Course Overview

Media Arts, Grade 11, Open, ASM3O

Curriculum Document: The Ontario Curriculum, Grades 11 and 12, The Arts, 2000

Prerequisite: Any Grade 9 or 10 Course in the arts

Course Description

This course emphasizes the development of the knowledge and skills required for the production of media art works (e.g., robosculpture, photocopy art, computer animation with synthesized sound). Students will develop an appreciation of the history of media arts through analysing specific works, and will create media art works using a variety of technologies (e.g., digital camera, photo-imaging software, computer-modelling software, synthesizer, videotape, multi-track sound recording).

The expectations for the courses in media arts are divided into three distinct yet related strands: Theory, Creation, and Analysis. The Theory strand is focused on understanding of concepts, including elements and principles, as well as techniques, technologies, and processes. The Creation strand deals with various aspects of the creation of media artworks. The Analysis strand is focused on examination of aesthetic issues and the function of media arts in society.

As an Open course, the Grade 11 Media Arts Profile is designed to broaden the student’s knowledge and skills, and provide a solid and practical foundation for the media arts.

The activities in this course of study are designed to prepare students to meet the challenges of a technologically advanced society. A focus on the creative process gives students practical skills, appropriate motivation, and the theoretical knowledge needed to communicate ideas, feelings, and beliefs through the media artwork they create. In addition, students develop an appreciation and awareness of this new and innovative art discipline.

Students are introduced to the technical, historical, theoretical, cultural, moral, and ethical social contexts of media arts in society. An essential component is hands-on exploration and skill development with integration of theoretical content. Progressing through the units in sequence allows students to build on previously acquired knowledge and skills. The course has been designed to integrate and accommodate the experienced student as well as those students who have not previously taken Grade 10 Media Arts.

Reviewing the Grade 10 Media Arts document and familiarizing oneself with the media arts resources would be beneficial to teachers who are new to this subject area.

Self-expression is a fundamental aspect of this course. It is imperative that students have the opportunity to explore and experiment with the tools and techniques available to them as they unfold during the course, in order to become knowledgeable creators. Media Arts is a new, experimental direction in the arts. It is essential that students and educators realize that this hybrid art form is in a constant state of flux.

The culminating unit of the course is an Independent Study Unit (ISU). The final product takes the form of a digital portfolio, which gives students something tangible to take into the world of work or further study.

How this Course Supports the Ontario Catholic School Graduate Expectations

This Media Arts course presents students and teachers with a hybrid approach as it merges a variety of disciplines. This is not a Media Literacy or Visual Arts course but a new Arts discipline. In this course, students strive to communicate their ideas effectively through the Media Arts process with emphasis on commitment, creative thinking, and problem solving. This course offers many opportunities for self-expression as students also discuss issues related to the impact of media arts on society. A variety of media artworks are critically analysed from a Gospel perspective as students compare their values to those suggested by the form, content, and context of the artwork studied and created. Topics related to self-identity, society at large, and the environment are raised and students are given opportunities for both analysis and celebration in light of the Catholic faith tradition.

Units: Titles and Times

* Unit 1	Introduction – What is Real?	16 hours
* Unit 2	Exploration in Montage	25 hours
Unit 3	Surreal Animation	21.25 hours
Unit 4	Experimental Vision	21.25 hours
Unit 5	Culminating Unit	26.5 hours

*This unit is fully developed in this Course Profile.

Unit Organization

Unit 1: Introduction – What is Real?

Time: 16 hours

Strand(s): Creation, Theory, Analysis

Unit Description

This unit begins with an introductory discussion of the nature of reality from the perspective of the student. Are the visual images seen around us creatively useful and understandable? We live in a complex, constructed environment and all aspects of modern life including the arts reflect this. By this standard then, we as citizens should be able to ask the question, “What is real?” in what we see. Who “owns” the images we see, the ideas we share, and when and how do they become our own? Through basic introductory discussions, students focus on the creative process as they come to understand how images can be manipulated through the use of traditional art tools (e.g., cut and paste, photocopy art, painting, printmaking, photography, drawing) and new and emergent technologies (e.g., digital imaging and graphics software). The activities offer students a variety of opportunities to create their own artwork through image manipulation. Students are presented with the work of contemporary media artists to look at and discuss, relative to the kind of work they are to endeavour to create. Group discussions and individual responses focus on the effects of image manipulation on the viewer, the ownership of images, and to what extent an image must be manipulated so as to become a unique and new, original artwork. These topics serve as a springboard for discussion of ethical, moral, and legal issues related to the altering of images. Reference to Canadian copyright documents is essential.

Unit Overview Chart

Activity	Expectations	Assessment	Focus
1	THV.01, ANV.02, AN1.01, AN2.01, AN2.02, AN3.03 CGE2b, 2c, 3e, 4b	K/U T/I C	Brainstorming, starting to research
2	THV.01, THV.02, CRV.01, CRV.02, CRV.03, ANV.01, TH1.01, TH2.02, TH3.03, CR1.01, CR1.02, CR1.03, AN1.01, AN2.03 CGE2b, 2c, 4b, 5a, 5g, 7a	K/U A	Manipulate images
3	THV.01, THV.02, THV.03, CRV.01, CRV.02, CRV.03, CRV.04, ANV.01, ANV.02, ANV.03, TH1.01, TH2.02, TH3.01, CR1.02, CR1.03, CR2.03, CR2.04, AN1.01, AN2.01, AN2.03, AN3.01, AN4.02 CGE2b, 2c, 2e, 3b, 3c, 3d, 4a, 4b, 4c, 4e, 4f, 5b, 5e, 5f, 5g, 7b, 7i	K/U A T/I C	Plan and create thematically related images. Reflect on process and related issues.

K/U = Knowledge/Understanding C = Communication

T/I = Thinking/Inquiry A = Application

Unit 2: Exploration in Montage

Time: 25 hours

Strand(s): Creation, Theory, Analysis

Unit Description

This unit explores the language, practice, and history of montage (from the French verb monter “to put together”). In photography, a montage is created by reassembling negatives and prints from various sources which are to be re-photographed in order to create a seamless image. This differs from collage, which is a technique that may combine photographic materials with non-photographic elements. Fotoplastiks are a related practice developed by the surrealist Herbert Bayer. In this technique, an image is photographed, the photo is retouched, and then re-photographed. In the 1920s, “phototypography” was the collective term that included photomontage, collage, and assemblage. The principle aim is to create new visual realities. Notable artists to research would include Raoul Hausmann, Hannah Hoch, and John Hartfield.

Montage can be used to describe a wide range of creative practices that could include photography, film, and sound. Assembling techniques can include but are not limited to repetition, juxtaposition, sequencing, appropriation, and manipulation. Montage is often associated with time-based media (film, video, and sound), but by definition has a broader range of meaning.

Emphasis is placed on the stages of creation, the elements and principles of media arts and how ideas can be communicated and constructed through both visual media and sound. In the culminating activity, students create a time-based montage on a popular culture theme of their choice using multimedia software (e.g., Corel Presentation, Adobe Premiere, Director, Flash). This montage is intended to express both the technical abilities of the student as well as presenting a means of experimenting with, and expressing their own aesthetic language and observations. The key components are the fabrication of manipulated images, which are then arranged and combined with sound using presentation software.

The activities for this unit have been designed to be sequential and cumulative, leading to the assemblage of a final culminating product.

Unit Overview Chart

Activity	Expectations	Assessment	Focus
1	THV.01, THV.02, THV.03, ANV.01, ANV.03, TH1.01, TH2.02, TH3.01, AN1.01, AN2.01, AN2.02, AN2.03, AN3.02	K/U T/I	Introduction to terminology and basic techniques
2	THV.02, THV.03, CRV.01, CRV.02, CRV.03, CRV.04, ANV.01, TH1.01, TH1.02, CR1.03, CR2.02, CR2.03, CR2.04, AN3.01	K/U T/I	Still image montage
3	THV.01, THV.02, THV.03, CRV.01, CRV.02, CRV.03, CRV.04, ANV.01, ANV.03, TH1.01, TH2.02, TH2.02, TH3.01, CR1.02, CR1.03, CR2.03, CR2.04, AN1.01, AN2.01, AN2.02, AN2.03, AN3.02	K/U A T/I	Research theme and collect images for video montage
4	THV.01, THV.02, THV.03, CRV.01, CRV.02, CRV.03, CRV.04, ANV.01, ANV.02, ANV.03, ANV.04, TH1.01, TH1.02, TH1.03, TH2.01, TH2.02, TH3.01, TH3.02, TH3.03, CR1.01, CR1.02, CR1.02, CR2.02, CR2.03, CR2.04, AN1.01, AN2.01, AN2.02, AN2.03, AN3.01, AN3.02, AN4.02	K/U T/I A	Audio montage creation
5	THV.01, THV.02, THV.03, CRV.01, CRV.02, CRV.03, CRV.04, ANV.01, TH1.01, TH1.02, TH1.03, TH2.01, TH2.02, TH3.01, TH3.03, CR1.01, CR1.03, CR2.02, CR2.03, AN2.01, AN2.02, AN2.03, AN3.01	K/U A T/I	Assemble culminating product and reflect on process. (Appendix J) (Appendix N)

Unit 3: Surreal Animation

Time: 21.25 hours

Strand(s): Creation, Theory, Analysis

Unit Description

This unit expands on the illusion of reality as introduced in Unit 1. Students are introduced to the nature of Surrealism through the examination of Surrealist work. Surrealism is the conceptual reference for the animations that students produce in the activities portion of this unit. Here we define Surrealism as an exploration of the fantastic, and/or unexpected juxtaposition as one might find in the reconstruction of a dream world.

A review of animation principles (such as form and movement) and techniques (which could include zoetrope, drawing on film, or flipbooks, etc.) prepares the students to undertake the hands-on activities. As a starting point for the exploration of animation, the NFB website is an appropriate Canadian resource. The jigsaw method of group work is especially useful in this context. For example, the teacher could set up a number of “animation stations” in the classroom. Each station would be equipped for a different animation technique. Students are then divided into groups, which rotate through the stations. The groups would be obliged to take up the animation from the last cell, frame, drawing, etc., created by the previous group. Teachers should structure this activity so that the groups have as little knowledge as possible of the content of the previous group’s work. The intent of this activity is to create non-narrative, random, playful animations in a variety of techniques. This activity would culminate in a critical review of the animated products, with conceptual links made to the surreal nature of these works.

Assessment is ongoing in this unit, culminating in the presentation and critique of the final product, surreal computer-generated animations that incorporate the student’s name. This product may be used as credits for the experimental video and/or portfolio assignments.

Unit Overview Chart

Activity	Expectations	Assessment	Focus
1	THV.01, THV.02, THV.03, ANV.01, ANV.03, TH1.01, TH2.02, TH3.01, AN1.01, AN2.01, AN3.01 CGE1d, 2a	K/U T/I	Review and discuss animation techniques
2	TH3.02, TH3.03, CRV.01, CRV.02, CRV.03, CRV.04, CR1.02, CR1.03, CR2.02, CR2.04, AN3.01 CGE2b, 3b, 3d, 3e, 4b, 4f, 5a, 5f, 7a, 7i, 7j	K/U A T/I	Produce short animations in groups
3	TH3.02, TH3.03, CRV.01, CRV.02, CRV.03, CRV.04, CR1.02, CR1.03, CR2.01, CR2.02, CR2.03, CR2.04, AN3.01 CGE2c, 2d, 4a, 4e, 4g, 5b, 5d, 5e, 5g, 7b	K/U A T/I C	Produce Flash animations and do group critique

Unit 4: Experimental Vision

Time: 21.25 hours

Strand(s): Creation, Theory, Analysis

Unit Description

This unit addresses non-narrative video production and explores contemporary film nuance and technique, video artists (Nam June Paik, Gary Hill, Bruce Nauman, Bill Viola, etc.), and contemporary art theories and practices (issues regarding appropriation, authorship, politics, gender, etc.) Applying video technology, aesthetics, and “cutting edge” techniques, students discover how to manipulate, distort, and reinterpret preconceived perceptions of reality. By utilizing previously learned concepts and with the acquisition of these new skills, students create experimental videos that capture and communicate a new vision.

Unit Overview Chart

Activity	Expectations	Assessment	Focus
1	THV.01, THV.02, THV.03, ANV.01 CGE1d, 2a, 4a	K/U T/I C	Introduction, explain nature of non-narrative
2	AN1.01, AN1.02, AN2.01, AN2.02, AN2.03, AN3.01	T/I C	Elements of video production
3	TH1.01, TH2.01, TH2.02, TH3.02, TH3.03	K/U C	Hands-on review
4	CRV.01, CRV.02, CR1.03 CGE3e, 4b, 4e, 4f, 5b	A	Storyboard and stills
5	CRV.02, CRV.04, CR1.02, CR2.01 CGE3c, 3d, 4b, 4c, 5f, 5h, 7i	A C	Produce experimental video
6	CR2.02, CR2.03, CR2.04 CGE5a	A	Produce title and end credits
7	THV.02, ANV.01, AN1.01 CGE2c, 2d, 3b, 4a, 4g, 5e, 5g, 7a, 7b, 7c, 7j	T/I C	Class Critique

Unit 5: Culminating Unit

Time: 26.5 hours

Strand(s): Creation, Theory, Analysis

Unit Description

This culminating unit takes the form of an Independent Study Unit (ISU). Students revisit their earlier artworks through the compilation of a digital portfolio. The portfolio focuses on a specific set of knowledge and skills acquired in one or more of the previous units. While the portfolio serves as a concrete “sampling” of student achievement, it also becomes a new work of art. The portfolio demonstrates a mastery of skills and knowledge and presents earlier artworks in a new format. This portfolio may be digital or video.

A rubric is developed collaboratively by the teacher and students to assist in the direction and evaluation of this unit. Students must include an initial segment that identifies the student and acknowledges other contributors where appropriate. Time should be allotted for the presentation of this portfolio.

Unit Overview Chart

Activity	Expectations	Assessment	Focus
1	TH2.01, AN3.01 CGE2a	K/U T/I	Review and discuss animation techniques
2	TH3.02, TH3.03, CR2.04, CR2.05 CGE2b, 2d, 3b, 3c, 3d, 4e, 4g, 5b	K/U A	Create a rubric
3	CRV.01, CRV.02, CRV.04, CR1.02, CR1.03, CR2.01, CR2.02, CR2.03, CR2.04, CR2.05 CGE1i, 3e, 3f, 4b, 4d, 5f, 7a, 7i	A	ISU
4	ANV.01, ANV.04, AN1.01, AN1.02, AN2.02, AN3.03, AN4.01, AN4.02 CGE2c, 4a, 4c, 5e, 5g, 7b	T/I C	Portfolio presentation and group critique

Course Notes

General Time Frame

The times spent on activities are recommendations; the actual time spent should consider:

1. the amount of equipment or number of computer workstations for the class;

2. the teacher’s choice of medium;

3. the experience and interest of the students and the teacher.

Choice of Media

Since the resources and equipment available to teach media arts differ in each school, this Course Profile focuses on content, not on specific media arts tools. Wherever possible, options in the selection of media tools are given. It is suggested, however, that the media, as in the content progression in this Course Profile, should move from simple to complex, building on the elements and principles of media arts.

The Media Arts Journal

In this course, all students are required to keep a media arts journal. This journal may contain written information, research, illustrations, sketches, and photographs. All units contain media arts journal assignments that directly support the activity being done. This journal should also be used to document the planning and development of class assignments and activities. In assigning tasks for the Media Arts Journal, the teacher should refer to the overall expectations for the unit currently being undertaken.

Note: Media arts journal assignments are designed to reinforce class work. Work should be done as homework, as directed by the teacher.

Safety and Equipment

Because of the large equipment base required to teach media arts and the nature of the equipment, it is important to develop systems that ensure the safety of students when using this equipment. The safe and careful handling of this equipment must also be stressed. Systems must also be developed to keep track of equipment and arrange for its equitable use. Decisions must be made about equipment sign-out policies and about the use and storage of equipment students may wish to bring from home.

FOIPOP (Release form and liabilities)

Teachers should be aware of the Freedom of Information and Protection of Privacy Act (FOIPOP Act) and arrange for release forms to be signed if students are being videotaped. They should also familiarize their students with this Act.

Final Considerations

Media Arts is a way of working and a medium for making creative artwork for both applied and purely aesthetic purposes. It is important that teachers of Media Arts realize that expectations for this course can be achieved through a variety of media choices and that the expertise and background of the teacher should be considered, as well as available facilities, in planning the content of this course.

This document, in the units provided (two of six), focuses on still and moving time-based media. Other units in this Course Profile expand this imaging knowledge base with the inclusion of sound, animation, and the use of hybridization of other media. This is one way to approach the teaching of this course.

In conclusion, Media Arts as a course provides a new and dynamic vehicle for teachers and their students to use traditional and emergent technologies to create works expressively as artists.

Teaching/Learning Strategies

· teacher-led discussions

· instruction of use of media arts tools

· explanation and inclusion of the work of media artists

· connecting student artwork to the work of media artists

· class discussions

· viewing and listening activities

· critical analysis of student, peer, historical, and contemporary work

· individual responses (oral and written)

· group discussions

· timelines (of artists, inventions, instruments, artworks)

· independent research (development of information file and/or journal, exploration and research of media artists and artworks)

· application (creation of media products for specific audiences)

· presentations (oral, visual, dramatic, written, sound recordings, multimedia)

· exploration, experimentation with a variety of materials and techniques

· portfolio development (collection of student works reflecting skills, knowledge, and understanding accumulated throughout the course)

· brainstorming (group generation of initial ideas expressed without criticism or analysis)

· conferencing/interviewing (student-to-student discussion and teacher-to-student conferencing to encourage confidence and motivation to success in all learners)

· viewing artwork – present slides, photographs, or video to focus discussion on subject matter, content, use of elements and principles of media arts, cultural influences, and styles

· use of the media arts journal for reflection, planning, and information gathering

Assessment & Evaluation of Student Achievement

The following assessment/evaluation techniques are used in this Course Profile.

Knowledge/ Understanding	Application	Thinking/Inquiry	Communication
Performance of specific tasks to consolidate learning (e.g., filming basic shots)	Ongoing record of work development and progress in the Media Arts Journal	Informal critique of work in progress	Upkeep of the Media Arts Journal
Effective use of concepts learned in creative production	Performance of specific tasks to consolidate learning	Formal group critique of work	Oral or written presentation of information learned
Upkeep of the Media Arts Journal and a notebook	Informal critique of work in progress	Written evaluation of student work by self, peer, or teacher	Ongoing record of work development and progress in the Media Arts Journal
Oral or written presentation of information learned	Teacher observation	Written critique of the work of self or others	Informal critique of work in progress
	Student/teacher conference	Oral group or individual presentation	Student/teacher conference
	Formal evaluation of student artwork	Formal evaluation of written analysis	Formal group critique of work
	Rubric use or rubric generation in class	Rubric use or rubric generation in class	Written evaluation of student work by self, peer, or teacher
			Written critique of the work of self or others
			Oral group or individual presentation

Seventy per cent of the grade will be based on assessments and evaluations conducted throughout the course. This portion of the grade should reflect the student’s most consistent level of achievement throughout the course, although special consideration should be given to more recent evidence of achievement. Thirty per cent of the grade will be based on a final evaluation in the form of an examination, performance, essay, and/or other method of evaluation suitable to the course content and administered towards the end of the course.

Course Synopsis Chart

The following are suggested activities for the units in this document.

Activity	Unit 1	Unit 2	Unit 3	Unit 4	Unit 5
Activity 1	Introduction – “What is Real?” 150 min	Montage Analysis: Trailers - Film Construction and Editing Techniques 75 min	Illusion of Movement 225 min	Introductory Viewing and Explanation of Non-Narrative 150 min	Introduction 75 min
Activity 2	Collage: There’s a New Kid in Town 285 min	Digital Hockney – Manipulate Digital Images 375 min	Non-linear non-narrative: Group rotation through project 675 min	Elements of Video Production 150 min	Create a Rubric 150 min
Activity 3	The Digital Artist’s Canvas 525 min	Image Gathering/Theme Development Gather Source Material 150 min	Animated Flash Gifs 375 min	Hands-on Review 75 min	ISU 1200 min
Activity 4		Audio Montage: Thematic Disparity – Exploration and Generation of Sound Elements 375 min		Storyboard and Stills 150 min	Portfolio Presentation and Group Critique 150 min
Activity 5		Single Image to Movement – Assemble Final Montage 525 min		Experimental Video Production 450 min
Activity 6				Title and End Credits 150 min
Activity 7				Class Critique 150 min

Accommodations

Teachers need to be acquainted with students’ Individual Education Plans (IEPs), and the unique learning characteristics of their individual students, and need to make the necessary accommodations.

The following generic accommodations are suggested. Specific accommodations are found in the activities.

General

· clear expectations of quality

· classroom placement to maximize student focus

· close monitoring by the teacher

· oral and written instructions

· review and repetition

· concepts presented in a variety of formats (e.g., visually, concretely, verbally)

· “chunking” of tasks into smaller subtasks

· checklists

· graphic organizers

· homework/notebook/journal monitoring

· examples of what is expected

· working with a partner and/or peer helper

· ongoing feedback

· use of computers and the Internet

· oral responses for viewing activities and testing (taped if necessary)

· use of specialized tools and materials

· modifications of expectations as per IEP (Individual Education Plan)

· offering alternative assignments

· modifications of content related to each assignment

· summary sheets of skills and concepts learned

· extensions suggested within each unit

Listening and Speaking

· additional time

· encouragement to participate orally

· the use of a translator and listening cues or prompts

· teacher modelling of appropriate responses

Reading

· oral reading to student

· vocabulary pre-teaching and checking for comprehension

· peer tutor/helper to help identify and highlight essential information

· underlined or highlighted key points

· reading guide

· taped notebooks

· large typeface

Writing

· computer (when appropriate)

· tape-recorded or videotaped classes

· peer tutor/helper

· handouts and essay writing outlines

· additional time

· note-taker

· alternatives to written assignments (e.g., video, audio recording, graph, mind map, oral presentation)

Behavioural

· highly structured environment

· monitor to stay on task

· appropriate behaviour modelled

· clear, reasonable expectations

· appropriate consequences

· time-outs and conflict-resolution strategies

· appropriate alternate behaviours

Resources

Note Concerning Permissions

Units in this profile make reference to the use of specific texts, magazines, films, and videos. Before reproducing materials for student use from books and magazines, teachers need to ensure that their board has a Cancopy licence and that resources they wish to use are covered by this licence. Before screening videos for their students, teachers need to ensure that their board/school has obtained the appropriate public performance videocassette licence from an authorized distributor (e.g., Audio Cine Films Inc.). Teachers are also reminded that much of the material on the Internet is protected by copyright. That copyright is usually owned by the person or organization that created the work. Reproduction of any work or a substantial part of any work on the Internet is not allowed without the permission of the owner.

Please Note that although World Wide Web resources are included, web addresses are constantly changing. E-mail addresses provided might not be useful in future; however, the names of associations and sites are constant and can be found by using a search engine for the World Wide Web. When possible, formal names, addresses, and conventional addresses have also been included. It should also be noted that website contents are constantly being changed. It is therefore essential that the teacher preview any site before sharing its contents with students.

General Resources

Anderson, Neil. Media Works. Toronto: Oxford University Press, 1989. ISBN 0-19-540730-X

Duncan, Barry, et al. Mass Media and Popular Culture, Version 2. Toronto: Harcourt Brace Canada. ISBN 0-7747-0170-6

Negroponte, Nicholas. Being Digital. New York: Alfred A. Knopf, 1995. ISBN 067943919

Spalter, Anne Morgan. The Computer in the Visual Arts. New York: Addison-Wesley Publishing Company, 1998. ISBN 0201386003

Tapscott, Don. Growing Up Digital. New York: McGraw Hill, 1998. ISBN 0-07-063361-4

Books

Arnold, Grant, Monica Kin Gagnon, and Doreen Jensen. Topographies: Aspects of Recent B.C. Art. Vancouver: Vancouver Art Gallery, 1996. ISBN 1550545132

The Bible (NRSV)

Catechism of the Catholic Church. Doubleday Publishers, 1995. ISBN 0385479670

Clark, Michael T. Teach Yourself Paint Shop Pro 6 in 24 Hours. Indiana: Sams Publishing, 2000.
ISBN 0672317206

Cotton, Bob and Richard Oliver. The Cyberspace Lexicon: An Illustrated Dictionary of Terms. London: Phaidon Press Ltd., 1994. ISBN 0714832677

Davies, Hugh M., Ronald J. Onorato, and Anne Farrell. Blurring the Boundaries: Installation Art 1970-1996. ISBN 0934418446

Douglas, John and Glenn Harnden. The Art of Technique: An Aesthetic Approach to Film & Video Production. Allyn and Bacon Publishers, 1995. ISBN 0205142486

Honnef, Klaus. Contemporary Art. Germany: Benedikt Taschen, 1990. ISBN 3822800759

Hughes, Robert. The Shock of the New: Art and the Century of Change. London: Thames and Hudson, 1991. ISBN 0679728767

Kostelanetz, Richard. A Dictionary of the Avant-Gardes, 2nd ed. New York: Schirmer Books, 2000.
ISBN 0028653793

Kruger, Barbara and Ann Goldstein. Barbara Kruger. Massachusetts: MIT Press. ISBN 0262112507

Lucie-Smith, Edward. ArToday. London: Phaidon Press Ltd., 1995. ISBN 0714838888

Monk, Phillip. Ian Carr-Harris 1971-1977. Toronto: Art Gallery of Ontario, 1988. ISBN 09197766X

Nyman, Michael. Experimental Music (Cage and Beyond). Schirmer Books, 1974. ISBN 0028712005

Reinke, Steve and Tom Taylor, eds. Lux: A Decade of Artists’ Film and Video. YYZ Books and Pleasure Dome. ISBN 0920397263

Riemschneider, Burkhard and Uta Grosenick, eds. Art at the Turn of the Millennium. Koln: Taschen Publishers, 1999. ISBN 3822873934

Weintraub, Linda. Art on the Edge and Over: Searching for Art’s Meaning in Contemporary Society, 1970’s-1990’s. Connecticut: Art Insights, Inc., 1996. ISBN 0965198812

Zeigler, Kathleen and Nick Greco. Virtual Media: A Step-by-Step Techniques Guide. Southampton: Hearst Books, International, 1999. ISBN 0823069834

Journals/Magazines

Afterimage: The Journal of Media Arts and Cultural Criticism

Artforum

Artnews

Images: Annual Festival of Independent Film and Video. 416-971-8405

Lola (a Toronto art magazine – teacher reference only)
P.O. Box 265, Station C, Toronto, ON, M6J 3P4

Websites

Note: The URLs for the websites have been verified by the writer prior to publication. Given the frequency with which these designations change, teachers should always verify the websites prior to assigning them for student use.

ArtForum – www.artforum.com

Art Gallery of Ontario – www.ago.net

Art Gallery of York University – www.yorku.ca/admin/agyu

Art Dictionary – www.Artlex.com (Note: a resource for media art related terms)

Art Metropole – www.artmetropole.org

Artnews – www.ARTnewsonline.com

Art Resources through Internet Surfing – http://www.loyno.edu/~artis/index.html
www.vsw.org

Canadian Artists on the Web – http://www.cdnartistsonweb.com/

Canadian Filmmakers Distribution Centre – www.cfmdc.org (catalogue)
www.interlog.com/~cfmdc (info)

Centre for Contemporary Canadian Art – http://www.ccca.ca

Guggenheim SoHo: Mediascape exhibit – http://artnetweb.com/guggenheim/mediascape/

International Sculpture Centre – www.sculpture.org

Media Arts Website – http://www.n3xt.com/

Media Artists – www.artcyclopedia.com and www.the-artists.org

Mercer Union Gallery – www.interlog.com/~mercer

Message for the 34th World Communications Day –
http://www.vatican.va/holy_father/…4_world-communications-day_en.html

Museum of Modern Art: Video spaces – http://www.sva.edu/moma/video_spaces/videospaces.html

The National Gallery of Canada (Contemporary Art) – http://cybermuse.gallery.ca/ng/

The New School International Art Tour 1997 – http://www.diaInsa.edu/iat97/index.html

National Film Board of Canada – http://www.nfb.ca/

Ontario College of Art and Design – www.ocad.on.ca

Photomontage – http://www.photomontage.com/

The Power Plant Contemporary Art Gallery (Toronto) – www.thepowerplant.org
(**Note: as part of the Power Plant’s millennium initiative, they are creating a contemporary art study centre, a contemporary art Bookstore, and an integrated, data-intensive website. Currently, appointments can be made to view catalogues, slides, videos, etc., of artists whose work has been exhibited at this gallery committed to cutting edge, contemporary artwork. The gallery is located at 231 Queen’s Quay West, Toronto - Education Resources and Services (416) 973-4949)

Queen’s University Film Studies – http://www.film.queensu.ca/

Slate Art Guide On-line – www.slateartguide.com

Ten Building Blocks of Catholic Social Teaching – http://www.americapress.org/articles/Byron.htm

Trinity Square Video – www.trinitysquarevideo.com

The Vatican Website – www.vatican.va

www.vtape.org

Music

Anderson, Laurie. Oh Superman.

Bowie, David. Low.

Brook, Michael. Cobalt Blue.

Eno, Brian. My Life in the Bush of Ghosts – Shutove Assembly.

Glass, Philip. Koyaanisqatsi, Powaqqatsi.

Lanois, Daniel and Brian Eno. Apolo Atmospheres and Soundtracks.

Snow, Michael. Video.

Video

Andy Warhol: A Life at the Edge. A & E Biography, 1999.

Creative Process: Norman McLaren. Director: McWilliams, Donald. Toronto: National Film Board of Canada, 1990. Title Code: 106C 0190 079

Gilbert and George. The Fundamental Gilbert and George.

What’s This? Understanding Contemporary Art. Director: Mulligan, Chris. Toronto: National Film Board of Canada, 1996.

Software

3D Studio MAX, Animator, Corel Presentation, Director, Dreamweaver, Final Cut, Flash, Front Page, FutureSplash, HyperStudio, Illustrator, iMovie, Paint Shop Pro, Painter, Photopaint, Photoshop, PowerPoint, Premiere, Simply 3D, TrueSpace

Suggested Basic Equipment

Computers with Internet access, scanner(s), digital camera(s), still camera(s), video camera(s), video-editing equipment (analog and/or digital)

See sound unit for additional equipment needed for this particular unit.

Ontario Catholic School Graduate School Expectations

	Unit
	1	2	3	4	5
CGE1a – illustrates a basic understanding of the saving story of our Christian faith;
CGE1b – participates in the sacramental life of the church and demonstrates an understanding of the centrality of the Eucharist to our Catholic story;
CGE1c – actively reflects on God’s Word as communicated through the Hebrew and Christian scriptures
CGE1d – develops attitudes and values founded on Catholic social teaching and acts to promote social responsibility, human solidarity and the common good;			X	X
CGE1e – speaks the language of life…”recognizing that life is an unearned gift and that a person entrusted with life does not own it but that one is called to protect and cherish it.” (Witnesses to Faith)
CGE1f – seeks intimacy with God and celebrates communion with God, others and creation through prayer and worship;
CGE1g – understands that one’s purpose or call in life comes from God and strives to discern and love out this call throughout life’s journey;
CGE1h – respects the faith traditions, world religions and the life-journeys of all people of good will;
CGE1i – integrates faith with life;					X
CGE1j – recognizes that “sin, human weakness, conflict and forgiveness are part of the human journey” and that the cross, the ultimate sign of forgiveness is at the heart of redemption. (Witnesses to Faith)
CGE2a – listens actively and critically to understand and learn in light of gospel values;	X	X	X	X	X
CGE2b – reads, understands and uses written materials effectively;	X	X	X		X
CGE2c – presents information and ideas clearly and honestly and with sensitivity to others;	X	X	X	X	X
CGE2d – writes and speaks fluently one or both of Canada’s official languages;	X	X	X	X	X
CGE2e – uses and integrates the Catholic faith tradition, in the critical analysis of the arts, media, technology and information systems to enhance the quality of life.	X
CGE3a – recognizes there is more grace in our world than sin and that hope is essential in facing all challenges;	X
CGE3b – creates, adapts, and evaluates new ideas in light of the common good;	X	X	X	X	X
CGE3c - thinks reflectively and creatively to evaluate situations and solve problems;				X	X
CGE3d – makes decisions in light of gospel values with an informed moral conscience;	X	X	X	X	X
CGE3e – adopts a holistic approach to life by integrating learning from various subject areas and experience;	X	X	X	X	X
CGE3f – examines, evaluates and applies knowledge of interdependent systems (physical, political, ethical, socio-economic and ecological) for the development of a just and compassionate society.		X			X
CGE 4a – demonstrates a confident and positive sense of self and respect for the dignity and welfare of others;	X	X	X	X	X
CGE4b – demonstrates flexibility and adaptability;	X	X	X	X	X
CGE4c – takes initiative and demonstrates Christian leadership;	X	X		X	X
CGE4d – responds to, manages and constructively influences change in a discerning manner;	X	X		X	X
CGE4e – sets appropriate goals and priorities in school, work and personal life;			X	X	X
CGE4f – applies effective communication, decision-making, problem-solving, time and resource management skills;	X	X	X	X	X
CGE4g – examines and reflects on one’s personal values, abilities and aspirations influencing life’s choices and opportunities;	X	X	X	X	X
CGE4h – participates in leisure and fitness activities for a balanced and healthy lifestyle.
CGE5a – works effectively as an interdependent team member;	X	X	X	X
CGE5b – thinks critically about the meaning and purpose of work;	X	X	X	X	X
CGE5c – develops one’s God-given potential and makes a meaningful contribution to society;
CGE5d – finds meaning, dignity, fulfillment and vocation in work which contributes to the common good;	X	X	X
CGE5e – respects the rights, responsibilities and contributions of self and others;	X	X	X	X	X
CGE5f – exercises Christian leadership in the achievement of individual and group goals;				X	X
CGE5g – achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others;	X	X	X	X	X
CGE5h – applies skills for employability, self-employment and entrepreneurship relative to Christian vocation.				X
CGE6a – relates to family members in a loving, compassionate and respectful manner
CGE6b – recognizes human intimacy and sexuality as God given gifts, to be used as the creator intended;
CGE6c – values and honours the important role of the family in society;
CGE6d – values and nurtures opportunities for family prayer,
CGE6e – ministers to the family, school, parish, and wider community through service.
CGE7a – acts morally and legally as a person formed in Catholic traditions;	X	X	X	X	X
CGE7b – accepts accountability for one’s own actions;	X	X	X	X	X
CGE7c – seeks and grants forgiveness;	X	X	X	X	X
CGE7d – promotes the sacredness of life;
CGE7e – witnesses Catholic social teaching by promoting equality, democracy, and solidarity for a just, peaceful and compassionate society;
CGE7f – respects and affirms the diversity and interdependence of the world’s peoples and cultures;
CGE7g – respects and understands the history, cultural heritage and pluralism of today’s contemporary society;
CGE7h – exercises the rights and responsibilities of Canadian citizenship;	X	X
CGE7i – respects the environment and uses resources wisely;	X	X	X	X	X
CGE7j – contributes to the common good.	X	X	X	X

Coded Expectations, Media Arts, Grade 11, Open, ASM3O

Theory

Overall Expectations

THV.01 · use appropriate vocabulary to discuss media art in a variety of contexts;

THV.02 · describe how various concepts (e.g., elements, principles) and techniques and procedures are used in their media art works and the works of others;

THV.03 · describe media art works in terms of their historical foundations (e.g., in cinematography, videography, electro-acoustics);

THV.04 · describe legal, safety, and interpersonal practices related to media arts production.

Specific Expectations

Concepts and Terminology

TH1.01 – demonstrate an understanding of the use of media arts elements, principles, technologies, and procedures in their art works and those of others, using appropriate vocabulary (e.g., ephemeral with regard to an installation, interactive with regard to performance art, point of reception in sound or laser art);

TH1.02 – identify elements, principles, and other concepts in a work of media art that are found in other art forms (e.g., the elements of dance in performance art, the elements of music in electro-acoustics).

History

TH2.01 – describe the contribution of technology to media arts (e.g., the effect of digital technology on the development of media arts);

TH2.02 – explain the development of media arts in terms of their historical context (e.g., the history of the art film, the art video, or synthesized music).

Practices

TH3.01 – describe the legalities related to the production and distribution of media art work (e.g., freedom of information, right to privacy, copyright);

TH3.02 – describe the importance of following applicable safety standards and routines when working in media arts (e.g., when laying electric cables for an installation);

TH3.03 – demonstrate an understanding of the importance of respect for common property in studios, laboratories, rehearsal spaces, and installation and gallery spaces (e.g., respect for shared equipment and resources).

Creation

Overall Expectations

CRV.01 · use media arts concepts in their own work;

CRV.02 · use both traditional and emerging technologies and procedures to create media art works;

CRV.03 · apply the stages of the creative process (e.g., researching, exploring, experimenting, executing, evaluating) to create art works individually and in groups;

CRV.04 · use concepts and procedures that media arts shares with other arts when creating works of media art.

Specific Expectations

Use of Concepts and Procedures

CR1.01 – use media arts elements, principles, technologies, and procedures to create hybrid works of art that combine visual images, sound, and movement (e.g., a multivideo display, a video sculpture);

CR1.02 – use appropriately a variety of media arts concepts in creating their works (e.g., hybridization, temporality);

CR1.03 – choose a concept or procedure that is found in a traditional art form and experiment with it in the creation of a work of media art.

Production Skills

CR2.01 – use a variety of traditional techniques and procedures to produce a hybrid work that combines visual images, sound, and movement (e.g., a multivideo display);

CR2.02 – select appropriate traditional techniques and emerging technologies, and use them to communicate a message (e.g., techniques used in analog video editing, computer animation);

CR2.03 – demonstrate skills in using computer hardware and software (e.g., digital recorder, digital camera, photo-imaging software, computer-modelling software) to produce a work of digital media art;

CR2.04 – demonstrate effective interpersonal and problem-solving skills related to the production and creation of media art works;

CR2.05 – organize a digital portfolio of their art work (e.g., a database, a multimedia production).

Analysis

Overall Expectations

ANV.01 · evaluate the aesthetic components of their own and others’ works of media art or productions, demonstrating an understanding of the process of critical analysis;

ANV.02 · analyse the impact of media art works and productions on themselves and their communities;

ANV.03 · analyse the function of media art in society;

ANV.04 · describe careers related to their interests in media arts.

Specific Expectations

Critical Analysis

AN1.01 – evaluate a hybrid work, following standard procedures in critical analysis (e.g., consider their initial reaction; describe the work using appropriate terminology; analyse and interpret the work; evaluate the effectiveness of the work);

AN1.02 – produce critiques of visual, acoustic/electro-acoustic, and cinematic media art works from various periods.

Self and Community

AN2.01 – analyse and compare ways in which various examples of media art have an effect on their lives;

AN2.02 – analyse and compare ways in which works of media art influence various audiences and ways in which dynamic interaction with those audiences can affect the meaning of a work;

AN2.03 – explain how media arts productions can be used to express social and cultural realities.

Function of Media Art

AN3.01 – analyse the symbolic function of elements in a selected work of media art;

AN3.02 – explain the importance of media arts in the expression, transmission, and promotion of a culture (e.g., the impact of media arts on the promotion of cultural groups);

AN3.03 – explain the socio-economic benefits of media arts productions (e.g., benefits of exhibiting and/or performing media arts).

Career Preparation

AN4.01 – research and describe the skills required in careers related to the creation, production, distribution, or management of media arts products or processes;

AN4.02 – analyse ways in which their interests and skills relate to possible careers in media arts.

Unit 1 | Unit 2 | Course Profiles Main Menu

Acknowledgments

Curriculum Document: The Ontario Curriculum, Grades 11 and 12, The Arts, 2000

Course Description

How this Course Supports the Ontario Catholic School Graduate Expectations

Units: Titles and Times

Unit Organization

Unit 1: Introduction – What is Real?

Unit 2: Exploration in Montage

Unit 3: Surreal Animation

Unit 4: Experimental Vision

Unit 5: Culminating Unit

Course Notes

General Time Frame

Choice of Media

The Media Arts Journal

Safety and Equipment

FOIPOP (Release form and liabilities)

Final Considerations

Teaching/Learning Strategies

Assessment & Evaluation of Student Achievement

Course Synopsis Chart

Accommodations

General

Listening and Speaking

Reading

Writing

Behavioural

Resources

General Resources

Books

Journals/Magazines

Websites

Music

Video

Software

Suggested Basic Equipment

Ontario Catholic School Graduate School Expectations

Theory

Overall Expectations

Specific Expectations

Creation

Overall Expectations

Specific Expectations

Analysis

Overall Expectations

Specific Expectations