse as tools to make meaning during art museum visits. By examining learners' dialogues, the research investigated a meaning-making framework that incorporates strategies for negotiating insights in art museums. This study includes approximately 12 hours of video-recorded data and student artefacts. The data suggests learners engage and form new meanings through building and negotiating discourses with peers and museum educators. Different discourses and knowledge are valued and reinforced by members of the group. This study addresses the gap in children's meaning-making during art museum visits, illustrating their strategies to construct knowledge and bridge connections.  相似文献   

5.
This article gives an account of a school in which Year Curriculum Teams were created, consisting of a planned combination of tutors across subject clusters. An enhanced role and perspective for the tutor is described. Subsequent changes were accommodated well by the new system, even though the position regarding tutor continuity was changed. As with other school accounts in this issue, a sense of the particular flavour of the school comes through, alongside the structural themes which may have wide application.
Charles Harper and Yvonne Barry are both members of the Senior Management Team at Burntwood School, which has recently been awarded Beacon status. Charles has taught in a number of schools including in Pennsylvania, USA. He was a Head of Art before moving into senior management. Yvonne has taught in two large comprehensive schools and was a Year Curriculum Coordinator before becoming a senior manager. Both have been involved in training staff and in giving presentations at the Institute of Education, CSCS, QME and various London schools. Charles and Yvonne are members of various working groups and advisory bodies including the Open University and the QCA.  相似文献   

6.

This article gives an account of a school in which Year Curriculum Teams were created, consisting of a planned combination of tutors across subject clusters. An enhanced role and perspective for the tutor is described. Subsequent changes were accommodated well by the new system, even though the position regarding tutor continuity was changed. As with other school accounts in this issue, a sense of the particular flavour of the school comes through, alongside the structural themes which may have wide application.

Charles Harper and Yvonne Barry are both members of the Senior Management Team at Burntwood School, which has recently been awarded Beacon status. Charles has taught in a number of schools including in Pennsylvania, USA. He was a Head of Art before moving into senior management. Yvonne has taught in two large comprehensive schools and was a Year Curriculum Coordinator before becoming a senior manager. Both have been involved in training staff and in giving presentations at the Institute of Education, CSCS, QME and various London schools. Charles and Yvonne are members of various working groups and advisory bodies including the Open University and the QCA.  相似文献   

7.
Interior design, as a field of study, is a rapidly growing area of interest — particularly for teenagers in the United States. Part of this interest stems from the proliferation of design‐related reality shows available through television media. Some art educators and curriculum specialists in the nation perceive the study of interior spaces as a ‘practical application’ of the arts. This article discusses an experiential design problem, originally used in higher education interior design studio courses that was modified and shared with students in third grade to address national academic standards. Later, this same project was modified for use with high school students in the educator's community and with international design students in South Korea. Lastly, the project was presented in a workshop to art education students at a higher education institution. The project was modified to address (1) the age group level and (2) a topic relevant to the audience. Goals of the design project were: (1) to explore creative problem‐solving, (2) to explore the application of design elements and principles, and (3) to increase student understanding of spatial relationships within an interior environment. Findings indicate that the project supported several visual art standards, including perception and community. This project may be of interest to current and future art educators and others interested in the potential of interior design content supporting art education.  相似文献   

8.
There is considerable enthusiasm in many quarters for the incorporation of digital games into the classroom, and the capacity of games to engage and challenge players, present complex representations and experiences, foster collaborative learning, and promote deep learning. But while there is increasing research documenting the progress and outcomes of game-based learning, relatively little attention is paid to student perceptions and voice. In order to effectively target game-based learning pedagogy, it is important to understand students' previous experience, if any, of the use of games in the classroom, and what they made of these. In this paper, we present findings from a survey of 270 primary and secondary school students in Year Levels 4–9 (aged 9–14) in 6 Queensland schools at the start of a 3-year Australian Research Council project researching the use of digital games in school to promote literacy and learning.  相似文献   

9.
This paper details a project which involved a group of art specialist Diploma in Education students, two lecturing staff plus a group of primary school children in a series of planned art activities for two terms. The Saturday Morning Art programme (S.M.ART) was developed to enable the students to systematically focus on art learning in these classes by using largely qualitative research processes within a case study framework. By introducing these pre-service trainee art teachers to research techniques which they can then use, we believe we are preparing them to be self-evaluative and reflective practitioners in the classroom.  相似文献   

10.
This paper focuses on a built environment project with a mixed ability group of learners from year seven attending Deacon's School in Peterborough, England. The School caters for students aged between eleven and eighteen, from a wide range of ethnic and cultural backgrounds (including a substantial minority from the Indian Sub‐Continent); it is an active participant within the University of Cambridge Post Graduate Certificate in Education partnership and is a ‘beacon school’. In practical studio terms, the project was concerned with school students making ‘pop‐up cards’ based on first hand observation of local architecture under the guidance of the Head of Art. [1] The focus for students' learning was on their critical responses to their built environment, in and around the City of Peterborough. In particular, students were encouraged to make full use of their sketchbooks and to engage in active oral work. The approach taken builds upon that advocated by Wolff and Geahigan [2] by emphasising the relationship between students' personal engagement with art and design and their personal response to it through their own art; students were encouraged to learn about art and design objects through the process of reacting, researching, responding and reflecting. [3]  相似文献   

11.
Art educators have been promoting Community‐Based Art Education (CBAE) in schools in order to enhance students’ sense of socio‐cultural identity and contextual learning about local art and culture. It cannot only bridge the gap between the students’ daily lives and the communities and art, but can also enhance their inquiry, discovery and meaning‐making abilities. In China, the community‐based approach plays a significant role in the National Standards for Visual Arts, and Chinese art educators have been applying CBAE in school art education for decades. However, Western art educators are still unfamiliar with the issues, practices and challenges related to CBAE in China owing to language constraints. In light of the above, this article aims to initiate a dialogue between Western and Chinese CBAE researchers through discourse and discussions on the main issues related to CBAE in Chinese art education. It outlines current practices of, and issues related to, CBAE from the perspective of Chinese art education. It also discusses the three major challenges to the implementation of CBAE in China, namely the conflict between indigenous knowledge and official knowledge in the school art curriculum, lack of motivation among teachers, and neglect of context in the practice of local art in schools. It is hoped that this article it will enrich our overall knowledge of CBAE and contribute to the understanding of CBAE from a global perspective.  相似文献   

12.
The purpose of this article is to describe how the Department of Art Education at the University of Lapland in Finland has developed winter art as a method of environmental and community‐based art education. I will focus on the Snow Show Winter Art Education Project, a training project funded by the European Union and the State Provincial Office of Lapland. The general aim of the project was to increase the know‐how of winter art in Northern Finland. This goal was put into practice through workshops on snow construction, documentation of winter art, winter‐oriented media production, and snow and ice sculpting; through continuing education seminars, workshops, and school projects for teachers; and through public lectures and seminars on winter and winter art. In this article, I describe the challenges that winter offers to community and environment‐based art education in the North. Further, I introduce the methods of implementation and the outcomes of winter art exercises carried out by several schools in Lapland in cooperation with and inspired by the Snow Show Winter Art Education Project.  相似文献   

13.
美术新课程改革给高中美术鉴赏课教学带来了新的思考和尝试.以往传统的教学模式已经不能满足学生学习的需要,学生的积极性和学习兴趣在枯燥乏味的课堂中逐渐消失.美术鉴赏课堂迫切需要寻找新的模式和方法来改变这种格局,以重新焕发美术教育所应有的作用和艺术魅力.因此,高中美术鉴赏课对学生自主课堂的尝试,正是新课改下提高学生学习兴趣、充分发挥学生学习主动性的有效方式.  相似文献   

14.
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15.
在21世纪的艺术视域中,数字影像成为新媒体艺术创作的主要媒介,电影、电视、录像、计算机网络等媒体制造的影像成为主要的艺术传播平台。利用新媒体进行创作的影像艺术以数字化的图像语言为视觉表象,以新技术手段为诗意载体,借助于Video、摄像机、投影仪、互联网和多媒体视频编辑软件,制造了后现代社会的“仿真”与“拟像”现实。大量的影像与Video艺术实例证明,影像艺术具有视觉诗意：借助视觉画面的审美表现力传达作者对影像文化的诗意追思。  相似文献   

16.
《学校用计算机》2013,30(3-4):109-118
Summary

While a constructivist approach to the integration of technology in the science curriculum can enable teachers to educate students on the cyclical nature of the research process and interrelate various scientific concepts, there are several considerations for educators must take to assure that it is done effectively. The authors provide a review of a project that was designed and implemented for high school science students that integrated the use of technology in a constructivist environment. This review summarizes the strengths and limitations of the project and provides educators with further considerations when implementing such a project. As educators become more familiar with what is required to successfully integrate technology in a constructivist environment, the limitations and obstacles that may be encountered can be limited. More research devoted to the use of computer technology to teach science process skills will bring teachers and students closer to harnessing the potential powers of both project-based learning strategies and the computer environment.  相似文献   

17.
Art educators continuously struggle to understand what multiculturalism ‘looks like’ in the art classroom. This has resulted in multicultural art education becoming superficial, in which art teachers guide students through art projects like creating African masks, Native American dream catchers, Aboriginal totems, and sand paintings, all without communicating the context of the art. This type of multiculturalism essentializes cultures, and builds Western, myopic narratives about groups of people, specifically about their ‘Art’. Critical multiculturalism is a power-focused upgrade of multiculturalism that calls for a critique of power and demands recognition that racism and other discriminations are enmeshed in the fabric of our social order. Teaching through a critical multiculturalism framework helps teachers dismantle Western, normalized narratives and produce counter-hegemonic curriculum that contextualizes culture and reveals its fluidity. In this article, the author shares a teacher action research study in which she describes what critical multiculturalism looks like in her art education classroom. The study focuses on ‘being’ a critically multicultural educator versus ‘doing’ critical multiculturalism. Such a position counters the idea that critical multiculturalism is a thing to complete, but instead is an ongoing process that rests on specific ways of thinking and considering the classroom, curriculum, and students.  相似文献   

18.
This paper gives a summary of a presentation made by Glen Coutts and an exhibition organised by Mark Dawes at the InSEA conference held in Glasgow during July 1997. It concerns recent developments and initiatives using artists, designers and students in Scottish schools. The presentation at InSEA was supported by slides of the students’ work and an outline of the processes used in each of the workshop sessions. During the presentation the conference had the opportunity to view the results of collaboration between artists, students and school children aged between 10 and 14 years. These projects took place over a period of five to six months, and have resulted in an ambitious project which will be completed during 1999, Glasgow’s year as UK City of Architecture and Design. The projects used visual artists to expand and enhance the art activities normally taking place in the schools. This paper reports on the following areas: developments in Art & Design Education in Scotland – the context for artists in schools, Artists and Education – two case studies and future developments – towards 1999.  相似文献   

19.
ARTEMIS (Art Educational Multiplayer Interactive Space) is an online multi‐user virtual environment that is designed around the objects, artefacts, philosophies, personalities and critical discourses of the histories and theories of art and design. Conceived as a means of reinvigorating art history and theory education in the digital age, ARTEMIS addresses the specific teaching and learning needs of a new generation of art and design students in higher education. This article is a case study that addresses the second phase of the testing and design development of ARTEMIS. It builds on the findings of the initial phase, which involved the development of the ‘proof of concept’ for an online virtual world and game designed for undergraduate students in the Faculty of Art and Design at Monash University in Melbourne, Australia. Drawing on a test trial and student response survey, this article assesses whether virtual environments like ARTEMIS can generate new life in art and design history, augment the teaching and learning mix in art and design higher education, and foster new modes of active engagement amongst students.  相似文献   

20.
It is common in the everyday art class to find many examples of avoidance, omission and exaggeration in young adolescents’ depictions of the human figure. When students depict sophisticated human images, they make every effort to avoid the difficult parts, and some students tend to exaggerate the size or distort the shape of the human image. Art educators see these types of behaviour and modes of expression as unnatural, and claim that they may hinder the development of the creativity of young adolescents. Relevant discussions in the literature from a psychological perspective are mainly concerned with the negative impact of such behaviour and modes of expression on the formation of young adolescents’ identities. However, in the context of popular visual culture, the findings of recent studies on young adolescents’ comic drawings have suggested that when young adolescents draw comic characters, they use their everyday life experiences in their drawings. This article reports on a five‐year qualitative longitudinal study conducted in a Hong Kong secondary school. The aim of the study was to deepen our understanding of this behaviour on the part of adolescents in art classes. The findings of the study confirmed the view that these aspects should be interpreted from a cognitive learning perspective. It is suggested that art educators reconsider these types of behaviour and modes of expression as a potential means for improving secondary students’ learning of the art of popular visual culture.  相似文献   

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