Research Translation #2

Whoops! Looking over my posts, I realized I never posted my second research translation and it was sitting in my drafts. Here it is, better late than never...

Research Translation #2

Commodity Fetishism: Material Origins of Objects We Love by Elizabeth Garber

RESEARCH PROBLEM 

The research problem is not clearly stated. Partially I believe because of its qualitative nature, and the author's intent to discover what students' reactions and capabilities would be if taught art in a way that focuses not solely on art making, but in looking at and analyzing our material and visual culture. The Author does a good job at laying out previous and corroborating research that directly applies to the issues she is exploring with her class. Since this is a qualitative research project and the variables so many, they are not defined and instead it is presented more as a reflection or case study even.

LITERATURE REVIEW

The research is well organized and supports descriptions from the events that happened in class. It also nicely supports the decision and desire to teach this type of lesson. The sources are mostly from the last 15 years, with a few from the last 30 that still seem to be very relevant and informed the more current sources. The research sources are of course secondary, but the case study is a primary source outlining what is like to teach students material culture through the analysis of objects.    

RESEARCH QUESTIONS or HYPOTHESES

No, the hypothesis / question was not stated clearly. It was more of a reflection on an experience and then also reflections on the indications of the outcome. 

DATA SOURCES/SAMPLING  

Again, the data source was not clearly described. The article is more concerned with outling the project, the way it was taught, what the students examined, and the outcome. The author also reflected on what she deemed to be a successful lesson. The author did not describe what type of class this was, how many students participated, or even age group. 

MEASUREMENT TOOLS 

The author used student artwork to analyze the data as well as classroom observations. 

METHODOLOGY/PROCEDURES 

The author was very descriptive in laying out the lesson and what students did as they studied material culture and their objects. She clearly shared her questions that she presented to her students and some examples of how they answered them. There wasn't a wrap up at the end of whether she felt a certain percentage of students were successful or any information on how this project would inform future teachings of this lesson.

RESULTS 

Since the research was more about observing results of a new teaching method, there were not specific research questions to be answered other that "what happens when students investigate personal objects as a part of a material culture?" The case study was an interesting read and it would be interesting to read more about how this would carry forth into future projects.

DISCUSSION 

Reading about this current type of teaching method is interesting and relevant in the discussion of where art education in the 21st century is moving. Examples like this help build a case for curriculums to be developed broadening the scope of how we teach art and visual culture, not just continuing to focus on media, elements & principles.  For me this article will be beneficial to future research and a good place to refer for additional sources to investigate as I move forward with evolving my curriculum and lessons.

Killing Creativity

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Behaviors/Attitudes which can "kill" creativity might include:

• Insisting that children do things the “right way”.  Teaching a child to think that there is just one right way to do things kills the urge to try new ways.
• Pressuring children to be realistic, to stop imagining.  When we label a child’s flights of fantasy as “silly”, we bring the child down to earth with a thud, causing the inventive urge to curl up and die.
• Making comparisons with other children.  This is a subtle pressure on a child to conform; yet the essence of creativity is freedom to conform or not to conform.
• Discouraging children’s curiosity.  One of the surest indicators of creativity is curiosity; yet we often brush questions aside because we are too busy for “silly” questions.  Children’s questions deserve respect.
• Avoid responding to a child’s desire for more information in an area of interest.  Similarly, avoid support a child’s desire for training/growth in an area of talent/interest.
• Avoid exposing children to new experiences (sights, sounds, smells, tastes, etc.)  Keep their world small and mono-experiential.
• Model the fear-of-trying-something-new.  Risk taking is a valuable part of the creative experience. 
• Demonstrate a narrow-mindedness towards the world around you – literature, current events, religion, culture, etc.
• Demonstrate a lack of mental and/or emotional flexibility.  Reject out-of-hand varying perspectives and view points without considering them first.   

Annotated Bibliography

Annotated Bibliography

In switching my topic and research question, what I have discovered is that I feel pretty clueless where to start or how to hone in my research (I’ve also discovered my formal researching skills are pretty rusty.) [New research question: How does an art teacher's room reflect his/her teaching philosophy? Hmmm, or should it be DOES an art teacher's room reflect his/her teaching philosophy? This too probably needs some refining]

Starting research for my bibliography, I began with sources that may enlighten me to the language of semiotics and to how to define art teacher “philosophies”.  So I began with sources that Dr. Pinnow had mentioned, hoping they will give me more insight into this fascinating language. This might be some heavy reading, but will hopefully be very interesting.

1.   Gunther Kress, Theo van Leeuwen (2006) Reading Images: The Grammar of Visual Design
Reading Images builds on its reputation as the first systematic and comprehensive account of the grammar of visual design. Drawing on an enormous range of examples from children's drawings to textbook illustrations, photo-journalism to fine art, as well as three-dimensional forms such as sculpture and toys, the authors examine the ways in which images communicate meaning. Features include:
- new material on moving images and on colour
- a discussion of how images and their uses have changed through time
- websites and web-based images
- ideas on the future of visual communication.
Reading Images focuses on the structures or 'grammar' of visual design – colour, perspective, framing and composition – provides the reader with an invaluable 'tool-kit' for reading images and makes it a must for anyone interested in communication, the media and the arts.

2.   Gunther Kress, Theo van Leeuwen (2001) Multimodal Discourse.
Multimodal Discourse outlines a new theory of communication for the age of interactive multimedia. Kress and Van Leeuwen show how two kinds of thought processes interact in the design and production of communicative messages: "design thinking" and "production thinking," the kind of thinking which occurs in direct interaction with the materials and media used. This book will be a key text in courses of language, media and communication willing to take on the theoretical challenges posed by multimodality, mulitmedia and multi-skilling, and it provides inspiring theoretical input for courses in interactive multimedia design.

3.   Gunther Kress (2009) Multimodality: A Social Semiotic Approach to Contemporary Communication.
 The 21st century is awash with ever more mixed and remixed images, writing, layout, sound, gesture, speech, and 3D objects. Multimodality looks beyond language and examines these multiple modes of communication and meaning making.
Multimodality: A Social Semiotic Approach to Contemporary Communication represents a long-awaited and much anticipated addition to the study of multimodality from the scholar who pioneered and continues to play a decisive role in shaping the field. Written in an accessible manner and illustrated with a wealth of photos and illustrations to clearly demonstrate the points made, Multimodality: A Social Semiotic Approach to Contemporary Communication deliberately sets out to locate communication in the everyday, covering topics and issues not usually discussed in books of this kind, from traffic signs to mobile phones.

I also decided I should look at what areas might define a teacher’s philosophy and the history of art education that may inform current teaching styles and methods.

1.   G. James Daichendt (2010)
Artist-Teacher: A Philosophy for Creating and Teaching 
Is an artist-teacher a mere professional who balances a career—or does the duality of making and teaching art merit a more profound investigation? Rejecting a conventional understanding of the artist-teacher, this book sets out to present a robust history from the classical era to the twenty-first century. Particular pedagogical portraits—featuring George Wallis, Walter Gropius, Johannes Itten, Victor Pashmore, Richard Hamilton, Arthur Wesley Dow, and Hans Hoffmann—illustrate the artist-teacher in various contexts. This book offers a revelation of the complex thinking processes artists utilize when teaching, and a reconciliation of the artistic and educational enterprises as complimentary partners.

2.   Jane K. Bates (2000) Becoming an Art Teacher
This book introduces the student to the field of teaching, discusses theory and practice of Art Education, and synthesizes and prepares students to make the transition from student to Art teacher. It presents art education as an integration of philosophy, history, theory, and practice. Bates illustrates how to apply theory to practice as an art educator. Models, methods, and experiences are provided to enlighten, inspire, and amuse.

3.   Mary Stankiewicz (2001). Roots of Art Education Practice (Art Education in Practice Series) Weaving together accepted ideas about art, children, and schooling, the author tells the story of art education practice a century ago. Readers will gain insights into the circumstances under which curricular practices originated, and will better appreciate the beliefs that shape art education today.

4.   Arthur D. Efland (1989) A History of Art Education: Intellectual and Social Currents in Teaching the Visual Arts. Recent debates on the place of the arts in American life has refocused attention on art education in schools. In this book, the author puts current debate and concerns in a well-researched historical perspective. He examines the institutional settings of art education throughout Western history, the social forces that have shaped it and the evolution and impact of alternate streams of influence on present practice. The book treats the visual arts in relation to developments in general education and particular emphasis is placed on the 19th and 20th centuries and on the social context that has affected our concept of art today. The book is intended as a main text in history of art education courses, as a supplemental text in courses in art education methods and history of education, and as a resource for students, professors and researchers.

5.   Stuart MacDonald (1970) The History and Philosophy of Art Education. Dr. Macdonald investigates the continuous developments of Art and Design education in Italy, France, Britain, Germany, and the United States. The study traces the philosophies of teachers from the age of the guilds and the academies to today, and sets them in the context of the general education theories of their times. Stuart Macdonald clarifies the whole field of art education for research and teaching purposes. He points out that the knowledge of the principles and methods of art education is essential for a true understanding of the art of different periods. He makes clear that art education should be studied within the existing education disciplines of history, philosophy, psychology, and sociology of education. Essentially factual, using many quotations from primary sources not generally available, this book gives a disciplined grounding in a branch of the history of education, and describes the philosophies which continue to govern courses in Art and Design.

Then I began looking at some research that looks into effect of the environment of schools on performance –

6.   Pamela Woolner^a, Elaine Hall^a*, Steve Higgins^a, Caroline McCaughey^a & Kate Wall^a (2007)
A sound foundation? What we know about the impact of environments on learning and the implications for Building Schools for the Future
Oxford Review of Education, Volume 33, Issue 1, pages 47-70.
This paper reports on a literature review conducted in the UK for the Design Council and CfBT (Higgins et al., 2005) which looked at the evidence of the impact of environments on learning in schools. We have reviewed the available evidence regarding different facets of the physical environment and provided an analysis based on different areas of effect, including the extent to which different facets interact (positively and negatively) with one another. Our conclusions suggest that, although the research often indicates the parameters of an effective environment, there is an overall lack of empirical evidence about the impact of individual elements of the physical environment which might inform school design at a practical level to support student achievement. However, at a secondary level of analysis, there are indications that environmental change can be part of a catalytic process of school development and improvement. The implications of these findings for Building Schools for the Future will be discussed.

7.   Metzger, Richard L.; Boschee, Pamela F.; Haugen, Terry; Schnobrich, Barbara L.
The classroom as learning context: Changing rooms affects performance.
Journal of Educational Psychology, Vol 71(4), Aug 1979, 440-442. doi: 10.1037/0022-0663.71.4.440 Studied the role of the classroom as a context that can affect memory, using a multiple time-series design. Two classes of 25 undergraduates each were given weekly quizzes in their regular classroom over a baseline period, were moved to a different room on separate target weeks, and finally were returned to their classroom. Moving had a significant deleterious effect, particularly on students doing well in the course. (8 ref) (PsycINFO Database Record (c) 2012 APA, all rights reserved)

8.   Carol S. Weinstein (1979)
The Physical Environment of the School: A Review of the Research REVIEW OF EDUCATIONAL RESEARCH Fall 1979 vol. 49 no. 4 577-610
This paper reviews research on the impact of classroom environments on student behavior, attitudes, and achievement. The first section examines studies of six environmental variables: seating position, classroom design, density, privacy, noise, and the presence or absence of windows. In the second part of the paper, research conducted from an “ecological” perspective is considered. A third section focuses on the effects of open space school designs. Finally, some future directions for research are discussed, and the advantages and limitations of various research designs are summarized.

Lastly, I discovered an interesting research article on educational semiotics and looking at field studies in France. (PESCE, S. (2011), Institutional Pedagogy and Semiosis: Investigating the missing link between Peirce's semiotics and effective semiotics. Educational Philosophy and Theory, 43: 1145–1160. doi: 10.1111/j.1469-5812.2009.00633.x) This led me to look further into these resources, hoping they might be of use. I was not able to move forward in finding them in order to read them, but wanted to include them here as a possible next step.

Cunningham, D. J. (1987) Outline of an Educational Semiotic, The American Journal of Semiotics, 5:2, Special Issue, ‘Semiotics and Education’, pp. 210–216.

Deely, J. (2004) Semiotics and Jakob von Uexküll's Concept of Umwelt, Sign System Studies, 32:1/2, pp. 11–34.

Manning, P. K. (1987) Semiotics and Fieldwork, Qualitative Research Methods Volume 7 (Newbury Park, CA, Sage Publications).

McHoul, A. (1996) Semiotic Investigations. Towards an effective semiotics (Lincoln, NE, University of Nebraska Press).

McLaren, P. (1989) Life in Schools. An introduction to critical pedagogy in the foundations of education (Boston, Allyn & Bacon).

Shank, G. (1995) Semiotics and Qualitative Research in Education: The third crossroad, The Qualitative Report, 2:3. Available at: http://www.nova.edu/ssss/QR/QR2-3/shank.html

Stables, A. (2006) Living and Learning as Semiotic Engagement: A new theory of education (New York, Edwin Mellen Press).

Tochon, F.V. (2002) Semiotic Consciousness in Education: An introduction, International Journal of Applied Semiotics, 3:2, pp. 3–8.

I definitely feel like my research has been too broad and I need to figure out the language for what exactly it is I’m trying to look into. This may take a question and answer session with Kathy and/or class members. 

Ch. 7 Homework - Preparing the Working Proposal

Mindwork: Create a Timeline
(I am hoping at this point we do not need to have a detailed calendar version of our timeline like the example in the book. Yikes! I just got out for the summer and I'm feeling overwhelmed with tasks for the school year.)


Summer - Develop research proposal, check out grant possibilities, gather bibliographic materials. Research more information about 21st century skills, other teachers use of iPad technology in secondary art rooms, and assessment methods.


July - Book study. Building PD development. iPad lab set ups. Technology PD session. CCSS PD workshops. Content Leader meetings.


August - Begin School Year Aug 1 / class Aug 6.
Survey students. Begin journal. Implement iPad strategies. Take Field Notes.
Check on progress of 6 curriculum writing teams. Begin Committee review process.
Plan and hold 2 building PD days.
Start online coursework for Fall semester.
Oh, yeah and plan lessons and teach classes.


September - Breathe. Progress reports due.
Continue to implement iPad strategies. Continue field notes. Interview selected students. Keep reading and researching relevant connected topics.
Keep track of curriculum writing teams and committee review process. Start to look for PEH curriculum writing teams and begin selecting days for writing institute.


October - 1st Q ends, grades due. Fall Break. Parent / Teacher conferences.
Monitor strategies. Go over field notes.
Follow up with Curriculum writing teams. Begin constructing budget for following fiscal year.


November -
Continue strategies. Gather more information about research topics.
Thanksgiving.
Curriculum committee meetings.
Cognitive Coaching Workshop.


December -
Follow up interviews. Survey students.
Finals review. Exams.
Finalize Budget for submittal.


January - Start 2nd semester.
Compile Data. Determine if should continue or gather different information. Begin to analyze. Outline research study based on themes.
Reexamine Curriculum timelines. Outline remaining work.
Submit proposal for MAEA presentation.
Begin Spring semester online coursework.


February - Progress reports due.
Birthday. Plan D's bday.
Evaluate progress. Draft presentation of research.
Begin MAEA presentation work.


March - 3rd Q ends. P/T conferences. Spring Break.
State and National Conferences. Present MAEA.
Prepare Taxes. Send invites for D's bday.


April - status update.
D's Bday. Plan G's bday.
MAP testing. Block schedule.

Mindwork: Find a Grant Source (pgs. 110-111)

Source: National Endowment for the Arts
http://arts.endow.gov/grants/apply/Artsed.html#

Learning: Americans of all ages acquire knowledge or skills in the arts.

Support is available for projects that provide Americans of all ages with arts learning opportunities across a diverse spectrum of artistic disciplines and geographic locations. These projects should focus on the acquisition of knowledge or skills in the arts, thereby building public capacity for lifelong participation in the arts. Learning activities may include:

• Lifelong learning activities for children, adults, and intergenerational groups.
• Standards-based arts education activities for pre-K-12 students.
• Informal education programs, workshops, and demonstrations.
• Mentorships and apprenticeship programs.
• Professional development for artists, teaching artists, teachers, and other education providers.
• Assessments and evaluations of arts learning.
• Online courses or training.
• Lectures and symposia.
• Production, publication, and distribution of teachers'/facilitators’ guides.
• Innovative practices in arts learning for Americans of all ages.

You will be asked to address the anticipated results in your application. If you receive a grant, you will be asked to provide evidence of those results at the end of your project. You will need to describe the participants' learning, the composition of the participant group, and the numbers of participants and activities, as well as the activities used to facilitate the acquisition of knowledge or skills in the arts. If you receive support through the Arts Education discipline for a standards-based project, you will be required to report on additional measurable results, including identifying specific learning outcomes, describing the assessment method, and reporting on the number of participants who demonstrated learning. Before applying, please review the reporting requirements for Learning. In addition to a Final Descriptive Report and Federal Financial Report, Arts Education grantees will be required to submit assessment tools with their Final Report.

Mindwork: Write a Working Proposal (pg. 111)
Working Title: Bauhaus Meets Big Idea

Name, affiliation, position: Michelle Ridlen, Francis Howell School District, Artist Teacher / Fine Arts Content Leader

Background (position, purpose, significance, rationale): Teacher, Curriculum Content Leader. teaching through the years I have felt a shift in culture and witnessed the slow evolution of the 21st century student into a learner who is not as responsive to DBAE-based learning in the secondary art room.
Problem Statement: Motivation for today's learners has changed. Artistic habits of mind are needed now more than ever to be a successful 21st century citizen and the structure of the current curriculum is not as effective at reaching our students.

Research Question and subquestions: Could an alternative curriculum encourage and produce more productive students that demonstrate a higher level of creativity and critical thinking skills?

Related Research: Creativity, Digital learners, curriculum types, assessment

List of Permissions Required: I am not sure what type of permissions would be required to research this topic. I assume parent/student as discussed earlier in the book, but is there also a more formal request process?

Data Sources: Selected case study students, interviews, field notes, artwork, portfolios.

Methods and Analysis: Qualitative methods as well as some quantitative data related to grades.

Time Line: (please see previous post)

Plans for Dissemination: Either a follow up presentation at MAEA to last year's Big Idea presenation, or outline of alternative curriculum in the form of a sketchbook / artworks in an online gallery.

Possible Findings: Splitting the school year into an elements / principles type structure no longer fits the needs of our student population in order to address 21st century needs in visual arts education. There is a better way to engage students and keep them engaged in the arts.

Projected Budget: I could work on a shoestring budget of my pocket change, but could also make use of technology to enrich the envisioned curriculum. (If I could get my own iPad lab through a grant, that would be awesome!) Digital photo equipment, lighting, and a laptop or iPad dedicated to my classroom for our use would be ideal. Also, if I could pay college types to observe, take notes, and transcribe notes/data that would also be incredibly useful.

Ch. 5 Legwork & Ch. 6 Methods & Methodologies

Mindwork: Combine Data from Multiple Sources (pg. 80)

I think I should also include data from these sources:

• Student artwork
• Student Histories
• Interviews

Mindwork for chapter 6. Unable to complete with class out of session.

Ch. 4 Headwork: Assuming Self and Other

Mindwork: Explore the Emic (stepping in) and the Etic (stepping out) (pg. 55)

• In my classroom I did this when I looked around and thought about my students seeming to bored with art. Not sure if bored is the right word, b/c I tried to make projects interesting and appealing and they weren't bored per say. But I guess we were just missing some electricity. I'm speaking here of my Introduction to Art classes. You see, I was comparing them to my Printmaking classes where we were experimenting and everyone was up working unguided, collaborating - - truly engaged in the creative process. And I wanted that in my Intro classes, b/c that was the magic of art! ( & The sense of community and family in this environment was mind blowing!) If I wanted these students to have a life long connection to art, I thought, I need to recreate that type of experience.  
• So, How do I do that? I had worked really hard in the beginning to make art less mysterious, make it less abstract, more concrete so those non-artist linear types could follow and be successful. But what I intuitively realized then and am actually realizing now, is that mystery and that abstract-ness is what makes art unique, and special, and magical. And when people tune into that and click, that's when their connection to art is made. So what I strived to do was life that veil, let them in on the secret, help my students understand that abstractness and get dirty in a fun way while doing it. 
• But how does this apply to my question topic? Well, I don't think I could move into that as easily if I hadn't already started looking at these type of questions. It seems a natural progression to go from teaching with Big Ideas and concepts to figuring out a better way to evaluate them, and how to enrich their expereience and work collaboratively with technology and digital communities.

Mindwork: Use the Three Questions for Analysis (pgs. 56 -57)

• Surprises, Intrigues, Disturbs

     I'm surprised at how important this seems, and how if I can just crack this, maybe all the art instruction mysteries will be solved. But on the other hand, although I find this important for me to discover and work on and develop, and how much I want to do it, it lacks a certain...hmm...a certain sexiness to it. I really want to engage the last product in some thing that doesn't feel like a chore, or a paper, or curriculum document...but yet is useful to others. I guess I'm conflicted. My two sides are wrestling for attention.

Mindwork: State Your Ethics (pg. 66)


Based on the ALA ethics statements, as found here: http://www.ala.org/advocacy/proethics/codeofethics/codeethics

1. We provide the highest level of service to all art room users through appropriate and useful aesthetic resources
2. We uphold the principles of intellectual freedom and resist all efforts to censor artistic creation
3. We respect intellectual property rights and advocate balance between the interests of creators seeking appropriation and rights holders.
4. We treat students, co-workers and other colleagues with respect, fairness, and good faith, and advocate conditions of employment that safeguard the rights and welfare of all.
5. We do not advance private interests at the expense of the learner, colleagues, or our employing institutions
6. We strive for excellence in the profession by maintaining and enhancing our own knowledge and skills, by encouraging the professional development of co-workers, and by fostering the aspirations of potential artists and lifelong art lovers.

Ch. 3 Bridgework

Mindwork: Discover What You Know (pgs. 34-35)

• I've been looking a bit at the two big topics my questions are geared around - technology in the art room (specifically iPad use) and alternative curriculum options including different ways to assess students. I'm not sure how familiar with journals I really am. I read the NAEA publication, but I don't necessarily read studies. 

Mindwork: Google-ography (pgs. 38-39)

• Its funny, but I have kind of been using pinterest to track my searches  and findings on these topics. 
• Okay, I completely just lost hours of time searching the internet on my topic... I think this will link up to my pin boards on pinterest if you want to see them... Let me know if it doesn't work. =) 
• http://pinterest.com/mdridlen/ 

Mindwork: Shape Your Work Bibliography (pg 45)

• I need some more books I think. And maybe more scholarly research on this topic, journals, et

Ch. 2 Scratchwork

Mindwork: Explore Trial Questions (p.25-26)

• Can iPads increase artistic production?
• Is there a way to integrate iPads into a new evaluative assessment?
• Can technology be used to create an authentic summative performance assessment? (as well as pre- & mid-)
• Is there a better way to teach artistic habits of mind?
• Can the convergence of material & digital assessment methods yield a more authentic performance assessment?
• Does the traditional A-Z grading method reinforce a less productive and less creative culture in the art room?
• In what ways does reflective practice: a) create a more authentic artistic practice  b) increase metacognition of students?
• In what ways can reading & writing be integrated seamlessly  into an authentic artistic practice?
• How does R&W reinforce artistic practice as opposed to take away from developing artistic skills / habits?

Mindwork: Position Yourself in Relation to the Question (p.27-28)

• My generational differences may play a part in how I approach this topic. I am looking for ways to elevate  student 21st century skills as well as technology & media literacy skills. I need to make sure that I don't emit biases for a preference for either material or digital tools so that both seem like viable options. Also, if I am looking at how students are assessed, I need to make sure that all students are assessed fairly wiithout bias.

Mindwork: Refine Your Question (p. 31)

Problem Statement(s) - 

• Students do not place importance on the development of skills in a gradual development of abilities, connecting the experiences from one project to the next.  
• Student work does not show a deep understanding of anything more than a cursory level of media abilities. 
• Student work lacks depth of content, therefore students are disconnected from the artistic process and authentic learning experiences. 
• Students place too much importance on the end letter grade and not on the actual learning taking place.

Research Question(s) - 

• Would a different type of assessment increase student achievement? 
• Would a different type of assessment connect students to the artistic process and habits of mind?
• Would a different type of assessment develop 21st century skills such as creativity, critical thinking, collaboration and communication?
• Do students need to develop artistic habits of mind to be better prepared for teh 21st century?
• Do artistic habits of mind teach 21st century skills in a way that can be assessed? 

Prepwork for Homework Ch. 10

I'm comfortable writing. Sometimes I feel I ramble, but that can be refined. I've had to write recently when I completed my National Board portfolios which as a lot of introspective and reflective writing. I write a lot in terms of preparing for presentations. I blog, not often, and spout off on Facebook.

Most of my questions revolve more around the intricacies of writing to present research formally. What do I not even know yet about the ethical issues, the vocabulary, the methodologies, etc.

Ideally, I would like to disseminate my information in a cool, original artistic format. I would love it if whatever I do could result in some sort of artistic endeavor, but I also fear that my lifestyle will dictate that I do whatever is most straightforward and timely.

Prepwork for Deskwork Ch.9

I use both material and digital resources. I like to have tangible things like legal pads, and sticky notes, and binders with page protectors to slide stuff in to. But I also like to use the internet and bookmark sites, I use pinterest since I remember visuals to match information, I sometimes use LiveBinder (but not much).

I would probably get yet another binder and fill it with my necessary tools and research data. I also have a habit of carrying different totebags for different purposes. Almost like a portable file cabinet. I just found these vertical file folders at Office Depot that I'm really excited about using in my tote bags -  How much easier will that be to get stuff in and out!

I make lists to organize my tasks. I also have a monkey dry erase board that says "Projects on my Plate", then I list all the stuff I'm having to make sure I keep track of so I don't forget to go back and address the little parts that belong to all the current projects.

I usually put off picking up my kids from the babysitters for about an hour and a half (since they are usually napping still) after school is out. I can take this time to look at and review my data.

Prepwork for Footwork Ch. 8

Strengths:

• K. Unrath, J. Switzer, S. Wood, S. Fowler
• Various art teachers
• NBCT portfolio writing I think will help, learning more and more about research as we go!
• Dream result would be affecting change
• More access to technology, increase in job satisfaction

Drawbacks:

• Required to be "in common" so department can compare data
• Two small children and husband, along with household chores (boo); Content leader responsibilities; oh and lesson plans too
• I know just enough about research to open a book. Or at least I feel that way sometimes. I would like to know more about the official way to conduct research as applicable to education
• What more should be taught to round out a curriculum that integrates visual culture? Is there more? Is that enough (or plenty)? What goes along with that? What comes next in advanced classes?
• A whole lotta work for nothing. Being denied the iPad labs, or other resources in the future as a result.

Prepwork for Homework Ch. 7

These prepwork assignments are getting harder as we go. Mostly because I'm not exactly sure what I really want to research yet. I know I want to do something with the idea of material vs. digital culture. but not exactly what yet. I see it tying into this iPad Fine Arts lab pilot project I have going at my school next year, but not how yet. I'm hoping that the next few class days will actually help with narrowing that focus. I feel like I am on a sabbatical so I can devote time to my educational spiritual journey, giving me devoted time to read and learn about these topics that I have been dying to know more about.
I guess when I think in terms of the iPad project, I'm hoping for an outcome of other schools being able to purchase iPad labs for the Fine Arts departments, or thinking really big, maybe starting a 1:1 initiative. Why buy every department one, when we could just expect students to have them? I would like to re-envision our curriculum to integrate more Big Idea thinking, visual literacy, the exploration of culture. I would like to maybe write an article for a journal outlining how to do combine both these things. But, boy, all of that in combination seems like a monumental task.

Prepwork for Eyework Ch. 6

Short term problem - Where to park when I get to Columbia for class? What to do if I'm running late and have to park far away?
1) email columbia local and ask opinion and for knowledge of situation
2) think back on prior knowledge
3) bring lots of quarters
4) wear good shoes
5) leave extra early

Long Term problem -  Buying a car
1) look ( & drool ) over other cars driving around me
2) research practical cars for an enlarging family (& cry as you wave goodbye to the idea of a mini cooper)
3) analyze with husband & ask for opinions of current drivers
4) test drive
5) look up blue book prices
6) go to an enterprise car sales lot to avoid hassle of "dealing"
7) think about & evaluate experiences
8) buy car
9) go home mostly happy with new vehicle, install car seats, put away racing gloves.

Took a lot longer to solve and involved many more steps and outside sources. Needed to apply different methodologies to solve all facets of problem.

Prepwork for Legwork CH. 5

Data sources:
I am still thinking in terms of many questions, not necessarily with one in mind.
Evidence: Well, student interviews, observations of behaviors, production of work. One thing that I don't think will work well for this, and honestly, I have never thought works well as a data source in looking at how art is taught, is grades. The traditional letter grading system seems so disconnected from what they are learning. and what am I really grading for anyway? The things that I care about seeing growth in are harder to measure and truly difficult to see the impact on in the span of one year.
I love looking at student reflections for a data. But then that seems a bit subjective. I can mine those for the evidence I wish to support my claim. For me, I think the quantitative data will be harder. It never holds as much weight for my conclusions.

Pepwork for Headwork Ch. 4

Think about yourself as researcher:
In general, I find myself to be similar to my students in background. I went through the same district they did. However, there is a big gap in culture as far as advances in technology and different ways of learning. Its enlightening to do the pop culture projects with them when we look at what makes up a pop culture and take a look at the pop culture of different  time periods such as the 60's or the 80's in contrast to of today. Their impressions of the time and what I remember about it. Little differences between the way they grew up vs the way I grew up, that you would never think to ask about, come out in the discussions. For example, as a kid I had to wait Saturday morning (excitedly, I may add) for a big block of cartoons to watch. It was the highlight of my week. My students have a selection of at least 3-4 channels that play children's programming 24-7, and had access to a plethora of DVDs to watch at any time. This feeds into the differences we have with instant gratification or immediate access to media. That is a foreign concept to them, while my threshold is set at a different level. Interesting to process that.

Prepwork for Bridgework Ch. 3

I know a lot already about what research says about motivation & creativity. I have tried implementing strategies in my classes to increase both. Which has been moderately successful. I want to know more about technology in art, about digital vs material culture,  visual literacy, about alternative ways to teach art.
Professional journals have been a good resource, although weeding through them has been tedious. The textbooks for this class have been on my radar to help. I've been reaching out through social media, such as twitter and pinterest for colleagues to collaborate with on these questions.

Scratchwork: Research Questions

Take 2:

• What does a strong arts class that integrates the broader topic of visual literacy look like?
• How does the integration of technology as a medium affect creativity? How does it affect motivation?
• Does working in digital media lessen the importance of traditional media? Will students devalue traditional media in the lure of the new?
• Can reading and writing be integrated into the performance process so that it enhances and supports production instead of hinders it? 
• Does art have to be taught using the E&P in a traditional bauhaus method to be effectively measured? Is this the most effective way to teach students in the 21st century?
• What bigger ideas does art hold that will be beneficial to students as they mature, decide careers, and engage in a fulfilling life?

Prepwork for Scratchwork - Ch. 2

List of Research questions that interest you. Cluster them so themes or topics pop out.

This is going to be a much shorter version of my thoughts on these topics...

Student Learning:
is complex. can be affected by many things, in and out of my control. can be done in many ways. should be done in many ways.

Curriculum:
is useful. gets everyone going in the same direction. can limit the art of teaching. should be carefully constructed. should not be vague.

Teaching strategies:
tools in your tool kit. good to have a few and know when to use them.

Evaluation, grading, reflection:
Reflection is so important in art. Often times I feel that my feedback at the end is the most useless kind. Its the feedback I give during the process that aids in learning. The end feedback should be from peers and in the form of a self-reflection. Ok, maybe what I say at the end can be helpful. I find when I conference about the self-reflection thats where the learning takes place. But its more internal that skill based.

Subject Matter?
ART MATTERS! its so much more an eternal life skill than the way the curriculum and our standards are written now. I wish they were written that way.

Culture at large or of our school:
Wish our culture had more of an appreciation and endorsement of the arts. More understanding and embracing of their importance. And not focused on what will make me money, but what will enrich my life? I wish there were more opportunities for field trips, or at least more nature near by to engage with.

Hmmm....those were general ideas not really focused on questions for research. Let's try this again...

Write about what bothers you.

What tensions do you see in your classroom?
-Btw students in school and lives outside of school?
-Btw yourself & admin?
-Btw your educational background and the curriculum?


~OR~ What do you want to do in your classroom that you're not now doing?
- What's preventing you?
- What support would you need to be able to carry out a new strategy, curriculum, or project?


I want to integrate technology and digital media while cultivating creativity and not losing site of the craftsmanship and skill connected to traditional media. I want to seamlessly integrate reading and writing to improve my students skills while not losing time and progress made on creating. (and I don't want it to be a giant hassle to my flow, style of teaching, and grading load.) I want to integrate more explicit visual culture instruction so my students are prepared to take in the world around them and can respond to it in a thoughtful manner that contributes to society.
Preventing me from doing this is my own limited knowledge, limited access to technology, budget & time. I am working on my own awareness of these issues to better advocate for resources and to better prepare myself for eventually incorporating some, or all, of these. It would be great if I could have the power to stop time for a short period in order to read and submerge myself in my thoughts, and that way not ignore my family or my students in my quest for more knowledge (How awesome a super power would that be?!).
I would love to try teaching my curriculum through a broader lens than just the bauhaus elements & principles method that has been great, but still lacks depth and greater application. I would like the freedom from my course map, data and common assessments that dictate what order I teach what, when, and how. I would like to partner with another teacher, working collaboratively, or even team teaching to best reach a broad group of students where they are, with projects that meet the needs they don't even realize they have yet.

Pre-blog post

First post. Today's class. Monday, June 4, 2012.
It was the very first day of my new Graduate program. Finally. I've found a program. It seems to be like trying on wedding dresses for me - - you know when you've found The One. I've started a program before, an MFA program, but couldn't schedule the classes around teaching full time, so... bye bye degree. As soon as I heard about this Art Ed program I knew it was the one for me.
I was excited to start today. I haven't felt this First Day of School sensation for a long time. I realized today that even though I have had a first day of school for the last 28 years, today's feelings were different. Different, yet familiar. I realized that I've made that transition from student to teacher and the First Day of School feelings I've had for the last 10+ years have been the feelings of a teacher, an instructor, a presenter. Today...today was that feeling I had as a 7th grader stepping into my new junior high, as a 9th grader going to my new HS locker, as a 1st year college student trekking across campus... nervous, anxious, fearful, unprepared, fresh, hopeful, electric.
Kathy said today that research was all about the questions. So before I start my homework, I wanted to start off with some questions of my own.  When will those amazing books get here?! I must be an arted nerd because when Kathy held up those books, I thought to myself, "YES! I've been wanting to read that and now I HAVE to... its for school." I always process better later and with someone else, (must be that group/teamwork angle) so I'm glad to have 15 other people in this with me. Few of my co workers want to hear me wax poetic about scholarly books on research. Go figure.   Second question, Am I gonna be able to do this? I mean, be in Columbia in the glorious summer and also make myself focus? Of course I can, I tell myself.  I mean I paid enough for it, I oughta be able to ...right? And more importantly can I train my mind to steer itself into one direction and not run off into the hundred of different angles I could see myself going.  Already I've read 2 pages and I've wondered off into 3 different areas of my classroom where this applies. 3 weeks is going to zip too quickly by. Will I be able to answer all these questions I have floating around my head? I can't even get them typed into a blog post which was my strategy so I could get down to official business. Oh well. Can't say I didn't try... Back to the real thing.