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Course Profile Media Arts (ASM40), Grade 12, Open,
Catholic and Public
Course Overview
Prerequisite: Any Grade
9 or 10 course in The Arts
This course emphasizes
the development of the knowledge and skills required for the production of
interactive media art forms (e.g., interactive art installation, interactive
video, simulations, network art). Students will analyse and evaluate media art
works, and will create their own works using a variety of technologies and
processes (e.g., computer graphics, photo-imaging, digital video production
techniques, electro-acoustics). Students will maintain a portfolio of their
media art works.
This course
deals with the task of living a life of faith in the face of unlimited
technological and creative possibilities open to our students. There is an
attempt to provide all students with the skills to recognize and rejoice in the
divine mysteries that are the core values of Roman Catholicism.
This course
also supports the role of the student as a person who is called to live a life
of faith. The Catholic Graduate Expectations are infused into assignments in
order to provide a faith basis for the academic duties faced by students. The
use of a Christ-centred curriculum will help our students come to realize that
“The Lord has compassion on all he made” (Psalm 144:9), and that when invited
to live our faith, we are all members of a community based on humanity and
caring.
This course
provides both students and teachers with a perspective that places the life of
Jesus at the centre of all life. As loving teacher and mentor, Jesus gives us
examples that we should and can follow to make our vocation as learners truly
“cross-disciplinary.”
This course
encourages students and teachers to view the creation of new artworks and the
analysis of existing artworks from a Gospel orientation. Both students and
teachers are called to develop their God-given potential and make meaningful
contributions to society. Students are challenged by values that represent a
wide variety of cultures, and are called as Christians to respect the diversity
of other cultures, while maintaining and promoting the sacredness of Catholic
traditions. These statements resonate particularly strongly in the endeavours
of all artists.
“Artistic creation does not copy God’s creation, it
continues it. And just as the trace and the image of God appear in His
creatures, so the human stamp, sensitive and spiritual, not only that of the
hands, but of the whole soul.” (Jacques
Maritain)
·
Media arts
courses focus on the development of the practical skills and theoretical
knowledge needed to communicate ideas, feelings, and beliefs to specific
audiences and to interact with them. These courses afford students a context
for reflecting on cultural, historical, social, and economic contexts of media
art. Through active participation in media arts, students can develop their
imaginative abilities and their capacity for self-expression, while refining
the skills needed for lifelong learning and participation in the community.
·
The expectations
for the courses in media arts are divided into three distinct but related
strands: Theory, Creation, and Analysis. The Theory strand is focused on
understanding 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 12 Media Arts course is designed to broaden students’
knowledge and skills, and provide a solid and practical foundation for the
media arts.
·
Like all Open
courses in the province of Ontario, the Grade 12 Media Arts course is designed
to meet the needs of a variety of students. The Grade 12 Media Arts course
offers a unique new discipline that both broadens student achievement and
knowledge and provides a tangible link to the world of work.
·
The activities in
this course of study are designed to meet the ongoing challenges of an
increasingly technological society. By gaining both the technological skills
and the theoretical foundations, students will be empowered to communicate
their ideas, feelings, and beliefs in complex and personal media art forms.
Through the acquisition of knowledge and skills, students will develop an
appreciation and awareness of international and Canadian artists who are
involved in these emerging media.
·
Although it would
be possible to offer many of the activities in this course with accommodations
that would compensate for a lack of hardware or software, access to computer
equipment is essential in order to provide students with meaningful experiences
with the tools associated with media arts.
·
The teacher
should be entirely familiar with the hardware as well as all software
applications that they will use in the course. It will be beneficial for the
teacher to go through the activities that involve creation themselves, prior to
presenting them to students. This will enable the teacher to foresee potential
difficulties that may occur with the equipment, hardware, or software applications.
·
Teacher should
review computer use protocol as established by school and board policy. This
includes appropriate care and handling of the equipment, acceptable Internet
use, and possession of a valid computer user agreement.
·
Self-expression
is a fundamental aspect of this course. Media arts is an emerging and rapidly
changing 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
organizational basis of this course is the concept of interactivity as outlined
in the Curriculum document. The first unit introduces the concept of
interactivity to the students as it is related to media arts. Successive units
reinforce the conceptual relationships of cause and effect, immediacy, and
environment, which will provide the framework for the delivery of the remainder
of the units in the course.
·
The clustering of
the learning expectations reflects the logical presentation of the concept of
interactivity. Those expectations that best suit the sequential presentation of
the conceptual relationships of interactivity (cause and effect, immediacy, and
environment) have been clustered together.
·
The teacher
should be mindful of any assignment that involves the students posting work on
the Internet. Appropriate cautions and permissions must be used as mandated by
the individual boards.
|
* Unit 1 |
Introduction –
Exploring Interactivity in Media Art |
18 hours |
|
Unit 2 |
Projection –
Cultural Symbols |
25 hours |
|
* Unit 3 |
Internet
Interactivity – Rollovers and Framesets |
20 hours |
|
Unit 4 |
Environmental
Entropy – Thinking Big, Working Small |
22 hours |
|
Unit 5 |
Culmination –
Putting It All Together |
25 hours |
* These units are fully
developed in this Course Profile.
Time: 18 hours
Strand(s): Creation, Theory, Analysis
Unit Description
This unit begins
with an introductory discussion and lesson on the nature of interactivity. It
may be argued that all art is interactive insofar as the viewer engages with
the art piece, considers it, or in the case of sculpture in the round, moves
around it. While this is an important point of departure, art which invites the
viewer to animate it and encourages the breakdown of traditional barriers
between viewer and art object will be considered the best examples for this
course.
Students
begin with an examination of the development of the idea of interactivity in
visual and media arts. Emphasis is placed on modern and contemporary works that
bring into question the traditional role of the viewer/participant. The
connections between the viewer and the creator of artwork is considered using
the following framework: cause and effect, immediacy, and environment.
Students
take part in a group activity that reinforces the concepts and language of
interactivity and begins the construction of a database that will serve as examples
for future assignments in the course.
The students
are to be made aware of copyright issues that are pertinent to the creation of
interactive media arts by use of a formative test and through teacher-led
discussion.
Catholic
school teachers are encouraged to seek out examples of artworks that they feel
have a constructive spiritual context. By this standard, then, religion gives
focus to the arts, in the same way that religious imagery and icons have done
for centuries, where religion provides the truest of inspirations.
In an effort to
harmonize school curriculum with current Catholic doctrine, Catholic school
teachers should revisit Pope John Paul II’s open letter to all artists from
Easter 1999 (www.vatican.va). Here, the Holy Father outlined the need for
artists to “re-evangelize” our culture. Essential to the success of this course
is ensuring that students are aware of the causal relationship between art and
faith. Understanding the existence of this relationship allows for “new
epiphanies of beauty” in the form of student-created work.
Unit Overview Chart
|
Cluster |
Learning Expectations |
Assessment Categories |
Focus |
|
1 |
CRV.01, CRV.03,
CR1.01, CR2.01 |
Knowledge/
Understanding Application |
Text Art Generator |
|
2 |
THV.01, THV.02,
THV.03, ANV.01, ANV.02, ANV.03, TH2.01, TH2.02, AN1.01, AN1.02, AN2.01,
AN2.02, AN3.01, AN3.02 |
Knowledge/
Understanding Thinking/Inquiry |
Interactive Media
Artists database |
|
3 |
THV.01, THV.02, ANV.01,
ANV.02, ANV.03, TH1.01, TH1.02, TH2.01, AN1.02, AN2.01, AN2.02, AN2.03,
AN3.02 |
Communication |
Oral presentation |
|
4 |
ANV.03, TH3.01 |
Knowledge/
Understanding Thinking/Inquiry |
Copyright
inventory |
Time: 25 hours
Strand(s): Creation, Theory, Analysis
Unit Description
Projection is
the process of directing light through a translucent image, e.g., photocopied
transparency, 35 mm slide, drawing on acetate, or a computer-generated picture,
onto a screen or other viewing surface. This could be done with something as
sophisticated as a data projector or as simple as a flashlight. Viewing
surfaces may include portable screens or three-dimensional fabrications.
There are
four components to the delivery of this unit: a discussion of the elements of
projection; a review of the concept of immediacy; an inquiry into the use of
cultural symbols; and a presentation on equipment care and safety. Teacher-led
discussions, demonstrations, and student participation in class projects
prepare students for the final activity, where they work in small groups to
create a projection-based artwork that explores the thematic use of cultural
symbols.
As a form of
reinforcement for the idea of interactivity introduced in Unit 1, the concept
of immediacy is one of the major guiding themes of Unit 2. The physical
presence of a projection lends itself well to the expression of this concept
through the relationships created by the artist, the viewer, and the product.
The teacher should encourage the students to plan and build the notion of
immediacy into their artworks.
Students are
expected to provide a cultural context for the works that they create in the
final activity of this unit. This serves to direct their research and the final
product. The students present this research in the form of a written report for
assessment.
A discussion of
safety issues provides students with the practices required to successfully
complete the final activity, as well as participate in other activities in the
course.
Unit Overview Chart
|
Cluster |
Learning Expectations |
Assessment Categories |
Focus |
|
1 |
THV.01 |
Knowledge/Understanding |
Elements of
projection |
|
2 |
THV.01 |
Thinking/Inquiry |
Concept of
immediacy |
|
3 |
AN3.01, AN3.02,
AN3.03 |
Knowledge/Understanding
Communication |
Cultural symbols
report |
|
4 |
TH3.02 |
Application |
Equipment care and
safety |
|
5 |
CRV.01, CRV.03,
CR1.01, CR2.05, CR2.06, CR3.01 |
Knowledge/Understanding
Thinking/Inquiry Communication |
Final product – Cultural
Symbols Projection Piece |
Time: 20 hours
Strand(s): Creation, Theory, Analysis
Unit Description
The Internet
is one of the best vehicles available for creating interactive works of art.
Part of the reason for this is what Internet specialists refer to as
“push-pull.” In other words, the nature of the Internet makes it easy for the
viewer to make choices that result in actions. This means a static image can
become altered by the viewer’s interaction with it. This encapsulates the
concept of cause and effect, which is one of the guiding ideas of this unit and
one of the defining concepts of interactivity as discussed in Unit 1.
Teachers
should be mindful of the Internet audience with regards to school policy,
student safety, and access of information. Having established a safe precedent,
students will be able to show their work to a potentially vast number of viewers.
Students learn to
create two simple interactive Internet tools: rollover images and framesets.
Many HTML editing software packages incorporate rollovers and framesets. The
final activity for this unit is for students to individually create works that
comprise a “Virtual Sculpture Gallery” that may be posted on the Internet and
monitored for feedback.
Unit Overview Chart
|
Cluster |
Learning Expectations |
Assessment Categories |
Focus |
|
1 |
THV.01, ANV.01, ANV.02,
ANV.03, TH1.01, TH1.02, AN1.01, AN1.02 |
Thinking/Inquiry
Communication |
Introduction to
Internet based media art |
|
2 |
CR1.01, CR1.02 |
Application |
Tools and
techniques |
|
3 |
CRV.01, CRV.03, CR2.02,
CR2.03, CR2.05, CR2.06, CR3.01 |
Knowledge/
Understanding |
Final product –
the Virtual Sculpture Gallery |
Time: 22 hours
Strand(s): Creation, Theory, Analysis
Unit Description
Entropy may
be defined as the measure or degree of disorder and/or randomness that exists
in all systems, as well as the tendency of all societies and systems to become
increasingly random or disordered through a natural process of decay.
Contemporary “art provera,” or “earth” artists as they are also known
(Smithson, Goldsworthy, Cristo, et al), work in a manner related to entropy.
Entropy theory has cross-disciplinary applications that are frequently dealt
with in the study of physics and mathematics through the exploration of chaos
theory and Fibonacci numerical sequences. The phenomenon of entropy implicitly
addresses the concept of the environment as defined in Unit 1 (i.e., space,
time, point of view). Natural spaces are to be taken as a springboard for this
unit.
It should be
noted that environment is the last of the defining concepts of interactivity to
be explored before the culminating activities in Unit 5.
While the
theory of entropy may seem daunting, a simple way for the teacher to address it
is by showing examples of artists who have imposed ordered systems on natural
or pre-existing vistas. The juxtaposition of the visual models (e.g.,
constructed vs. natural/organic/pre-existing) tends to be emphatic as evidenced
by such well known works as “Spiral Jetty,” “Surrounded Islands,” and “Lambton
Earthwork.”
One of the
critical phases of this unit is to have the students consider how they will integrate
the elements and principles of media arts with the concepts of interactivity
and entropy to create a diorama or maquette of a site specific artwork. There
are three components to the delivery of this unit: a working definition and
exploration of entropy as a cross-disciplinary application; an inquiry into the
use of art provera and earth art, and a presentation on the stages of creation
of a piece of earth art. Teacher - led discussions, demonstrations, and student
participation in class projects prepare students for the final activity, where
they work in small groups to create a written proposal and diorama.
It should be noted
that the general environment in which the work is intended to be viewed could
have a tremendous impact on how the work is perceived. Environmental factors
such as the space, time, and the physical point of view of the audience effect
the interactive nature, and therefore the whole experience, of the work. The
artist may, for example, ask the viewer to be uncomfortable, squat, move
around, travel, be alert, or wait, to fully experience the work. It may not be
enough to simply stand and observe. The teacher should encourage the students
to experiment with some of these considerations in planning their artwork. The
teacher should make a point of addressing the safe and appropriate use of
natural spaces as a component of this unit.
Unit Overview Chart
|
Cluster |
Learning Expectations |
Assessment Categories |
Focus |
|
1 |
THV.01, CRV.04,
CR1.03 |
Knowledge/ Understanding
Thinking/Inquiry |
What is entropy? |
|
2 |
ANV.01, AN1.02,
ANV.03 |
Knowledge/
Understanding |
Exploring earth
art |
|
3 |
AN2.01, AN2.02 |
Knowledge/
Understanding |
Concept of
environment |
|
4 |
THV.04, CRV.01,
CRV.03, CR1.01, CR1.03, CR2.05, CR2.06, CR3.01 |
Thinking/Inquiry
Communication Application |
Final product |
Time: 25 hours
Strand(s): Creation, Theory, Analysis
Unit Description
This is an
Independent Study Unit (ISU). Students may elect to take one of two paths in
order to successfully complete it. Students may revisit their earlier artworks
through the compilation of an “Interactive Media Portfolio.” This portfolio
will demonstrate a knowledge of the key concepts of interactivity as applies to
media arts, e.g., immediacy, cause/effect, environment. While the portfolio
will serve as a concrete “sampling” of student achievement, it also becomes a
new work of art. The portfolio will demonstrate a mastery of skills and
knowledge and present earlier artworks in a new format. In keeping with the
theme of the course, the portfolio must be interactive in some way, e.g.,
webpage,
CD-ROM, installation, etc. Although the format of the portfolio is open,
students must include a segment that identifies the student-artist and
acknowledges other contributors where appropriate. The teacher provides the
students with a template that guides the format of the final project.
Students may
also choose to create a new hybrid artwork that incorporates a variety of the
skills and techniques that have been previously covered in the course. If this
option is chosen, the students will work collaboratively with the teacher to
design a rubric for evaluation purposes.
In addition
to the ISU, students must provide evidence of research into career
possibilities in the media arts. This research may take the form of documented interviews
with artists, curators, production managers, or designers.
The completed
independent study projects are to be viewed and critiqued by the entire class.
Unit Overview Chart
|
Cluster |
Learning Expectations |
Assessment Categories |
Focus |
|
1 |
THV.01, THV.02 |
Knowledge/
Understanding |
Review
interactivity |
|
2 |
THV.04, CRV.01,
CRV.02, CRV.03, CR2.04, CR2.05, CR2.06, CR3.01, CR3.02 |
Thinking/Inquiry
Application |
ISU |
|
3 |
ANV.04, AN4.01,
AN4.02 |
Thinking/Inquiry |
“Real World”
connections |
|
4 |
AN2.01, AN3.04 |
Communication |
Class
critique |
·
teacher-led
discussions
·
instruction in 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
·
Within the 110
hours for the entire course, the amount of time spent on each unit and activity
may vary. Actual time spent should consider:
· the amount of equipment or number of computer workstations for the class;
· the teacher’s choice of medium;
· the experience and interest of the students and the teacher.
Since the resources
and equipment available to teach Media Arts will differ in each school, this
course profile focuses on content, not on specific media arts tools. Wherever
possible, this profile gives options in the selection of media tools. It also
suggests, however, that the media, like the content progression in this course
profile, should move from simple to complex, building on the elements and
principles of media arts.
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 relevant
activity. 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 could be done as homework as directed by the
teacher.
Because of the large
equipment base required to teach Media Arts and the nature of the equipment, it
is important to develop systems that insure 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 monitor
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.
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 or photographed. They should also
familiarize their students with this Act.
Computers with
Internet access, scanner(s), digital camera(s), still camera(s), video
camera(s), video-editing equipment (analog and/or digital) are suggested.
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.
Media Arts as a
course provides a new and dynamic vehicle for teachers and their students to
use traditional and emergent technologies to create expressively as artists.
This course
is developed in co-ordination with the principles outlined in the Program
Planning Assessment, 2000 document from the Ministry of Education. Given that
the purpose of assessment and evaluation is the furthering of student learning,
careful attention has been paid to offer a wide variety of strategies to meet
that specific end result.
Included in this course profile are:
·
strategies that
address both what students learn, and how they learn;
·
strategies that
are varied in nature, administered over a period of time, and designed to
provide multiple opportunities for students to demonstrate the full range of
their learning;
·
strategies that
are fair to all students;
·
strategies that
work in cooperation with the specific needs of exceptional students as outlined
in their Individual Education Plans;
·
strategies that
are based on a combination of acquired knowledge, and acquired skills;
·
strategies that
are clearly communicated to students, and parents throughout the duration of
the course;
·
strategies that
offer students “formative” feedback to ensure student improvement.
Seventy per cent of
the grade will be based on assessments and evaluations conducted throughout the
course. Thirty per cent of the grade will be based on final evaluation in the
form of examination, performance, essay, and/or other methods of evaluation.
The following
generic accommodations are suggested in this profile. More specific
accommodations are found in the unit activities. Teachers should consult
exceptional student Individual Education Plan (IEPs) for specific direction on
accommodation for individuals.
·
classroom
placement to maximize student focus
·
concepts
presented in a variety of formats, e.g., visually, concretely, verbally
·
“chunking” of
tasks into smaller subtasks
·
checklists
·
graphic
organizers
·
working with a
partner and/or peer helper
·
use of computers
and the Internet
·
oral responses
for viewing activities and testing (taped if necessary)
·
use of
specialized tools and materials as recommended
·
modifications of
expectations as per IEP (Individual Education Plan)
·
summary sheets of
skills and concepts learned
·
extensions
suggested within each unit
·
providing samples
for student to work from
·
providing a
structured environment: lists, previews, repetition, direction and limits
·
conferring with
the student, and asking how he/she learns best
·
teaching the
student alternative behaviours to replace inappropriate ones
·
additional time
·
encouragement to
participate orally
·
the use of a
translator
·
listening cues or
prompts
·
teacher modelling
of appropriate responses
·
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
·
computer (when
appropriate)
·
tape-recorded or
videotaped classes
·
peer tutor/helper
·
handouts
·
additional time
·
note-taker/scribe
·
alternatives to
written assignments, e.g., video, audio recording, graph, mind map, oral
presentation
·
highly structured
environment
·
monitor to stay
on task
·
appropriate
behaviour modelled
·
time-outs
·
conflict
resolution strategies
·
appropriate
alternate behaviours
The URLs for
the websites were verified by the writers prior to publication. Given the
frequency with which these designations change, teachers should always verify
the websites prior to assigning them for student use.
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 this
licence covers resources they wish to use. 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. The person or
organization that created the work usually owns that copyright. Reproduction of
any work or a substantial part of any work on the Internet is not allowed
without the permission of the owner.
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
Noel,
Waspnda and Gerald Breau. Copyright Matters: Some key questions and answers
for Teachers. 2000. ISBN 0-88987-128-0 Available at – www.cmec.ca, –
www.ctf-fce.ca, – www.cdnsba.org
Cancopy:
Canadian Copyright Licencing Agency –
http://www.uniquename.com/cancopy/home.html
Harris, Lesley
Ellen. Canadian Copyright Law, 3rd ed. ISBN 0075603691
Beardsley, John. Earthworks and Beyond: Contemporary
Art in the Landscape. Abbeville Press, Inc., 1998. ISBN 0789202964
Benyus,
Janine M. Biomimicry: Innovation Inspired by Nature. William Morrow
& Co; 1998.
ISBN 0688160999
Bhangal,
Sham, Amanda Farr, and Patrick Rey. Foundation Flash 5. Friends of Ed,
2000.
ISBN 1903450314.
Bhangal, Sham.
Foundation Action Script. Friends of Ed, 2001. ISBN 1903450322
Bourdon,
David. Designing the Earth: The Human Impulse to Shape Nature. Harry N.
Abrams Inc., 1995. ISBN 0810932245
Christo and
Jeanne-Claude. Wrapped Reichstag, Berlin, 1971–1995. Bebedikt Taschen,
1995.
ISBN 3822886831/-9
Coupland,
Ken, and B. Martin Pedersen, eds. Interactive Design 1. Watson-Guptill
Pubns, 1999.
ISBN 1888001631
De Oliveira,
Nicolas, Nicola Oxley, Michael Petry, and Michael Archer. Installation Art.
Smithsonian Institution Press, 1996. ISBN 1560987049
Goldsworthy,
Andrew. Andy Goldsworthy: A Collaboration With Nature. Harry N. Abrams
Inc., 1990. ISBN 0810933519
Grusin,
Richard and Jay David Bolter. Remediation: Understanding New Media. MIT
Press, 2000.
ISBN 0262522799
Iles,
Chrissie and Thomas Zummer. Into the Light: The Projected Image in American
Art, 1964–1977. Whitney Museum of Art, 2001. ISBN 0810968304
Kahn,
Douglas. Noise, Water, Meat: A History of Sound in the Arts. MIT Press,
1999. ISBN 0262112434
Kaye, Nick. Site
Specific Art: Performance, Place and Documentation. Routledge, 2000.
ISBN 0415185599
Leitner,
Bernhard. Sound: Space. Hatje Cantz Publishers, June 1999. ISBN
3893224440
Packer,
Randall and Ken Jordan. Multimedia: From Wagner to Virtual Reality. ISBN
0393049795
Maeda, John
and Nicholas Negroponte. Maeda @ Media. Universe Pub, 2001. ISBN
0789305259
Reiss, Julie
H. From Margin to Center: The Spaces of Installation Art. MIT Press,
2000.
ISBN 0262181967
Rush,
Michael. New Media in Late 20th Century Art (World of Art). Thames &
Hudson, 1999.
ISBN 0500203296
Suderburg,
Erika. Space, Site, Intervention: Situating Installation Art. University
of Minnesota Press (Trd), 2000. ISBN 081663159X
Weintraub,
Linda, Thomas McEvilley, and Arthur Coleman Danto. Art on the Edge and Over:
Searching for Art’s Meaning in Contemporary Society 1970s–1990s. Art
Insights, Inc., 1997. ISBN 0965198812
Willis,
Delta. The Sand Dollar and the Slide Rule: Drawing Blueprints from Nature.
Addison-Wesley Pub. ISBN 0201632756
Wilson, Stephen. Information
Arts: Intersections of Art, Science, and Technology. MIT Press.
ISBN 026223209X
Afterimage:
The Journal of Media Arts and Cultural Criticism
ArtByte
Artforum
Artnews
Parkett
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.
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 and the
appropriateness of content prior to assigning them for student use.
ArtAtlas
Search Engine – http://artatlas.com
Artbyte
Magazine - http://www.artbyte.com
Artchive,
artist database – http://artchive.com
Artcyclopedia
(artsits by media) – http://www.artcyclopedia.com/media/index.html
ArtForum –
www.artforum.com
Art Gallery
of Ontario – www.ago.net
Art Gallery
of York University – www.yorku.ca/agyu
Art
Dictionary – www.Artlex.com (Note: a resource for media art related terms)
Art Metropole
– http://www.artmetropole.com/
Artnews –
www.ARTnewsonline.com
CARFAC
(Canadian Artists’ Representation/le Front des artistes canadiens) –
http://www.carfac.ca/ and CARCC –
http://www.carfac.ca/collective/eng_cc/eng_cc_home.html
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
Galleries of
Canada – http://www.galleriescanada.com/
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
Musée
d’art contemporain de Montréal - Media Centre – http://www.macm.qc.ca/
The National
Gallery of Canada (Contemporary Art) – http://cybermuse.gallery.ca/ng/
National
Film Board of Canada – http://www.nfb.ca/
Ontario
College of Art and Design – www.ocad.on.ca
Parkett
Magazine – http://www.parkettart.com
Photomontage
– http://www.photomontage.com/
The Power
Plant Contemporary Art Gallery (Toronto) – www.thepowerplant.org
San
Francisco Museum of Modern Art, Media Arts Collection –
http://www.sfmoma.org/collections/collections_mediaarts.html
Ten Building
Blocks of Catholic Social Teaching –
http://www.americapress.org/articles/Byron.htm
The Vatican
Website – www.vatican.va
Visual
Studies Workshop – www.vsw.org – www.vtape.org
Ydessa Hendeles Art
Foundation,
P.O. Box 757, Station F, Toronto,
ON. M4Y 2N6
(416) 413-9400,
ydessa@yhaf.org
See – www.vtape.org
in website resources.
3D Studio MAX,
Animator, Corel Presentation, Director, Dreamweaver, Final Cut Pro, Flash, Front
Page, FutureSplash, FileMaker Pro, HyperStudio, Illustrator, iMovie, Infini-D,
Paint Shop Pro, Painter, Photopaint, Photoshop, PowerPoint, Premiere, Simply
3D, TrueSpace, WebSavant
–
http://www.websavant.com/index.html.
|
Ontario Catholic School Graduate Expectations |
Unit 1 |
Unit 2 |
Unit 3 |
Unit 4 |
Unit 5 |
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A Discerning
Believer Formed in the Catholic Faith Community who CGE1a- illustrates
a basic understanding of the saving story of our Christian faith; |
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CGE1b –
participates in the sacramental life of the church and demonstrates an
understanding of the centrality of the Eucharist to our Catholic story; |
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CGE1c – actively reflects
on God’s Word as communicated through the Hebrew and Christian scriptures; |
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CGE1d – develops
attitudes and values founded on Catholic social teaching and acts to promote
social responsibility, human solidarity and the common good; |
3 |
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3 |
3 |
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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); |
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CGE1f – seeks
intimacy with God and celebrates communion with God, others and creation
through prayer and worship; |
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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; |
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3 |
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CGE1h – respects
the faith traditions, world religions and the life-journeys of all people of
good will; |
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3 |
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CGE1i – integrates
faith with life; |
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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). |
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An Effective
Communicator who CGE2a – listens
actively and critically to understand and learn in light of gospel values; |
3 |
3 |
3 |
3 |
3 |
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CGE2b – reads,
understands and uses written materials effectively; |
3 |
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3 |
3 |
3 |
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CGE2c – presents information
and ideas clearly and honestly and with sensitivity to others; |
3 |
3 |
3 |
3 |
3 |
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CGE2d – writes and
speaks fluently one or both of Canada’s official languages; |
3 |
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3 |
3 |
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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. |
3 |
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3 |
3 |
3 |
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A Reflective and Creative Thinker who CGE3a – recognizes there is more grace in our world than sin and that
hope is essential in facing all challenges; |
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CGE3b – creates,
adapts, and evaluates new ideas in light of the common good; |
3 |
3 |
3 |
3 |
3 |
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CGE3c – thinks reflectively
and creatively to evaluate situations and solve problems; |
3 |
3 |
3 |
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3 |
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CGE3d – makes
decisions in light of gospel values with an informed moral conscience; |
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3 |
3 |
3 |
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CGE3e – adopts a holistic
approach to life by integrating learning from various subject areas and
experience; |
3 |
3 |
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3 |
3 |
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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. |
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3 |
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3 |
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A
Self-Directed, Responsible, Life Long Learner who CGE 4a –
demonstrates a confident and positive sense of self and respect for the
dignity and welfare of others; |
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3 |
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CGE4b –
demonstrates flexibility and adaptability; |
3 |
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3 |
3 |
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CGE4c – takes
initiative and demonstrates Christian leadership; |
3 |
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3 |
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CGE4d – responds to,
manages and constructively influences change in a discerning manner; |
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CGE4e – sets
appropriate goals and priorities in school, work and personal life; |
3 |
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CGE4f – applies effective
communication, decision-making, problem-solving, time and resource management
skills; |
3 |
3 |
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3 |
3 |
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CGE4g – examines
and reflects on one’s personal values, abilities and aspirations influencing
life’s choices and opportunities; |
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3 |
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CGE4h –
participates in leisure and fitness activities for a balanced and healthy
lifestyle. |
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A Collaborative
Contributor who CGE5a – works
effectively as an interdependent team member; |
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3 |
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3 |
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CGE5b – thinks critically
about the meaning and purpose of work; |
3 |
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3 |
3 |
3 |
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CGE5c – develops
one’s God-given potential and makes a meaningful contribution to society; |
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3 |
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3 |
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CGE5d – finds meaning,
dignity, fulfillment and vocation in work which contributes to the common
good; |
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3 |
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CGE5e – respects
the rights, responsibilities and contributions of self and others; |
3 |
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3 |
3 |
3 |
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CGE5f – exercises Christian
leadership in the achievement of individual and group goals; |
3 |
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3 |
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CGE5g – achieves
excellence, originality, and integrity in one’s own work and supports these
qualities in the work of others; |
3 |
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3 |
3 |
3 |
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CGE5h – applies skills
for employability, self-employment and entrepreneurship relative to Christian
vocation. |
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A Caring Family
Member who CGE6a – relates to
family members in a loving, compassionate and respectful manner; |
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CGE6b – recognizes
human intimacy and sexuality as God given gifts, to be used as the creator
intended; |
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CGE6c – values and
honours the important role of the family in society; |
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CGE6d – values and
nurtures opportunities for family prayer; |
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CGE6e – ministers
to the family, school, parish, and wider community through service. |
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A Responsible
Citizen who CGE7a – acts morally
and legally as a person formed in Catholic traditions; |
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3 |
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CGE7b – accepts
accountability for one’s own actions; |
3 |
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CGE7c – seeks and
grants forgiveness; |
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CGE7d – promotes
the sacredness of life; |
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CGE7e – witnesses
Catholic social teaching by promoting equality, democracy, and solidarity for
a just, peaceful and compassionate society; |
3 |
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CGE7f – respects and
affirms the diversity and interdependence of the world’s peoples and
cultures; |
3 |
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3 |
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CGE7g – respects
and understands the history, cultural heritage and pluralism of today’s
contemporary society; |
3 |
3 |
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3 |
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CGE7h – exercises the
rights and responsibilities of Canadian citizenship; |
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3 |
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CGE7i – respects
the environment and uses resources wisely; |
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CGE7j –
contributes to the common good. |
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3 |
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3 |
Coded Expectations, Media Arts, Grade 12, Open, ASM4O
THV.01 · use appropriate vocabulary to discuss media
art in a variety of contexts;
THV.02 · demonstrate an understanding of the basic concepts
(e.g., elements, principles) and procedures used in media arts, as well as
selected emerging technologies;
THV.03 · describe interactive media art works in
terms of their historical foundations;
THV.04 · demonstrate an understanding of conventions
used in the practice of media arts.
Concepts and
Terminology
TH1.01 – describe how various concepts, procedures,
and techniques of media arts are used in their art works and in those of
others, using appropriate vocabulary;
TH1.02 – describe the use of various new
technologies, particularly those used in interactive media art forms (e.g., in
network art).
History
TH2.01 – explain the development of media art forms
in terms of their origins in traditional art forms (e.g., holography in terms
of sculpture; performance art in terms of drama and dance);
TH2.02 – describe the contribution of new
technologies to media arts (e.g., the effect of robotics on robosculpture or of
technology on artists’ collectives);
TH2.03 – identify and describe the use of aspects or
characteristics of artistic styles of different historical periods in specific
works of media art (e.g., in works of video art since the 1960s, in works of
copy art);
TH2.04 – identify theories and trends related to
media arts (e.g., current “techno-thought”, the cyberpunk aesthetic movement).
Practices
TH3.01 – research and describe the legalities related
to the production and distribution of works of media art (e.g., laws concerning
digital distribution);
TH3.02 – demonstrate an understanding of the safety
standards and routines used in the practice of media arts (e.g., establishing
ergonomic workstations, placing equipment safely).
CRV.01 · use media arts concepts in the production of
media art works;
CRV.02 · use both traditional and emerging
technologies, procedures, and techniques to create media art works;
CRV.03 · use and adapt the stages of the creative
process in individual and collective productions;
CRV.04 · choose concepts and procedures from other
art forms and other disciplines, and apply them appropriately in their media
art works.
Use of Concepts and
Procedures
CR1.01 – use media arts
elements, principles, technologies, and procedures to create interactive art
works (e.g., alternating interactions in an art installation);
CR1.02 – research a variety of techniques and
procedures and use them appropriately in a work of media art, demonstrating an
understanding of the use of some specific elements, principles, or other concepts;
CR1.03 – research a theory, concept, or procedure
from another discipline (e.g., fractals in mathematics, chaos theory in
physics), and use it to develop an interactive work.
Production Skills
CR2.01 – use a variety of traditional techniques and procedures
(e.g., analog recording techniques) to create a work of media art;
CR2.02 – communicate a message using emerging
technologies (e.g., sound publishing software, digital video editing);
CR2.03 – select an interface and use it to create an
interactive work (e.g., use a circuit to make an interactive light sculpture);
CR2.04 – produce a digital portfolio of art works
using analog and digital encoding procedures (e.g., CD-ROM, interactive
multimedia work, Internet site);
CR2.05 – apply appropriate skills and technology
(e.g., the use of organizational charts, schedules, templates, or management
software) to manage a project in media arts;
CR2.06 – demonstrate effective leadership,
interpersonal, and problem-solving skills related to the production and creation
of media art works.
Creative Process
CR3.01 – develop and combine a variety of approaches
to communicate ideas or to solve problems in the creation of media art works;
CR3.02 – document the stages of the creative process
used for an individual or group project in media arts (e.g., document the
process involved in the collection of material and in design work, production,
and feedback relating to the creation of a promotional CD-ROM or a network art
site in cyberspace to distribute art work).
ANV.01 · evaluate an interactive work of art,
demonstrating an understanding of the process of critical analysis;
ANV.02 · analyse and evaluate the impact of works of
media art on themselves and on their communities;
ANV.03 · analyse the function of media art works in
society;
ANV.04 · investigate and report on career
possibilities related to their skills in media arts.
Critical Analysis
AN1.01 – evaluate interactive art works, following
standard procedures in critical analysis (e.g., consider their initial
reaction; describe the works using appropriate terminology; analyse and
interpret the works; evaluate the effectiveness of the works);
AN1.02 – analyse and evaluate the use of aesthetic
and compositional components in media art works.
Self and Community
AN2.01 – anticipate and analyse the impact of their
own art work on specific audiences, including themselves;
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.
Function of Media
Art
AN3.01 – analyse the symbolic elements of a culture
(e.g., the iconography of technoculture) in a selected work of media art;
AN3.02 – analyse ways in which media arts can form
and represent the viewpoints and values of different representative groups
(e.g., cultural, economic, or regional groups);
AN3.03 – analyse the socio-economic impact of media
arts on the cultural sector in local and wider contexts;
AN3.04 – demonstrate an understanding of the function
and significance of exhibiting and/or performing for commercial or artistic
purposes.
Career Preparation
AN4.01 – compare their skills with the qualifications
required for careers related to the creation, production, distribution, and
management of media arts products or processes;
AN4.02 – identify and evaluate career possibilities
connected to the production of media art works.
Unit 1 | Unit
3 | Course
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