Course Profile   Media Arts (ASM40), Grade 12, Open, Catholic and Public

 

Unit 1:  Introduction – Exploring Interactivity in Media Art

Time:  18 hours

 

Activity 1.1 | Activity 1.2 | Activity 1.3 | Activity 1.4

 

Unit Description

It may be argued that all art is interactive in so far 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 is to be considered the best example for this course.

Interactive art frequently involves, but is not limited to, the creation of interdependent or interconnected relationships between the artist, the work, and participants. Interactive art often emphasizes process, communication, and perception. Challenging established artistic paradigms, the line between artist and audience is often blurred significantly through such conceptual relationships as cause and effect (action/reaction), immediacy (response between viewer and the artwork relevant to time, place, and purpose), and environment, i.e., physical space and point of view of the audience/ participant. We may actually be involved with the art in a physical manner suggesting a different kind of viewing or participatory reaction. Consequently, the relationship between artist, art, and audience is no longer static.

An excellent starting point would be to examine the work of Cuban-born artist Felix Gonzales-Torres (1957-1991). His piece Untitled, 1991 consists of endless identical paper copies of images of the sea placed neatly in a stack on a gallery floor. Viewers are invited to participate by “interfering” with the stack, thus embracing the notion of animating or breaking down traditional barriers. Here is a prime example of such conceptual relationships as cause and effect, immediacy, and environment at work. Since the audience is allowed to touch, rearrange, or take away paper copies, they are constantly changing the experience for themselves and fellow viewers, bringing into play cause and effect, immediacy, and environment. It is these conceptual relationships that provide the framework for the delivery of the course units.

This unit begins with an introductory discussion on the nature of interactivity within media arts. Media arts, though existing for decades, are still a relatively emergent art form. The introduction of new technologies that allow the user more direct control are helping to make interactive artwork more practical to produce and more accessible to the public. The activities in Unit 1 offer students the opportunity to create a rudimentary interactive art piece, develop a broader understanding of what interactive art can be, and discover a number of artists that use interactivity as one of their tools in creating works of media arts. Group discussions and individual responses focus on the nature of interactive media arts by asking questions such as:

·         What is interactivity?

·         Is this work interactive?

·         Who has created interactive work in the past?

·         What methods or concepts were employed?

·         Who or what influenced the creation of these works?

·         Is the work truly my own?

These ideas lead to a discussion of moral, ethical, and legal issues relating to the production of media arts, e.g., copyright. Reference to Canadian copyright documents is essential.

Statements made by media artists often address universal human concerns. This unit may provide an opportunity to examine such statements and to observe how variations in meaning are dependent upon the viewer’s point of view. Individual experience forms mental constructs that may lead to prejudice or biased thinking. This may be an opportunity for teachers to illustrate how stereotyping contributes to many forms of prejudice that may challenge or alter the understanding of the message in media artwork. As a group, students identify a list of stereotypes and assess the messages in media artworks from a stereotypical perspective. This exercise may allow students to examine personal prejudices, expand their point of view and encourage a sensitivity to the opinions of others.

This unit should encourage students to have sensitivity towards the different ideals from which the artwork is produced. Students have the opportunity to promote diversity by recognizing and understanding various points of view.

Unit Synopsis Chart

Activity

Time

Learning Expectations

Assessment Categories

Tasks

1.1
Origami Text Art Generator

3.5 hours

CRV.01, CRV.03, CR1.01, CR2.01
CGE 1h, 2b, 2c, 3c, 5g

Knowledge/ Understanding Application

Text Art Generator

1.2
Interactive Media Artists Database

6 hours

THV.01, THV.02, THV.03, ANV.01, ANV.02, ANV.03, TH1.01, TH1.02, TH2.01, TH2.02, AN1.01, AN1.02, AN2.01, AN2.02, AN3.01, AN3.02
CGE 1h, 2a, 2b, 5b, 7j

Knowledge/ Understanding Thinking/ Inquiry

Interactive media artists database

1.3
 Oral Presentation

2.5 hours

THV.01, THV.02, ANV.01, ANV.02, ANV.03, TH2.01, AN1.02, AN2.01, AN2.02, AN3.02
CGE 1b, 2a, 2b, 2c, 2d, 2e, 3e, 4b, 4c, 4e, 4f, 4g, 5b, 5e, 5f, 5g, 7e, 7f, 7g

Knowledge/ Understanding Thinking/ Inquiry

Oral presentation

1.4
Copyright Material, Ownership, Infringement, and Public Domain

6 hours

ANV.03, TH3.01
CGE 1d, 2a, 2d, 3b, 3d, 5e, 7b, 7j

Communication

Copyright inventory

 

 

Activity 1.1:  Origami Text Art Generator

Time:  3.5 hours

Description

Students explore the nature of interactivity. Through the construction of a rudimentary interactive device, students begin to become acquainted with the basic concepts of interactivity. Students create individual Origami Text Art Generators and experiment with the interactive nature of these generators. A guided journal reflection leads students to examine the myriad of possibilities that could be generated.

Through manual manipulation based on a specific and predictable set of visual and text possibilities, students are led to a final “poem” which will be comprised of variations of words and images. The content of the poem is determined specifically by the individual student according to a specific set of guidelines as outlined by the teacher. In other words, with teacher direction, students utilize a specific set of words, and/or symbols grouped by type, e.g., four nouns, four verbs, four images, four adverbs. Individual decisions determine the final text art. In this way the Origami Text Art Generator is a tool that facilitates an interactive performance with the viewer/participant. This activity has connections to the Surrealist le corps exquis, whose purpose involved the tapping of the unconscious to create a work of art, and the Dada interest in chance. The teacher may decide to use these precedents to introduce the activity and give it a historical context.

This activity raises questions pertaining to such conceptual relationships as cause and effect, the immediacy of decision making, and the environment. Having completed this activity, the teacher introduces a polemic example in order to give the students another point of reference. A suggested example appears in the teaching and learning strategies.

The use of a student journal allows for reflection, and observation on diverse topics including personal and career aspirations, values, God-given talents, and the nature of life as a sacred God-given gift. Group discussions and individual responses to issues raised are approached in light of Gospel values as students react, identify, analyse, interpret, and evaluate new media artworks individually and collaboratively.

Strand(s) & Learning Expectations

Ontario Catholic School Graduate Expectations

CGE1h - respects the faith traditions, world religions and the life-journeys of all people of good will;

CGE2b - reads, understands, and uses written materials effectively;

CGE2c - presents information and ideas clearly and honestly and with sensitivity to others;

CGE3c - thinks reflectively and creatively to evaluate situations and solve problems;

CGE5g - achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others.

Strand(s):  Creation, Theory, Analysis

Overall Expectations

CRV.01 - use media arts concepts in the production of media art works;

CRV.03 - use and adapt the stages of the creative process in individual and collective productions.

Specific Expectations

CR1.01 - use media arts elements, principles, technologies, and procedures to create interactive art works;

CR2.01 - use a variety of traditional techniques and procedures (e.g., analog recording techniques) to create a work of media art.

Prior Knowledge & Skills

·         Students should have knowledge of basic media-related concepts and theories.

·         Some knowledge of the elements and principles of media arts would be beneficial, but not necessary.

·         The emphasis in this activity in the development of a working understanding of “interactivity.” Students should be able to see clearly how individual decisions or actions will affect the final outcome in this activity. This idea is central to an understanding of interactivity.

Planning Notes

·         The teacher gathers resources that exemplify the definitions of interactivity as outlined in the Course Overview.

Teaching/Learning Strategies

1.   The teacher has examples of interactive art to show to students (see Resources).

2.   The teacher illustrates how the example is interactive, and what that means.

3.   The teacher guides students through the production of an Origami Text Art Generator. (Appendix A)

4.   Students complete the assigned journal questions related to the activity for reflection. (Appendix B)

5.   Students experiment with the Text Art Generators of classmates and explore how their individual decisions affect the final outcome.

6.   Teachers provide exemplars of artists statements and lead a brief discussion as to their purpose.

7.   Students write a brief artist statement (150 words). This is a required component of the peer assessment.

8.   Students complete a peer evaluation on the Origami Text Art Generator. (Appendix C)

9.   In order to create a point of comparison, the teacher, or peer tutor set up a simple media artwork in the classroom that uses the concept of interactivity. For example:

·         Three video cameras on tripods may be arranged beside each other at varying heights so that one is recording feet and legs, another is recording at torso level, and the last is recording head and shoulders.

·         Three monitors linked to the cameras are stacked one on top of another so that the monitor linked to the heads is on the top, the monitor linked to the torsos is in the middle, and the monitor recording the legs is on the bottom.

·         As the students walk past the cameras, a variety of combinations of heads, torsos and legs are displayed on the monitors.

10.  Students file past the cameras and view the composite bodies that appear the monitors. After allowing the class to interact with the artwork, the teacher leads a discussion that compares and contrasts the physical and conceptual characteristics of the two pieces.

11.  Students complete the following assignment in their media arts journal:

·         There are many simple children’s toys that use a basic level of interactivity. Sliding puzzles, hand-held games, and candy dispensers are common examples. Consider how the interactive principles in one of these toys might be used as the basis of an interactive artwork. Your first step will be to consider how a child’s toy differs from a work of art. A good starting point is that unlike a child’s toy, a work of art tends to be “important” in some way, or outside the realm of everyday experience. In order to achieve this notion of importance, contemporary artists have often used devices like scale, decoration, and the location of the artwork. Another approach is to infuse common objects with new meanings. For example, what if a bubble gum dispenser was made five times larger, or instead of dispensing bubble gum it dispensed eggs?

·         In your media arts journal, produce an annotated drawing of how you imagine this new artwork would look if it were to be constructed. Remember to give consideration to issues like cause and effect, immediacy, and environment when you are planning your artwork.

Assessment & Evaluation of Student Achievement

·         completion of media arts journal questions – the teacher identifies student-specific action plan for improvement

·         completion of artist statement – the teacher writes a simple rubric or rating scale, deriving criteria from task (from expectations being measured)

·         participation in group activity – checklist (Appendix F)

·         peer evaluation (Appendix C)

Accommodations

·         additional time as required

·         use of peer tutor to assist in construction of kinetic thought generator

·         increased scale of template to assist students with specific motor skill challenges

Enrichment Strategies

·         Students may construct a web-based digital text generator that employs a combination of graphics, text links, and audio files.

·         Students may use the Origami Text Art Generator as a springboard for an exhibition of media artwork inspired by the original combination(s) of text and images.

Materials

·         a black or white board

·         medium weight paper, scissors, writing/drawing tools

·         also useful but not necessary – used magazines, x-acto knives, rulers, cutting mats, glue, glue sticks

·         a computer lab where each student has access to graphics software and hardware

·         three video cameras, three tripods, three video monitors, gaffer tape (duct tape), sandbags, if available

·         Rudimentary interactive toys; candy dispensers, puzzle cube, sliding-image puzzles, Magic Eight Ball, non-electronic hand-held games, etc.

Resources

Dictionary, Thesaurus, sketchbook/journal.

Software

If producing the Origami piece electronically the following software may be useful;

Apple Works, Flash, Illustrator, Paint Shop Pro, Painter, Photopaint, Photoshop, QuarkXpress.

CD

A CD of Clip Art may be useful if activity is done electronically.

 

Activity 1.2:  Interactive Media Artists Database

Time:  6 hours

Description

This activity begins with a teacher-led exercise introducing students to a series of media artists which addresses a chronological development of the movement. Students then conduct research on media artists that incorporate some level of “interactivity” in their work. Students take part in a “jigsaw” activity that continues to explore the relationships between the viewer and the artwork. Emphasis is placed on the areas of immediacy, cause and effect, and environment.

Ultimately, students compile a database of pertinent media artists. Students utilize this resource to broaden their understanding of interactive media artworks and artists, as well as the relevant history of technology and media arts. The intent of this database is to provide students with an introductory reference tool that they can use in discussions related to other activities in the course. This database is not intended to be comprehensive resource, as it is a work in progress. Included in this information should be a brief biography of the artist and a description of noteworthy works.

Catholic school teachers may wish to introduce the following argument. The canon of artists discovered here, while broad, appears to overlook the most important of artists. If the creative process can be described as the culmination of making real the imagined, this clearly points to God as the most significant of all artists. Catholic teachers may include the Creation Account in Genesis as a part of a class discussion of these ideas. In addition, if all gifts come from God, then God is the source of the creativity of all individuals.

The use of a student journal allows for reflection and observations on such diverse topics as personal and career aspirations, values and God-given talents, and the nature of life as a sacred God-given gift. Group discussions and individual responses to issues raised are approached in light of Gospel values as students react, identify, analyse, interpret, and evaluate interactive media artworks individually and collaboratively.

Strand(s) & Learning Expectations

Ontario Catholic School Graduate Expectations

CGE1h - respects the faith traditions, world religions and the life-journeys of all people of good will;

CGE2a - listens actively and critically to understand and learn in light of gospel values;

CGE2b - reads, understands, and uses written materials effectively;

CGE5b - thinks critically about the meaning and purpose of work;

CGE7j - contributes to the common good.

Strand(s):  Theory, Analysis

Overall Expectations

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

THV.02 - demonstrate an understanding of the basic concepts 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;

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.

Specific Expectations

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;

TH2.01 - explain the development of media art forms in terms of their origins in traditional art forms;

TH2.02 - describe the contribution of new technologies to media arts;

AN1.01 - evaluate interactive art works, following standard procedures in critical analysis;

AN1.02 - analyse and evaluate the use of aesthetic and compositional components in media art works;.

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;

AN3.01 - analyse the symbolic elements of a culture 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.

Planning Notes

·         The teacher needs to have examples of interactive media artists to “model” the exercise for the students.

·         The teacher provides students with a framework for the “Internet Artist Database” activity
(Appendix F and G) to ensure that the artists fit a specific “interactive” criteria.

·         The teacher arranges for time for research in computer lab, and/or library/resource centre.

·         The teacher provides opportunities for student reflection in the media arts journal.

·         The teacher provides reflective questions which link media arts to Catholic values such as the gift of life, faith in self and God, leadership roles and respect for others.

Teaching/Learning Strategies

1.   The teacher leads discussion on conceptual relationships of interactivity (cause/effect, immediacy, and environment) and outlines steps for group activity Interactive Media Artists Database.

2.   The teacher divides students into three groups. Each group is responsible for finding artists from one of the three conceptual relationships of interactivity. Although it may be argued that in any piece of artwork there may be a number of conceptual relationships, students look for examples that display a predominant application of their assigned subject.

3.   The teacher provides each group with a worksheet to assist the students in finding the best examples from their subject matter (Appendix E and F). The teacher sets timeframe.

4.   Students research using the Internet, guided by the worksheets and list of media artists (Appendix D). Books may also be used to find the necessary information for this activity.

5.   Students save their work to a shared location. The school server is an ideal place for this. However, if a server is not available the teacher may create a folder on a computer to which students have equal access. If this is not possible, the teacher may have the students print hardcopies of their research and catalogue them in a binder.

Assessment & Evaluation of Student Achievement

·         Participation in group activity – Checklist (Appendix G)

·         Completion of worksheet – Teacher/Student Conference

Accommodations

·         Use of peer tutor to assist with subject specific research

·         Additional time for research where needed

·         Access to hardware/software accommodations, e.g., Bliss Board, screen reader, speech synthesizer software

·         Provide alternate opportunities for assessment

·         Use of interpreter as required

Materials

·         Journal/sketchbooks

·         Computer lab and/or library

·         Internet and/or conventional information resources

Resources

Books/Print

Beardsley, John. Earthworks and Beyond: Contemporary Art in the Landscape. Abbeville Press, Inc., 1998. ISBN 0789202964

Catholic Bible, New Revised Standard Edition

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

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

Rush, Michael. New Media in Late 20 th Century Art (World of Art). Thames & Hudson, 1999.
ISBN 0500203296

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

Websites

ArtAtlas Search Engine – http://artatlas.com

Artbyte Magazine – http://www.artbyte.com

Artchive, artist database – http://artchive.com (featuring toys)
–http://www.artengine.ca/ (A superior Canadian resource)

Artcyclopedia (artists by media) – http://www.artcyclopedia.com/media/index.html

ArtForum – www.artforum.com

Art Gallery of Ontario – www.ago.net

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

Art Metropole – www.artmetropole.org

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

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

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

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

Journals/Magazines

Afterimage: The Journal of Media Arts and Cultural Criticism

Artbyte

Artforum

Artnews

Parkett

Software

FileMaker Pro (This could be used if the database is produced electronically)

Appendices

Appendix D, E, F, and G

 

Activity 1.3:  Oral Presentation

Time:  2.5 hours

Description

Utilizing the information they gathered for the Interactive Media Database, students present their research to the class according to the framework and questions provided in Activity 3. Students provide the artist’s name, country and date of birth, an example of an interactive work they have researched, and their evaluation of the work. Given the artistic and creative nature of this course, this may serve as an opportunity for interactive presentations where time and resources permit.

The detailed examination of an artist’s life and work gives the students opportunities to develop attitudes and values founded on Catholic social teaching, as well as to act to protect social responsibility, human solidarity, and the common good. It is essential that students respect the rights, responsibilities, and contributions of self and others, in researching their topic, in viewing the presentations, and in offering critical analysis in the assigned group activity.

Strand(s) & Learning Expectations

Ontario Catholic School Graduate Expectations

CGE1d - develops attitudes and values founded on Catholic social teaching and acts to promote social responsibility, human solidarity, and the common good;

CGE2a - listens actively and critically to understand and learn in light of gospel values;

CGE2b - reads, understands, and uses written materials effectively;

CGE2c - presents information and ideas clearly and honestly and with sensitivity to others;

CGE2d - writes and speaks fluently one or both of Canada’s official languages;

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;

CGE3e - adopts a holistic approach to life by integrating learning from various subject areas and experience;

CGE4b - demonstrates flexibility and adaptability;

CGE4c - takes initiative and demonstrates Christian leadership;

CGE4e - sets appropriate goals and priorities in school, work and personal life;

CGE4f - applies effective communication, decision-making, problem-solving, time and resource management skills;

CGE4g - examines and reflects on one’s personal values, abilities and aspirations influencing life’s choices and opportunities;

CGE5b - thinks critically about the meaning and purpose of work;

CGE5e - respects the rights, responsibilities and contributions of self and others;

CGE5f - exercises Christian leadership in the achievement of individual and group goals;

CGE5g - achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others;

CGE7e - witnesses Catholic social teaching by promoting equality, democracy, and solidarity for a just, peaceful and compassionate society;

CGE7f - respects and affirms the diversity and interdependence of the world’s peoples and cultures;

CGE7g - respects and understands the history, cultural heritage and pluralism of today’s contemporary society.

Strand(s):  Theory, Analysis

Overall Expectations

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;

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.

Specific Expectations

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);

AN1.02 - analyse and evaluate the use of aesthetic and compositional components in media art works.

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.

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).

Prior Knowledge & Skills

·         Students should be familiar with the research they gathered in Activity 1.3.

·         Students should be familiar with the format of the oral presentation.

Planning Notes

·         Students will need some teacher direction outlining essential data to be included in the oral presentation.

·         The teacher could provide exemplars to students for assistance with their work, and outcome expectations.

Teaching/Learning Strategies

1.   In the introduction of the activity the teacher outlines that the group-researched material will now be presented to the whole class.

2.   The teacher may model the first presentation to give students a direction regarding specific expectations.

3.   Students may be given a rubric outlining the manner in which the oral presentation will be marked.

4.   Students should have opportunities to ask questions regarding the interactive artists.

5.   Students should have opportunities to reflect in their media arts journals on the artists they have studied.

Assessment & Evaluation of Student Achievement

·         Oral presentation – a teacher-developed rubric may be provided. If this is the case, the criteria should be reviewed with students.

·         Class participation – observation (learning skill only)

Accommodations

·         encouragement of students to participate in oral discussions

·         model of appropriate oral responses

·         additional time as required

·         use of interpreter as required

Materials

·         Journal/sketchbooks

·         A space appropriate for presentation and discussion (found or created)

·         Database produced in Activity 1.2

·         Access to Internet and applicable websites may be useful (Note: websites may also be archived prior to presentation therefore eliminating several potential problems)

·         Television, VCR, data projector, overhead, devices for playing audio

Resources

Software

Presentation software such as PowerPoint or Corel Presentation

 

Activity 1. 4:  Copyright Material, Ownership, Infringement, and Public Domain

Time:  6 hours

Description

This activity is designed to address the nature of copyright and its legal implications for media arts. Students study examples of artwork that exist in the public domain that have been altered for financial or artistic gain, thus changing the original intent of the artwork. A discussion of public domain issues helps to formulate an understanding of some of the legal aspects of copyright. A formative quiz is completed in class to assess prior knowledge and as a guide for discussion to build upon copyright knowledge. In teacher-led discussions, the analysis of Canadian copyright documents and information drawn from other examples provides a basis for knowledge for the issues of ownership and infringement. Students explore the meaning of copyright ownership from both a legal and moral aspect. Evaluation is based upon a demonstrated understanding of copyright and the ability to support answers in a written reflection paper.

By addressing the moral obligations of copyright, students develop attitudes and values founded on Catholic social teaching and act to protect social responsibility, human solidarity, and the common good. Students should understand that to ignore or break copyright regulations is tantamount to stealing. This activity also provides an excellent opportunity for students to consider their capacity to respect the rights, responsibilities, and contributions of self and others.

Strand(s) & Learning Expectations

Ontario Catholic School Graduate Expectations

CGE1d - develops attitudes and values founded on Catholic social teaching and acts to promote social responsibility, human solidarity, and the common good;

CGE2a - listens actively and critically to understand and learn in light of gospel values;

CGE2d - writes and speaks fluently one or both of Canada’s official languages;

CGE3b - creates, adapts, and evaluates new ideas in light of the common good;

CGE3d - makes decisions in light of gospel values with an informed moral conscience;

CGE5e - respects the rights, responsibilities, and contributions of self and others;

CGE7b - accepts accountability for one’s own actions;

CGE7j - contributes to the common good.

Strand(s):  Theory, Analysis

Overall Expectations

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

Specific Expectations

TH3.01 - research and describe the legalities related to the production and distribution of works of media art.

Prior Knowledge & Skills

·         Students should have some familiarity with proper format for citation.

·         Students may find a review of trademarks and branding to be of assistance.

Teaching/Learning Strategies

1.   Students complete a formative assessment quiz on copyright issues (Appendix H).

2.   Students correct and discuss quiz, addressing issues where the copyright is unclear.

3.   The teacher discusses the concept of copyright.

·         Lead the class in a discussion on common copyright infringements.

·         Provide students with a variety of examples that help to define copyright (see Resources).

·         Speak to the specific topics of (Appendix H) from the teacher guided answers and points for discussion.

·         Provide students with source material that further helps to define copyright (Copyright Matters source material).

·         Provide students with an example of a copyright infringement, either hypothetical or based upon an actual case study.

·         Provide students with questions that guide students to look at the legal and moral issues surrounding copyright infringement.

4.   Students answer questions and apply the concepts to a reflection paper in a media arts journal. The response addresses the legal and moral issues involved in a case of copyright infringement. Opinions are supported with both information from this activity and personal beliefs on the social implications.

Assessment & Evaluation of Student Achievement

·         Participation in class discussions for an understanding of copyright infringement issues, copyright ownership, and the legal use of copyright.

·         Summative evaluation of true/false quiz – this may also help determine student knowledge and to further direct teaching strategies (a diagnostic tool).

·         Media arts journal entries - anecdotal comments.

Accommodations

·         oral testing where applicable

·         modification of length of tests as required

·         use of peer tutor as required

·         access to hardware/software for assistance to visually impaired students

Materials

·         A black or white board

·         Journal/sketchbooks

·         Examples of artwork seen in popular culture

·         Example of artwork to demonstrate copyright infringement

Resources

Books/Print

Harris, Lesley Ellen. Canadian Copyright Law, 3rd ed. ISBN 0075603691

Noel, Wanda 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

Websites

Cancopy: Canadian Copyright Licensing Agency – http://www.cancopy.com/

Appendices

Appendix H

Appendix A

Origami Text Art Generator Instruction Sheet

 

 

Instructions

1.   Begin with a square piece of paper at least 21 cm by 21 cm.

2.   Fold paper in two and in two again. When unfolded, four squares will be shown.

3.   Fold each of the four points towards the centre.

4.   Turn over so that side B will be facing upwards and fold each point to the centre.

5.   On side A, write on each of 4 sections.

6.   On side B, write on each of 8 sections.

7.   On side B, flip over section and draw on underside of each of 8 sections.

Appendix B

Sample Reflection Questions

 

The following questions may be used for teacher-directed student reflection. These questions may be used following the completion of a student work or as a summative activity after the viewing of an artwork created by someone else. These questions are designed for individual student self-assessment, but may be adapted by the teacher to be used for the purpose of a formal critique:

 

·         What themes, trends, or concepts were employed in the production of this artwork?

·         What is familiar/unfamiliar about this specific piece of media art?

·         Are there identifiable aspects and/or characteristics of different historical periods in this work of art?

·         How can this artwork be seen as an extension of traditional artworks?

·         What religious ideas or concepts may have been employed in the creation of this artwork?

·         How does this artwork relate to the “natural” world?

·         Given the statement “Imagination is evidence of the Divine in all of us,” how can this artwork be viewed as evidence of God’s hand in the lives of humans?

·         Is the evidence of God’s hand in the lives of humans stated explicitly or implicitly, in the piece examined?

·         How is the call of the artist similar to the call of the disciples?

Appendix C

Peer Assessment – Origami Text Art Generators

 

Name:                                                                                     Evaluator:

Artist Statement (provide a 150-word statement as to your artistic intent)

 

 

 

 

 

 

 

 

 

 

 

Creativity

Words/Symbols/Images

·         Minimum of 16 altered surfaces

Y

N

·         Indicates reasons for their choice of words/symbols/images (artist statement)

Y

N

·         Accessible connection between words/symbols/images (concept, ideas and visuals)

Y

N

Comment on strengths and weaknesses. If you choose weaknesses you must also include appropriate suggestions for improvement.

 

 

 

 

 

 

 

 

 

Technical Ability

Construction and Design

·         Folds are accurate and precise

Y

N

·         Anything that is glued on is seamless

Y

N

·         Uses elements and principles of design effectively

Y

N

Comment on strengths and weaknesses. If you choose weaknesses you must also include appropriate suggestions for improvement.

Appendix D

Media Artists List

Environmental/Site-Specific Artists

Name

Nationality

Name

Nationality

Christo

Bulgarian/American

Long, Richard

British

Goldsworthy, Andy

British

Nash, David

British

Jeanne-Claude

French/American

Smithson, Robert

American

 

Installation Artists

Name

Nationality

Name

Nationality

Acconci, Vito

American

Kabakov, Ilya

Russian

Aono, Kristine Yuki

American

Kapoor, Anish

Indian/British

Bedia, José

Cuban

Kienholz, Edward

American

Boltansky, Christian

French

Lewitt, Sol

American

Bures Miller, George

Canadian

Lexier, Micah

Canadian

Cardiff, Janet

Canadian

Nam Jun Paik

Japanese/American

Chicago, Judy

American

Nauman, Bruce

American

Cragg, Tony

British

Neshat, Shurin

Japanese

Fisher, Vernon

American

Osorio, Pepón

American

Flavin, Dan

American

Piper, Keith

British

Gormley, Antony

British

Raetz, Markus

Swiss

Graham, Dan

American

Rosenthal, Ann Tevy

American

Hammons, David

African-American

Skoglund, Sandy

American

Heavyshield, Faye

Native Canadian

Smithson, Robert

American

Heizer, Michael

American

Snow, Michael

Canadian

Hill, Gary

American

Soto, Jesús-Rafael

Venezuelan

Hirst, Damien

British

Turrell, James

American

Horn, Rebecca

German

Vautier, Ben

Swiss

Hull, Lynne

American

Viola, Bill

American

Idemitsy, Mako

Japanese

Wall, Jeff

Canadian

Irwin, Robert

American

Whiteread, Rachel

British

Joo, Michael

American

 

 

 

Performance Artists

Name

Nationality

Burden, Chris

American

STELARC

Greek/Australian

 

Appendix E

Student Research Questions

 

Activity 1.2

 

Use the following to guide you in your specific research on an interactive artist:

 

·         Research, using the Internet and/or conventional sources, a new media artist whose work can be described as “interactive.” Pay special attention to the definition of interactivity given earlier in the unit.

·         Explain how this work is, or is not, an extension of traditional artworks and foundations.

·         Can this artwork be created utilizing only traditional art tools and techniques? Why or why not?

·         Identify any theories or trends related to this work.

·         Are there any artists that produce similar work?

·         Identify and describe the use of aspects and characteristics of different historical periods in this specific work of media art, if they appear.

·         Describe the level of interactivity in the artwork and its relationship to the audience.

·         What formal components (line, shape, colour, texture, value, space, balance, unity, contrast, emphasis, pattern, movement) can you find in this artwork?

·         What is the purpose or message in this art work?

 

Appendix F

Interactive Media Artists Database Worksheet

 

Names of Group Members:                                                               Due Date:

 

Each group will be responsible for finding artists from one of the three conceptual relationships of interactivity (cause/effect, immediacy, and environment). Although it may be argued that in any piece of artwork there may be a number of conceptual relationships being used, you will be looking for examples that show an emphasis on your assigned subject.

 

Cause/effect     q

Immediacy        q

Environment    q

Definition:

Artist 1

Name:

Country of residence:

Museum/gallery affiliation:

Title:

Media:

Brief description of work:

 

Internet Citation:

Artist 2

Name:

Country of residence:

Museum/gallery affiliation:

Title:

Media:

Brief description of work:

 

Internet Citation:

Artist 3

Name:

Country of residence:

Museum/gallery affiliation:

Title:

Media:

Brief description of work:

 

Internet Citation:

Appendix G

Teacher Observation Checklist: Media Artists Database

Production Teams

Code:  4 = Always                  3 = Most Times                      2 = Sometimes                        1 = Rarely

 

Names

Listens to views of others

Shows respect for others’ ideas

Shows respect for equipment

Participates in assigned activity

Accepts an equal share of the work

Completes work assigned

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Appendix H

Formative Test for Copyright Issues

 

Indicate which of the following statements are examples of copyright infringement

 

1.   A photograph is scanned from a magazine to be used for private reference, not to be published.

2.   A digital image is copied off an image library Internet site that offers royalty-free images.

3.   Artwork is copied off an Internet site where blanket permission applies.

4.   A photograph by a well-known photographer is scanned and altered beyond the point of recognition, without permission.

5.   A photograph by an amateur photographer is scanned and altered beyond recognition without permission.

6.   Artwork created by an artist from a distant country is incorporated into a new piece that will never be seen by the owner.

7.   Permission to use a photograph, which has been previously used in a corporate advertisement campaign, is granted by the photographer.

8.   An image is copied from an image library that contains a digital watermark.

 

Answers and areas for discussion

1.   Yes. Copyright is designed to protect the creator of artwork. The copyright owner has legal control over the use of their work, and the right to claim financial compensation and to be credited for their work. If the photographer has not given express permission for its use, a copyright infringement applies.

2.   Yes. To avoid copyright infringement, permission must be granted from the image provider for the use of its images. Any company that specializes in providing copyright licensing will expect any users to compensate it for their use. It is very likely that copyright infringement will be pursued through civil action.

3.   No. Any material labelled with a general license or waiver that states the work may be used without permission or payment does not violate copyright when used.

4.   Yes. Even if it is altered beyond recognition, it still infringes on the owner’s right to the use of their work. Even though it’s unlikely that copyright infringement will be legally pursued, a moral and ethical obligation remains towards the artist and their efforts.

5.   Yes. Even though the photographer is unknown, the conditions in Answer 4 still apply.

6.   Yes. The original artist might never legally pursue the copyright infringement. However, infringement has still occurred. Morally and ethically the artist is affected, since they lost any control over the context in which their work is presented, as well as any financial remuneration that would apply.

7.   Only if the original photographer still owns the legal right to the work. Some companies may negotiate a period of exclusivity where they own the work for a specified period of time, or have negotiated a restriction and paid extra for it. It is important that when permission is granted, it is received in writing with a statement that indicates the legal rights belong to the person who is granting permission.

8.   Yes. This digital watermark serves as an identifier to the owner of the work. The imbedded information, which is contained in the watermark, provides information to identify illegal copies. It serves more as a deterrent than a legal guarantee for proof of copyright infringement.

 

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