Course Profile Media Arts, Grade 11, Open, Catholic and Public

Unit 2: An Exploration of Montage

Time: 25 hours

Strand(s): Creation, Theory, Analysis

Activity 1 | Activity 2 | Activity 3 | Activity 4 | Activity 5

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 Synopsis Chart

Activity	Time	Expectations	Assessment	Tasks
1: Montage Analysis: Trailers – Film Construction and Editing Techniques	75 min	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	Terminology related to montage (class discussion as applied to product) Completion of movie trailer chart (Appendix E)
2: Digital Hockney – Manipulate Digital Images	375 min	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 A T/I	Participation in class discussions (Appendix N) Create a digitally-manipulated image Self- and peer evaluation checklist (Appendix I)
3: Image Gathering/Theme Development - Gather Source Material	150 min	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 T/I A	Terminology and definitions in media arts journal Thematic proposal
4: Audio Montage: Thematic Disparity – Exploration and Generation of Sound Elements	375 min	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	T/I K/U A	Journal entries based on media artists presentation and/or exemplars List of terms and definitions in media arts journal Students create audio track to be used in culminating activity
5: Single Image to Movement - Assemble Final Montage	525 min	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 C	Assemble final montage project (sound and images) Presentation and final critique (Appendix J) (Appendix N)

Prior Knowledge & Skills

Basic knowledge of elements and principles of visual and dramatic arts, photography, video, sound production, and digital imaging would be beneficial.

Unit Planning Notes

Teachers are encouraged to keep resources for this unit as current as possible to correspond with technologies available to students. Each activity can be adapted depending on the technologies available. However, every effort should be made to allow students access to appropriate equipment. This may involve partnerships in the community, guest speakers/artists, sharing with other schools, field trips, etc.

Teaching/Learning Strategies

With each activity, emphasis is to be placed on the content first and then on the use of the tools available, beginning with a critical analysis of traditional and emergent art forms and proceeding to student creation of their own artwork. The focus of this unit is on experimentation and interpretation of images to convey a particular idea or message. Students should be encouraged to focus on these goals as they proceed through the activities. Teachers and students need to be flexible and open to new ideas as the activities present a variety of possibilities for achieving the goals of each activity.

Assessment & Evaluation of Student Achievement

Artwork created or proposed in this unit is evaluated for evidence of experimentation, creativity, and the student’s ability to convey a particular idea or message, and on their ability to use the various tools. The media arts journal is also an important assessment tool for this unit and for the course. It is introduced at the beginning of the course and may take the form of a sketchbook, notebook, file folder, etc. The journal is used throughout the course as a place for reflection and preparatory work for the media artworks created. Learning skills such as the ability to work in a group should be evaluated separately and not included in the determination of percentage grades.

Resources

Books

Baatz, W. Photography, an Illustrated Historical Overview, Crash Course Series. Barron’s Publishing, 1997. ISBN 0-7641-0243-5

Brommer, Gerald. Collage Techniques. New York: Watson Guptill Publications, 1994.
ISBN 0-8230-0655-7

Duncan, Barry, et al. Mass Media and Popular Culture, Version 2. Toronto: Harcourt Brace Canada. ISBN 0-7747-01-70-6

Golding, Steven. Photomontage – A Step-by-Step Guide to Building Pictures. Rockport Inc., 1997.
ISBN 1-56496-289-X

Hockney, David. That’s The Way I See It. Chronicle Books, 1996. ISBN 0811814874

Janson, H.W. A History of Art, 3rd ed. Abrams Inc., 1986. ISBN 0-13-389388-X

Konigsberg, Ira. The Complete Film Dictionary, 2nd ed. London: Bloomsbury, 1997. ISBN 0747535930

Metamorphoses: Photography In the Electronic Age. New York: Aperature, 1994. ISBN 0-89381-602-7

Mora, Gilles. PhotoSpeak – A Guide to the Ideas, Movements, and Techniques of Photography. Abbeville Press, 1998. ISBN 0-7892-0068-6

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

Wright, Michael. An Introduction to Mixed Media. Scarborough, ON: Prentice Hall Canada Inc., 1995. ISBN 0133670201

CD ROMs

Corel Professional Photos CD-ROM

Journals and Magazines

ARTnews. Editor: Esterow, Milton. New York: ARTnews L.L.C., 2000.

Websites

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

Top: Society, Culture and People – http://www.yahoo.com/Society_and Culture/People_Home_Pages

Altcultures – http://www.pathfinder.com/altculture/about.html

Audio Resources

See Appendix K

Software Resources

Corel Presentation, Adobe Premiere, Director, Flash, Gigasampler, Re-Birth

Activity 1: Montage Analysis:

Trailers – Film Construction and Editing Techniques

Time: 75 minutes

Description

This introductory activity is designed to familiarize students with the concept of montage as it applies to film, photography, and sound. Movie trailers are an excellent example of demonstrating montage as visual and sound editing techniques. Emphasis is placed on the notion of the product being time-based and employing expressive fluency through a variety of montage practices. Raoul Hausmann, Hannah Hoch and John Hartfield are three key photomontage artists from the 1920s whose work demonstrates montage techniques as applied to still photography. Language used in the discussion of these works should include the following terms: repetition, juxtaposition, multiples, sequencing, appropriation, and/or manipulation.

Strand(s) & Learning Expectations

Strand(s): Theory and Analysis

Overall Expectations

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

THV.02 - describe how various concepts (elements and principles), techniques, and procedures are used in their media artworks and the work of others;

THV.03 - describe media artworks in terms of their historical foundations (cinematography, videography, electro-acoustics);

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.03 - analyse the function of media art in society.

Specific Expectations

TH1.01 - demonstrate an understanding of the use of media arts elements, principles, technologies, and their procedures in their artworks and the artworks of others, using appropriate vocabulary;

TH2.02 - explain the development of media arts in terms of their historical context;

TH3.01 - describe the legalities related to the production and distribution of media artwork (freedom of information, right to privacy, copyright);

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

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 work;

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

AN3.02 - explain the socio-economic benefits of media arts productions (benefits of exhibiting and/or performing media arts) and cultural realities.

Planning Notes

· The teacher gathers appropriate samples including time-based and still images (video or Internet).

· Teachers familiarize themselves with terminology and artists related to the practice of montage (e.g., The Complete Film Dictionary for establishing terminology). An indispensable on-line resource is www.artlex.com for definitions of media arts-related terminology. Websites www.artcyclopedia.com and www.The-artists.org are valuable resources for obtaining information on media artists and their work. Trailers for current films can frequently be downloaded from the Internet. (Appendix L)

Teaching/Learning Strategies

1. In the introduction to the unit, the teacher lists and outlines the sequential activities as well as shows examples of completed montage using the available hardware and software. If student work does not exist, then the teacher should create or locate examples. The software used to create the montage should be mentioned. This is an opportunity to use student mentors who have software experience.

2. The teacher provides samples of photomontage, and leads a discussion surrounding technical and expressive qualities of the works. Emphasis should be placed on the notion of the “objectivity of appearance.” The terminology related to montage should be introduced at this point and carried on to the time-based examples.

3. Students are shown examples of a variety of movie trailers. This may be done from Internet sources.

4. The teacher demonstrates how the linear plot of a movie is often presented in a non-linear fashion to intensify audience response. Students are asked to consider their critical response to movie trailers. Students brainstorm a list of particularly effective movie trailers and begin to use an appropriate vocabulary to describe how these results are achieved.

5. Students are asked to make associations between their emotional responses as triggered by the trailers, and the elements of media arts constructions that inspire those feelings (for example sound elements, camera, and editing techniques). A discussion of film terms and vocabulary should enhance appreciation and understanding of the concepts in this unit (sound, camera angle, editing, pace, etc.).

6. Students chart these associations in their media arts journal. (See Appendix E.)

Assessment & Evaluation of Student Achievement

· Participation in class discussion

· Completion of specified requirements

Accommodations

· Extend time constraints where needed

· Close monitoring by teacher

· Teacher modelling of appropriate responses

Resources

Books

Baatz, W. Photography, an Illustrated Historical Overview. Crash Course Series. Barron’s Publishing, 1997. ISBN 0-7641-0243-5

Golding, Steven. Photomontage – A Step-by-Step Guide to Building Pictures. Rockport Inc., 1997.
ISBN 1-56496-289

Konigsberg, Ira. The Complete Film Dictionary, 2nd ed. London: Bloomsbury, 1997. ISBN 0747535930

Mora, Gilles. PhotoSpeak – A Guide to the Ideas, Movements, and Techniques of Photography. Abbeville Press, 1998. ISBN 0-7892-0068-6

Activity 2: Digital Hockney - Manipulate Digital Images

Time: 375 minutes

Description

This activity reinforces the concept of montage and those design principles associated with photomontage. By experimenting with the ideas of placement, relative size, and composition, students gain experience in the critical concepts of montage, most importantly the concept of the “objectivity of experience.” The purpose of this activity is to have students understand that a montage is a series of parts that make a whole. Furthermore, some of those parts are seen as aesthetically or conceptually more important than others. While working with Hockney as an artist model, the fluidity of time and space may be an integral part of a still image composite. Students also gain experience in bitmap editing and manipulation and build on those skills acquired in Unit 1. Students apply the technology and explore their ideas creatively.

Strand(s) & Learning Expectations

Strand(s): Theory, Creation, Analysis

Overall Expectations

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

THV.03 - describe media artworks in terms of their historical foundations (cinematography, videography, electro-acoustics;

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

CRV.02 - use both traditional and emerging technologies and procedures to create media artworks;

CRV.03 - apply the stages of the creative process (researching exploring, experimenting executing, evaluating) to create artworks individually and in groups;

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

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.

Specific Expectations

TH1.01 - demonstrate an understanding of the use of media arts elements, principles, technologies, and procedures in their artworks and those of others, using appropriate vocabulary (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 (elements of dance in performance art, the elements of music in electro-acoustics);

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;

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

CR2.03 - demonstrate skills in using computer hardware and software (digital recorder, digital camera, photo-imaging software, computer-modeling 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 artworks;

AN3.01 - analyse the symbolic function of elements in selected work of media art.

Planning Notes

The teacher should gather examples of reproductions of Hockney’s photomontage work. Over time, the teacher saves good student work as exemplars. Examples of interactive 3-D images may also be found on the Internet. Samples of facet cubism assist in students appreciating the concepts in this activity.

Prior Knowledge & Skills

· Experience with the use of a scanner, digital camera, and bitmap-editing software (Adobe Photoshop, Corel Photopaint) would be an asset.

· Satisfactory completion of the activities in Unit 1 would be an asset.

Teaching/Learning Strategies

1. The teacher begins this activity by presenting examples of Hockney’s photomontage work, interactive 3-D Internet images and facet cubist paintings (Picasso, Braque). The teacher identifies the elements of these works germane to this activity. Language includes emphasis, placement, unity, repetition, facet, fragmentation, and composition. Students create conceptually similar works individually or in groups, as resources permit.

2. The teacher explains the process:

· Students take three to five consecutive photos of their subject with a digital camera. These photos are to overlap and allow for slight variations/alterations in time and space.

· The photos are saved as grayscale bitmaps. Each bitmap is examined for areas of conceptual or compositional emphasis.

· Students create rough drawings in their media arts journal to help them plan the final product.

· The bitmaps are opened in bitmap-editing software and saved as a different file name so that the original image remains pristine.

· The renamed bitmap is then edited. Techniques include resampling, cropping, and the application of effects. This step needs to be repeated a number of times depending on the desired complexity of the final image.

· Students are to be reminded to save their work often.

· Once the pieces have been created, students open a new file in the bitmap-editing software. The teacher offers specifications as to the physical size of this file depending on available resources. The larger the physical size of this file, the greater the demands on the computer equipment.

· Students then import the pieces of the montage and compose their final image. All objects are to be combined with the background and the new file saved. Files should be saved in the jpeg format to dramatically decrease the size of the files in memory.

· The image may be used as part of a digital portfolio or printed.

Assessment & Evaluation of Student Achievement

· Teacher observation (class time/lab time).

· Class participation in discussions, critiques.

· Self- and peer evaluation.

· Pass/fail completion style evaluation of assigned tasks.

Accommodations

· Pair student with a tutor, senior student, mentor, or interpreter.

· Extend time constraints where needed.

· A photocopier may be used for this activity in the absence of computer equipment.

Resources

Books

Janson, H.W. A History of Art, 3rd ed. Abrams Inc., 1986. ISBN 0-13-389388-X

Hockney, David. That’s The Way I See It. Chronicle Books, 1996. ISBN 0811814874

Activity 3: Image Gathering: Theme Development – Gather Source Material

Time: 150 minutes

Description

Students are introduced to the notion of popular culture. Popular culture is used mainly as a reference point for thematic exploration due to the rich visual resources accessible. Students analyse, through class discussion, group work, and individual reflection, the aspect(s) of popular culture that could be represented visually in a dynamic, multimedia montage. Students begin to collect and manipulate (through traditional or digital means) theme-related images that would be appropriate for Activity 5: Single to Moving Image.

Strand(s) & Learning Expectations

Strand(s): Theory, Creation, and Analysis

Overall Expectations

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

THV.02 - describe how various concepts (elements and principles) techniques and procedures are used in their media artworks and the work of others;

THV.03 - describe media artworks in terms of their historical foundations (cinematography, videography, electro-acoustics);

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

CRV.02 - use both traditional and emerging technologies and procedures to create media artworks;

CRV.03 - apply the stages of the creative process (researching, exploring, experimenting, executing, evaluation to create artworks individually and in groups;

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

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.03 - analyse the function of media art in society.

Specific Expectations

TH1.01 - demonstrate an understanding of the use of media arts elements, principles, technologies, and their procedures in their artworks and the artworks of others, using appropriate vocabulary;

TH2.02 - explain the development of media arts in terms of their historical context;

TH3.01 - describe the legalities related to the production and distribution of media artwork (freedom of information, right to privacy, copyright);

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

CR1.03 - demonstrate skills in using computer hardware and software to produce a work of digital media art;

CR2.03 - select appropriate traditional techniques and procedures to produce a hybrid work that combines visual images, sound and movement;

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

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 the work;

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

AN3.02 - explain the socio-economic benefits of media arts productions (benefits of exhibiting and/or performing media arts) and cultural realities.

Planning Notes

· The teacher provides chart paper and markers for the time capsule lists and traditional art materials for mixed media collage.

· The teacher locates visuals of popular culture fads, trends, and social/political events from an earlier decade (e.g., the 1960s) and also provides examples of high culture (classical art, classical music, classical ballet).

· The teacher arranges access to computers, the Internet, flat bed scanner, printer, and software, such as Adobe Photoshop or Corel Photopaint, for image manipulation.

· This is an excellent opportunity for students to explore popular culture in different regions of the world.

Prior Knowledge & Skills

· Knowledge of the elements and principles of art and/or media arts

· Basic knowledge of how photographs can be manipulated (through traditional or digital means)

· Basic knowledge of how to work safely and cooperatively in a studio environment

· Basic knowledge of the computer, web research, image saving, resolution, and image retrieval

Teaching/Learning Strategies

1. The teacher introduces the activity by asking students to generate lists of objects they would put into a time capsule to exemplify current events, politics, art, entertainment, trends, fads, etc. specific to the decade or year.

2. The teacher and students debrief the previous activity in a class discussion by reviewing their responses, looking for commonalties and differences.

3. The teacher shows visuals and provides samples of popular culture fads, trends, the arts, entertainment (film, television, radio, magazines), and social/political events, preferably from an earlier decade, such as the 1960s. There should be noticeable contrast for class discussion on such things as popular culture; social and cultural realities; function of the media arts in society; historical foundations and development of media arts; media arts and the audience; and impact of media arts in different contexts.

4. The teacher discusses the redefinition of narrative (e.g., appropriation and authenticity) in the electronic age of manipulation and sequencing as well as the historical connections to Surrealism, the current Postmodern trend, as well as the notion of the “objectivity of experience” (depending on what personal associations the viewer makes with the content).

5. The teacher provides working definitions based on discussion responses.

6. To generate ideas for planning their own popular culture montages, students browse a variety of websites (see Resources).

7. Students research numerous other sites based on a popular culture theme (e.g., an artist, political activist, social/political event, fad, trend, consumer product). This can be done outside of class time and does not need to be limited to website research. Other information sources should be encouraged.

8. Students keep detailed lists of websites visited for production credits

9. Students are encouraged to act either as a social critic or to glorify those aspects of popular culture that they find compelling.

10. Students work in production teams of two to begin planning their popular culture montage. Ideas and techniques explored should be documented separately in their media arts journal. This stage is concerned with conceptual development. Technical aspects are introduced in following activities.

11. Student production teams should submit a short written proposal outlining their popular culture theme and intent for approval.

12. The teacher emphasizes how students should creatively reinterpret or manipulate the images they are gathering as well as how the production team should interpret the same theme yet retain their own personal sense of expression. The notion of contrasts and complements (visuals, emotions, points of view) could be introduced as a way for the team to achieve thematic coherence.

13. The teacher reiterates copyright legalities from Unit 1.

14. The teacher provides examples of digital manipulation techniques which can include but are not limited to repetition, juxtaposition, multiples, sequencing, and filter manipulation.

15. The teacher provides examples of traditional manipulation and collage techniques which can include but are not limited to repetition, juxtaposition, multiples, sequencing, and filter manipulation.

16. The teacher emphasizes the elements and principles of art to ensure quality production.

17. To ensure consistent class approach, see Appendix G – Photocollage Vocabulary, Building a Photocollage: Basic Concepts, and Appendix H – Creating a Photocollage (Basic Steps).

18. Students should each have a minimum of three manipulated images that can be incorporated into their team montage. Images should be linked thematically with a view to having a total of six images to create the final montage.

19. Students complete self-evaluation questions related to digital image manipulation (Appendix F).

Assessment & Evaluation of Student Achievement

· Assess the written proposal for appropriate popular culture theme.

· The teacher develops a checklist to ensure that the image gathering process as outlined in the Teaching/Learning Strategies has been followed properly, and that all of the components of the process have been completed.

· Critique/evaluate manipulated images as they: (a) relate to the chosen theme and (b) as they relate to the elements and principles of art.

· Students complete a self-evaluation (Appendix F).

Accommodations

· Group work allows exceptional students to partner with each other.

· Encourage exceptional students to participate orally.

· Model appropriate oral responses.

· Pre-teach vocabulary/check for comprehension.

· Oral and written instructions.

· Present concepts visually and concretely.

· Set clear reasonable expectations.

· Check Media Arts Journal for complete and up-to-date entries.

Resources

Brommer, Gerald. Collage Techniques. New York: Watson Guptill Publications, 1994.
ISBN 0-8230-0655-7

Wright, Michael. An Introduction to Mixed Media. Scarborough, ON: Prentice Hall Canada Inc., 1995. ISBN 0133670201

Golding, Stephen. PhotoMontage: A Complete Guide to Building Pictures. Massachusetts: Rockport Publishers, Inc., 1997. ISBN 156496289X

Duncan, Barry, et al. Mass Media and Popular Culture, Version 2. Toronto: Harcourt Brace Canada. ISBN 0-7747-01-70-6

Metamorphoses: Photography In the Electronic Age. New York: Aperture, 1994. ISBN 0-89381-602-7

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

CD-ROMs

Corel Professional Photos CD-ROM - a wide variety of copyright-free photo images.

Journals and Magazines

ARTnews. Editor: Esterow, Milton. New York: ARTnews L.L.C., 2000.

Websites

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

Top: Society, Culture and People – http://www.yahoo.com/Society_and Culture/People_Home_Pages

Altcultures – http://www.pathfinder.com/altculture/about.html

Software

Soundforge, Sound Edit Pro

Activity 4: Audio Montage: Thematic Disparity – Exploration and Generation of Sound Elements

Time: 375 minutes

Description

Students examine and explore the elements and principles of analog, electro-acoustic, and digital sound. Students are introduced to a variety of media artworks that incorporate sound effects, ambient sound, speech and/or music in order to communicate ideas and elicit specific audience responses. Hands-on opportunities may include, but are not limited to, traditional methods of sound capture and manipulation (microphones, mixers, and tape recorders) as well as many of the emergent tools (computer-based synthesizers, samplers, signal processors and digital equipment) currently being used by media artists today. Student partnerships are to apply the stages of the creative process (researching, exploring, experimenting, executing, and evaluating) to produce an original and thought provoking audio track which can stand alone on its own merit or be incorporated into Activity 5: Single to Moving Image.

Strand(s) & Learning Expectations

Strand(s): Theory, Creation, Analysis

Overall Expectations

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

THV.02 - describe how various concepts (elements and principles) techniques and procedures are used in their media artworks and the work of others;

THV.03 - describe media artworks in terms of their historical foundations (cinematography, videography, electro-acoustics);

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

CRV.02 - use both traditional and emerging technologies and procedures to create media artworks;

CRV.03 - apply the stages of the creative process (researching, exploring, experimenting, executing, evaluation to create artworks individually and in groups;

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

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 artworks and productions on themselves and their community;

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

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

Specific Expectations

TH1.01 - demonstrate an understanding of the use of media arts elements, principles, technologies, and their procedures in their artworks and the artworks of others, using appropriate vocabulary;

TH1.02 - identify elements, principles, and other concepts in works of media art that are found in other art forms (the elements of music in electro-acoustic);

TH1.03 - recognize and use vocabulary specific to media arts;

TH2.01 - describe the contribution of technology to media arts (effects of technology on the development of media arts);

TH2.02 - explain the development of media arts in terms of their historical context;

TH3.01 - describe the legalities related to the production and distribution of media artwork (freedom of information, right to privacy, copyright);

TH3.02 - describe the importance of following applicable safety standards and routines when working in media arts;

TH3.03 - demonstrate an understanding of the importance of respect for common property in studios;

CR1.01 - use the elements and principles specific to media arts in their own work;

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

CR1.03 - demonstrate skills in using computer hardware and software to produce a work of digital media art;

CR2.02 - select appropriate traditional techniques and emerging technologies, and use them to communicate a message;

CR2.03 - select appropriate traditional techniques and procedures to produce a hybrid work that combines visual images, sound and movement;

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

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 work;

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

AN3.01 - analyse the symbolic function of elements in selected works of media art;

AN3.02 - explain the socio-economic benefits of media arts productions (benefits of exhibiting and/or performing media arts) and cultural realities;

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

Planning Notes

· Teachers are encouraged to familiarize themselves with media arts and sound terminology (digital, analog, MIDI, sampling, looping, polyphonic, monophonic, clipping, out of phase, tempo, rhythm, timbre, pitch, volume, and musique concrete). See Appendix K.

· The teacher checks all studio equipment ahead of time (install software, check microphones, cables).

· Teachers need to be comfortable with the application and use of the traditional and emergent technologies available to them.

· Teachers are encouraged to familiarize themselves with important media artists, artworks, and tools of the trade (e.g., Canadian artist Janet Cardiff).

· Examples of media artworks are to be assembled ahead of time for demonstration purposes.

· Teachers are encouraged to contact community members to make practical links to learning.

· This activity may be successfully completed with basic portable stereo components (cassette players, portable CD players, etc.) in combination with microphones, sound effects CDs, and/or live sound.

Prior Knowledge & Skills

· Basic knowledge of the elements and principles of media arts

· Basic knowledge of how to work safely and cooperatively in a studio environment

· Basic knowledge of the computer

Teaching/Learning Strategies

1. The teacher introduces important media artists, artworks, and tools of the trade.

2. Students respond to teacher-selected examples of media artworks both orally and in writing in their media journals.

3. The teacher provides samples of traditional and digital sound recording and manipulation techniques, in order to suggest how sound, music, and speech can be used to communicate cognitive information (relating to knowledge, reasoning, memory) and affective information (relating to emotion, feeling, mood, balance, temporality, point of view) to create a “cutting edge” soundtrack.

4. The teacher needs to relate discussion to the range of meanings and feelings as demonstrated in the previous activity of manipulating images. Emphasis should be placed on the element of sound as opposed to visual images as discussed in Activity 3. A powerful way to express ideas or feelings is to contrast a pictorial image with a sound element. The opposite idea, using complementary images and sounds also holds powerful potential, and lends itself to exploration. Students are to be made aware that sounds may be altered digitally so that they have a variety of different “feelings.” Students note in the media journal different emotions and the quality of sounds associated with these emotions.

5. The teacher introduces appropriate vocabulary (overdub, multi-track, editing, backward masking, timbre, and mood). Use a handout to identify and define necessary terms.

6. The teacher reviews the basics of copyright law and sampling.

7. The teacher reviews safety rules and studio expectations regarding equipment care, maintenance, and cooperation.

8. The teacher creates a checklist/rubric for proper studio set-up, cable routing, and hook-ups.

9. The teacher emphasizes that the product should be an original and thought-provoking audio track, which can stand on its own merit and can also be incorporated into Activity 5. CBC Radio documentaries are an example of this idea. Although not experimental in nature, these accessible programs contain all of the components discussed previously.

10. The teacher demonstrates the use of the digital sound editing software. The teacher plays a simple sound file, and edits it by changing the pitch, tempo, etc. Effects may also be applied to the sound.

11. Students create a systematic inventory of audio possibilities that can elicit a specific audience response related to their chosen theme (use headings: speech, music, and sound).

12. Students work in established teams (from Activity 3) to solidify their collective approach to montage, as well as to determine equipment needs (ideas are to be documented in the media arts journal.)

13. Students need to have sufficient time to explore and master the hardware/software of their choice.

14. Students begin to “cut, paste, mix, and fabricate” their audio track (progress is to be logged in the media arts journal.)

15. The teacher ensures that students have back-ups of their audio tracks for evaluation and portfolios.

Assessment & Evaluation of Student Achievement

· Assess student knowledge and application of skills through hands-on tasks (record and mix on more than one track using analog or digital) using a checklist/rubric.

Accommodations

· Students may work on the equipment of their choice.

· The teacher models appropriate use of equipment.

· Pre-teach vocabulary/check for comprehension.

· Provide oral and written instructions.

· Present concepts through concrete examples and demonstrations.

· Set clear and reasonable expectations.

Resources

See Audio Resource (Appendix K) and Media Arts Audio Concepts (Appendix M).

Activity 5: Single Image to Movement – Assemble Final Montage

Time: 525 minutes

Description

The culminating activity for this unit incorporates previously learned skills and new skills to create a short multimedia time-based montage based on a popular cultural theme. The previous activities in this unit have prepared students with the technological skills and vocabulary necessary for the production of the time-based montage. This culminating activity has been designed to demonstrate how various media arts components can fit together to create a more substantial final product. Ideally, students incorporate their images from Activity 3 with the soundtrack from Activity 4.

Strand(s) & Learning Expectations

Strand(s): Theory, Creation, Analysis

Overall Expectations

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

THV.02 - describe how various concepts (elements and principles) techniques and procedures are used in their media artworks and the work of others;

THV.03 - describe media artworks in terms of their historical foundations (cinematography, videography, electro-acoustics);

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

CRV.02 - use both traditional and emerging technologies and procedures to create media artworks;

CRV.03 - apply the stages of the creative process (researching, exploring, experimenting, executing, evaluation to create artworks individually and in groups;

CRV.04 - use concepts, procedures that media arts shares with other arts when creating works of media art;