Beginning and leading.

Posted: May 8, 2017 in Uncategorized

Leadership is not management or directing. Leadership is the ability to inspire or influence others towards the leader’s desired goal. As a participant in an organisation, you choose to follow a person because they have a vision that you feel is right.  Particularly, one which aligns with your own purpose or needs. The one person who is more forward thinking among a group can be seen as leading and providing direction and leadership.

So with this understanding that Leaders have followers. If someone has followers, he or she is a leader.

Management literature mostly focuses on the characteristics of the leader – it asks “what make this person a leader”, rather than “why do these people choose to follow”. Here I will look at both of these aspects and cover models which look at these ideas.

I have commenced a leadership development course and as part of this, we have looked at leadership definitions, leadership models, and reflections on the actions of leaders.

As a summary of the first module, we reflected on the models we had studied and looked at presenting particularly a focus on the 4 Archetype of leadership developed by Perkins.

 

If you are interested in the Perkins Archetypes, jump through to 2:15min and it goes to about 8:20min.

Enjoy….

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Specifically the current specification.

GCSE 2016 New Specification

New grading scale 9-1, where 9 is the top.

Reduced internal assessment.

120hrs contact hours

First teaching September 2016.

Must comprise of process drawing.

Weightings for coursework and ESA will remain the same.

Assessment process remains the same. Internal assessment external moderation. (changes to the number of marks to 72 rather than 80)

Assessment Objectives wording is changed but remains very similar.

Specifications need to have at least two components covered.

2nd Jan is the release date of the ESA every year.

Drawing is a component which is expected in the new specification. This is seen in the broadest understanding of the wording. Drawing is defined in the new specification for the titles which are online. Fine Art is the traditional approach to drawing as a expressive form.

The moving into other specifications can also extend into computer drawing. The acknowledgement of the emerging technology.Drawing in photography is seen as preparation of notes and planning.

Written annotation is valued over greater volumes of text.

18 marks per AO, but split into the 6 bands with 3 marks in each band. The use of the the term ‘exceptional’ as the highest achievement is contentious as above the range that GCSE is developing.

ESA Paper will have a ‘getting started guide’. A editable course planner. Student guides are available.

FIRST TEACHING JULY 2016 FOR EVERYBODY ELSE. First examination is May 2018.

AIS SINGAPORE WILL NOT NEED TO USE THE NEW ASSESSMENT GRID UNTIL SEPT 2017.

Evidence for Assessment Objectives

AO1 – Develop

Referencing students workbooks with artist studies, understanding the work of others. Annotation under the new specification. Using headings and bullet point anaylsis.

AO2 – Refine ideas

Exploring ideas – Media experimentation, compositional exploration, recording of steps of the workings and reflect. Changing as the work progresses.

AO3 – Recording

‘as work progresses’ indicates the need for change and the documentation of the works development. Linking the work back to the original sources is a good way of showing change. Purpose and relevance of the choice of artists to the development of the work.  Students who have a insight and change in the directions of the work must clearly demonstrate the shift with clear intentions.

AO4 – Presents

Evidence is found in the the whole assessment which is not the final piece. A purposeful and meaningful response. The assessment  is not lineal. Multiple intentions and outcomes can be indicative from the overall process. A smaller drawing in the  journal could be considered a A04 significant component.

AO3 Marking Activity.

Samples selected to focus on the bookwork. The use of the language is vital.

Assessment and Moderation Requirements.

Sampled students

Assessment grids

Authentication sheets

OPTEMS forms

All candidates

Merit order for both units. as well as a overall.

The brief at the beginning of the moderation process is vital to contextualise the course. A overview of the course in a written context is also useful.

Clear labelling and presentation of the candidates work is very useful to the moderator so they can find work in context. Making the work presentation explicit is better.

It is the role of the students to make it clear as to who, what, where, when is a good.

Grade Boundaries change but only by one mark or so. It is only after the marks are in for the year. When marks shift over a year when they have been accurate then it is most likely related to moderator feedback over a number of years when  this hasn’t been addressed.

Bottom line is to be as accurate as possible as results are recommended and these results then are statistically mapped across your cohort.

IGCSE –

Four endorsed titles. Includes Photography, textiles, Fine Art, Graphic design. Marked out of 100

10 hr exam / 6 weeks prep. Set and marked by Edexcel.

Work A2 Maximum / 3 sheets of supporting documentation. Layout is very important. Techniques developed within the context of creating work should be clearly linked.

Presentation and layout should be making the connections to the work of others. Use the local environment if appropriate, use appropriate annotation, shoe the ability to review, modify, and refine. Mix horizontal and landscape presentation, and max at A2.

A downloadable copy of the IGCSE samples is available on the website.

Marking Activity

A range of marking of AO1-4 was undertaken and the difficulty of marking work was definitely clear as our group had marks ranging as much as 10-15 marks out of 80. This really highlighted the needs for Moderators.

Below is the PowerPoint presented from the section on the new course first exam 2018.

1 New Spec

 

This TIG is a Teacher Inquiry Group which runs at the Australian International School for the teachers to develop deeper understanding of an area of interest. The participants are guided to develop an individual path which can build the understanding of a topic of interest, which in-turn builds capacity in the classroom. The beauty of this approach is that all participants value their own experience because it is shaped by them.

I come to this TIG from a high technology teaching structured background and want to build my contemporary teaching practice to find the depth in the TPACK sweet spot. I have a constant awareness of the existing SAMR model for looking at the value which tech has in integration.  What is it that I do, NOW, and where and I going with it in the near future.? How can I improve my use of tech in the classroom to benefit the use of time, students experience, build better and deeper understanding, and act as a leader in the department and school for this approach.

TPACK – Technological, Pedagogical, Content , Knowledge.

Teaching structures traditionally would follow a systematic approach to content delivery as a teacher.

  1. What do I have to teach? – the content.
  2. How do I do it? – pedagogy
  3. What tools are available to use which are suitable? – technology

We discussed the areas of the Venn diagram and tried to understand the domains a little better.

Technological Knowledge – TK
  • Awareness of the tools
  • Ways of manipulating the apps
  • Ability to use the technology seamlessly in class
Technological Content Knowledge – TCK
  • The use of the web search to collect information for knowledge. Often has the ‘treasure hunt’ mentality.
  • This area often lacks an application to use the information.
  • Low level use often which lack longevity.
Content Knowledge – CK
  • The Oracle teacher who doesn’t use laptops and technology in the classroom.A teacher who has a lecture stuyle to content delivery. Specialist in one area of knowledge.
Pedagogical Content Knowledge – PCK
  • A traditional style of very effective teaching without technology.
Pedagogical Knowledge – PK
  • A flipped classroom model
  • Instructional Design
  • From a teaching perspective balancing the classroom structures of delivery of content.
  • Works well in having content work for us as a teacher.
Technology Pedagogical Knowledge – TPK
  • An IT Integrationist – knows their technology and can shape classroom structures in ped…
  • IT specialist without a subject content.
  • The role of a HOD to help people use tools to deliver the content.
  • Can work with teachers to shape the technology to the content.

Gallego Tech News | Smore

So, what does the TPACK area look like? Time to find out……

Session 1 – Building Trust While Addressing Teaching Problems – Viviane Robinson

Distinguished Professor Viviane Robinson is the Academic Director Of the University of Auckland – Centre for Educational Leadership

When leaders are creating change and pushing peoples boundaries, this is when difficult conversations begin. Getting people out of the comfort zones is where you meet resistance.

Determining Factors of Relational Trust – What is it that builds trust or the factors of trust?
Relational Trust –

1/ Interpersonal respect, 2/ Personal regard for others, 3/ Competence in role (or interestingly the ability to deal with incompetency), 4/ Personal integrity.

In education, personal relationships are very important. Trust is a huge determinate in the quality of teaching. Personal integrity is the one who walks the walk, talks with others and transparently makes decisions which engender respect despite the fact they may not be liked.

Consequences of relational trust
For teachers
  • Positive attitude to innovation and risk
  • More outreach to parents
  • Enhanced commitments

Open-To-Learn – moving from the “blame others section of the book shop to self help approach….

Describe the nature of the concern.

What has the person done or not done? Anything you have done to contribute to the situation?

Have you done something about it?

Yes? What have you done? Why did you use this approach?

What happened?

How effective was that approach?

Actions for the activity

  1. Form pairs – a leader and an actor.
  2. Leader briefs the actor on the BG to the scenario and how to play the other person.
  3. Record a four minute conversation
  4. Repeat steps 1-3 for the second person’s conversation.
  5. Listen to recordings and discuss using the reflection questions as a basis for discussion.
What do I notice about my conversation? – play back the recordings and listen to these points.
  • Did I disclose my primary concerns
  • What was the balance of talking and listen?
  • Did I listen? How did I show that?
  • What type of questions did I ask? Genuine or leading?
  • How did I respond to ideas that differed from my own?
Typical ways of dealing with tension in professional roles and positions.
  • Put your foot down and challenge/sacrifice the relationship.
  • The other is to sacrifice the task and maintain the relationship through pussy footing around.

The best way to have these conversations is to put both opinions on the table and acknowledge the perceptions and circumstances with that of the other persons point of view. These are not necessarily seen as the truth, but as a perspective which can then be discussed with respectfully with professional integrity.

The highly defensive and dismissive conversations are always about the leadership ability to provide evidence of concerns which are based on factual observations to address the concerns you have.

If you always speak from the heart/truth and with respect and a perceived common goal in mind, you will always be able to allow a professional relationship to be fostered. Never try to engineer or craft the conversation for a specific outcome, do it with the intention of finding out what is the dynamic which is causing the disparity.

Session 2 – Leadership Practices for Improvement in Student Learning

The Five dimensions of Student-Centred Leadership.

The highest effect size  comes from Leading Teacher Learning and Development (0.82) which is a pool of hundreds of dimensions. Others are Establishing Goals and Expectations (0.42), Resourcing Strategies (0.31), Ensuring Quality Teaching (0.42), Ensuring and orderly and safe environment (0.27).

Some key leadership capabilities are ;
  • integrating educational knowledge and practice.
  • Solving complex problems
  • Building relational trust

The biggest source of school-based variance in achievement is the quality of teaching.

Quality teaching maximises the time that learners are engaged with and successful in the learning of important outcomes.

What are the learning outcomes and why are they important at this time are key concepts to convey to students to understand the relevance of the lesson. How are these activities aligned to the intended outcomes for the student learning outcomes?

The Comparative Study

Today we are starting with our attempts at creating our own Comparative Study. After our visit yesterday to the HK Museum of Art we have selected some artworks to base this on. I found that my approach to this was firstly looking at ways which I could link the works which I saw in the space. One way I saw these was subject matter, media approaches, conceptual links, or other angle of the intuitive feel of how works may link or be compared. A key factor we discussed was that within this you should have seen at least one of the works in person, but it is not essential though.

Tong King Sum, Sketch 3: Lying. 1981, Teak

Tong King Sum, Sketch 3: Lying. 1981, Teak

Tong enjoys the human body and are the favourite themes of his works, characterised by a sleek form and texture in wood. His torso sculptures depict the structure of human body, the texture of bone, flesh and skin in refined and precise manner. Be it the human body or a plant, his works are permeated with the harmony of nature and beauty of form, which sprang from the artist’s subtle yet strong inner vitality.

Mak Hin Yeung said, “Tong turned all wooden blocks into vivid body torso’s.” Tempting Touch, The Art of Tong King Sum, p66

The other work at HKMOA which really stood out to me was in the Random Moments exhibition. The work by Tong Wing-sze, Inkman, 2009, Video.

Inkman, Tong Wing-Sze, 2009

Inkman, Tong Wing-Sze, 2009

I can see the contrast of the representation of the human form treatment through media, but both are a celebration of the human forms solidity. Interestingly, Ink is a traditionally 2D media which in Tong’s work is transformed through material process and manipulation into a 3D form which is then moved and framed into a 4D form. Conversely, the 2D sketches have been interpreted into a 3D sculpture and bought into life with muscular tensions and renditions mapping across skeletal forms. Both can be interpreted as monochromatic representations of the human form and celebrate the movement of the organic form.

My third form introduced would be Titian’s, Venus of Urbino (1538).  The one which would tie into mine would be the Ink man.

Venus of Urbino (1538)

Discussion following the thoughts about the Comparative Study (CS).

What is the currency of “seeing something, in person.” It is not essential or compulsory. Does something you saw when you are younger count?

A structure is incredibly valuable to assist students in gathering and seeing information against each other. Sue supplied a table which covers much of the detail including the cultural context, subjective responses, critical opinions, and some more factual content like dates, media, nationalities,etc…

Acknowledge the context of where the students are studying would be useful.

We discussed the links to other assessment which students are completing has to be considered in placing your internal due dates for assessment of components.  Most are looking to have the majority of the CS due by the end of the first year, and others are having it due after the commencement of the second year. Myself, I am asking for the majority to be done on the first 2 artists in-depth, and to work throughout the first semester of year 2 to map in the third artist and the relevance of the their work to the CS for submission at the end of the third semester of the course.

The Process Portfolio (PP) should be considered as one of the last components to come in with their exhibition component.

Some resources which would be useful to start with.

ThinkIB website – Art in Context

http://www.paintinganalysis.com

Martin share an interesting App – Grayson Perry

What about the Extended Essay (EE)

With a key component of research coming from the EE, this could inform the depth of the Comparative Study.

Ideas for introducing media and learning experiences.

Sue

ceramics forms – hollow and decorated using Buff Raku clay.

Produce a coil pot which incorporates a symbolic animal. The form has to change direction and it should be decorated in the style of the culture it relates to. The supporting documentation is a written response which outlines the connections to the culture studied and influenced by.

HK – construction and sculpture.

Looking at chairs which don’t have to be functional. The decoration  of the chair. It can be bought or found object. Using the chair as a framework to start with. Linking the chair conceptually as well as functionally creates some outstanding results. Encourages a conceptual approach to a functional object.

Nick

The use of photography techniques to encourage students to get off auto and layer multiple images into the single. Encourages the transpiration of time within the fixed frame of the photograph. The introduction of HDR and painting with light. Check out Nick’s website. Also, check out the Photomatix‘s website for an eduction licence for free.

Also the look at cross genre artworks like the link of still life and portraiture, landscape and portraiture, or combinations of these to break the boundaries.

Check out Pinterest and follow Lawrence McGrath.

CAS

Cross curricular links – Vik Muniz – The place can influence the artist and the materials. Manipulation of materials and the ready-made. Bricolage and materials. In the fine arts, bricolage (French for “tinkering”) is the construction or creation of a work from a diverse range of things that happen to be available, or a work created by such a process.

Helen – Elements courses 18 x 3 weeks (3 hrs per cycle)

Artistic expressing – produce a piece of work based on mapping, and about the Journey (location, routing, . The course is structured into three stages which are developmental. Can be individual or collaborative creation of materials.  Outcomes from components of maps, photographic journey’s, paper dresses, sculpture contouring, printed fabrics.

Ursala – line and colour.

Transition program from line into colour. Drawing the shadows of the form. Then working from the perspective that these shapes now have a variety of characters which could form outlines, transparent forms or overlapping qualities.

The special secret! Using a paper backing. with spray adhesive. The inkjet needs to be able to accept a patten gap as think as the fabric. The other way is to use a colour lazer print face down onto the receiving surface and highlight the area of the image to transfer with a ArtChart Blender pen followed by a clay tool to burnish the back.Myra Hendley, by Marcus Harvey

Steven – Drawing and painting

Fingerprint painting – Marcus Harvey Myra Hendley artwork out of finger prints. Using charcoal to transfer the heavy tonality of the work to the other media and to push media experimentation.

Spirit/ual art. A polystyrene ball covered in string. Moving from photographs into other forms which allow for the translation and abstraction from the original form. The encouragement to explore mediums and approaches is encouraged through this evolution.

Jon – “These are some things that worked for me!”

Using photographs of object as flash cards to begin as a starting point.

The use of a laser cutter to make stencils which can be used as a projection. Proverbs about money projected on the wall.

Another way to analyse artworks. Ask the question.

  • Real or Ideal
  • Identity and the community
  • Fate and Freewill

Get a local artist in for a workshop. This is highly valuable for their CS and also their understanding of the intentions and influences. Art projects which are built-in to the school. Repurposing something which is in their mainstream and change it culturally. The all white rickshaw. Find him on Facebook and like. 

The Last Session

Follow up questions. 

As part of the Comparative Study artists, the artwork which is produced by the student as part of this component, can the student create more work based on this artist?

Yes. So long as the first artwork is not submitted for the exhibition. Three artworks studied, from a minimum of 2 artists. Any work following this can be moved to the exhibition. The artwork is assessed in the criteria as making connection to own artwork (HL). An artwork must be selected as showing their own development and connection the study (3-5 screens). The process work can not be included in the PP. It can be seen as the artworks which are not completely resolved or essential to the exhibition yet are informed by the development.

Feedback to the examination will come after we have had the conference.

Thanks Sue for your time. Thank you also to all those who have offered and added opinions, experience and insights.

Nick

I would usually use this blog for PD notes but this time I think it nice to share my photos from my Out and About Series here in Hong Kong.  These are all shot on a Canon 7D with a 50 mm fixed focal length lens. Most are shot with a narrow depth of field as this is a challenge I am setting myself recently. Please, give me photo credit if you use these images and send me a link to their use. Enjoy!

Gustave Courbet self-portrait, “The Desperate Man” (c. 1843–1845)

SO, Day 2, is this how you feel? I think possibly some may have that clarity that they sort, but other have found more questions that have arisen through more awareness of the details of the Comparative Analysis component.  One of those questions is “who is the audience for this study and who should they be writing to?”

Today we look at the Process Portfolio and the Exhibition component, which inevitably will be bringing up questions of its own.

Process Portfolio

External Assessment:

 Weighting: 40% Students at SL and HL submit carefully selected materials which demonstrate their experimentation, exploration, manipulation and refinement of a variety of visual arts activities during the two-year course.

Student have to focus on the following points.

  • The emphasis on the PP is on the making of art.
  • Show focused, developmental, observational, skills-based, reflective, imaginative and creative experiments which have led to refined outcomes.
  • The work, which may be extracted from the visual arts journal and other sketch books, notebooks, folios and so on, should have led to the creation of both resolved and unresolved works.
  • Note that resolved works are allowed to appear in the PP, but not the same ones that are in the exhibition.
  • The PP encourages students to carry out sustained exploration and experimentation in a variety of media. Successful failures are fine: there is no need to resolve all experiments.

What are we looking for in the Process Portfolio (PP) 40%

Every image used within the process portfolio must be appropriately referenced to acknowledge the title, artist, date and the source (if is a culturally obscure image is more so required) , following the protocol of the referencing style chosen by the school. Students must ensure their own original work is identified and acknowledged in the same way to ensure examiners are clear about the origins of the materials. When the student is aware that another person’s work, ideas or images have influenced their conceptual or developmental work but it has not been referred to directly in their work, the source must be included as a bibliography reference within the submitted portfolio screens. The submitted screens must not include any resolved works submitted for part 3: exhibition assessment task.

Examining the Criteria.

The final works should not be appearing in the PP. Firstly this would be wasting your screens where these should be appearing in the Exhibition.

The Criteria 

A Skills, techniques and processes sustained experimentation and manipulation of a range of skills, techniques and processes, showing the ability to select and use materials appropriate to their intentions?

Highest level of the criteria would be: assured and sustained experimentation and manipulation of a range of skills, techniques and processes, and a highly appropriate selection of materials, consistent with intentions.

  • Material use which is related and poignant to the development of the artwork.
  • The demonstration of “sustained” is necessary for the highest level. It is evidenced in the works development through experimentation, or developed through a number of artworks.
  • The same use of the visual language explored in the materials.
  • Resilience and continuous exploration of the ideas, materials.
  • A variety of media been explored
  • Growth in the media been used which is selected over time.
  • Shows a elements of student ownership and independence from the teacher directed.
  • As a value of 12, this is biased to the assessment objective.

B Critical investigation

critical investigation of artists, artworks and artistic genres, communicating the student’s growing awareness of how this investigation influences and impacts upon their own developing art-making practices and intentions?

Highest level of the criteria would be: in-depth critical investigation, clearly communicating a secure and insightful awareness of how this investigation has impacted upon the student’s own developing practices and intentions.

  • Influences to intentions
  • Originality of artists shows breadth of the awareness
  • A documentation of the journey
  • Criteria A is the umbrella for the whole process portfolio, B is the how of the artists and relationship to them.
  • The links to current events possibly
  • Commitment to an idea
  • Validating the effect of these influences on their development.
  • Greater depth of the Criteria A elements.
  • A strong sense of integration of this content.
  • Documentation of the change and effect which has impacted their work.
  • No man is an island” – show connections to the world around them.
  • Connection to the artists and their use of the media.

C Communication of ideas and intentions

the ability to clearly articulate how their initial ideas and intentions have been formed and developed and how they have assimilated technical skills, chosen media and ideas to develop their work further?

Highest level of the criteria would be: clearly articulates how initial ideas and intentions have been formed and developed. The work effectively communicates how technical skills, media and ideas have been assimilated to develop the work further.

  • a variety of communication and exploration skills
  • documentation of the ideas and applications skills
  • developed personalised assimilated skills which build on ideas in the work
  • concise  documentation

D Reviewing, refining and reflecting

the ability to review and refine selected ideas, skills, processes and techniques, and to reflect on the acquisition of skills and their development as a visual artist?

Highest level of the criteria would be: highly effective and consistent process of reviewing and refining ideas, skills, processes and techniques. The work presents a meaningful and assured reflection upon the acquisition of skills and analysis of the student’s development as an artist.

  • ensuring they use examples and exploration.
  • written notes and the use of annotation
  • language to demonstrate consistency with application
  • extension of reflection back to the work
  • evidence of the product of refinement

We looked at Criteria E

Presentation and subject-specific language ensure that information is conveyed clearly and coherently in a visually appropriate and legible manner, supported by the consistent use of appropriate subject-specific language?

Highest level of the criteria would be: clearly and coherently conveys information which results in visually appropriate, legible and engaging work. Subject-specific language is used accurately and appropriately throughout.

  • Maintain a balance between written text and Visuals
  • Correct spelling
  • Presentation of materials and layout of slides
  • Aesthetically pleasing structures, don’t overcrowd.
  • Appropriate terminology for the techniques and materials discussed.
  • Appropriate length of slides for the HL (13-25) or SL (9-18)
  • Legibility of text on slides
  • Consistency of the presentation from beginning to end.

In summary, we can see that this format will be much more authentic use of the students work that will sample the students Journal work and the traditional use of the visual exploration on paper, screen shots from their digital work, and extra ‘floor work’ that was originally used. The work for this PP will be a selection of pages (either sections and whole pages) to demonstrate this evidence.

Overall, examiners are looking for;

  • Sustained selection, experimentation and manipulation of a variety of media and techniques appropriate to stated intentions.
  • Sustained practice that has been informed by critical investigation of artists and evidence of how these have influenced practice.
  • How initial ideas have been formed and how connections have been made between skills, chosen media and ideas.
  • How ideas, skills, processes and technique are reviewed and refined.
  • Clearly and coherently presented pages with good use of art language.

Other discussion, does the new Guide (2016) allow for the use of audio in the work at any stage, including the links to the Process Portfolio and the embedded video links. Where does equity for other schools who don’t have the facilities to create ‘visually strong and technically rich” process works. Internet connection speeds and download upload students. 

The reality is that the third column below highlights the needs for the use of audio in visual moving forms now. 

Snip20150308_3

The Exhibition

Internal Assessment: Exhibition Weighting: 40%

Students submit for assessment a selection of resolved artworks for their Exhibition: SL (4-7) HL (8-11) that show evidence of;

  • their technical accomplishment.
  • a statement of 500 characters per artwork which discusses elements of each artwork.
  • an understanding of the use of materials, ideas and practices appropriate to visual communication.
  •  a curatorial rationale: SL 400 words HL 700 words which explains any challenges, triumphs, innovations, or issues that have impacted upon the selection and presentation of the art works. The rationale should also demonstrate an awareness of the decision-making process/criteria for the selection of this cohesive body of work.

Students will select a sample of resolved work and reflect on what makes these effective pieces for exhibition, particularly in response to their own clearly stated intentions and the messages they wanted to communicate about their artwork. The curriculum interpretation and structure should be flexible enough to ensure that students can create and display a range of artworks. An integral part of this experience is the process of self-reflection and an awareness of how viewers can engage with artwork in different kinds of exhibition contexts and venues.

Students can submit 2 photographs of the exhibition (not assessed.)

Curatorial practice

Teachers must ensure that students at SL and HL have experience of selecting and presenting resolved works for exhibition, explaining the ways in which the works are connected and discussing how artistic judgments impact the overall presentation.

The submitted works must not include any resolved works submitted for the exhibition assessment task. Page 45 Any resolved works submitted as part of the PP cannot be resubmitted in the Exhibition. Preliminary work as studies for resolved work in the exhibition is of course encouraged in the PP.

The Criteria

A – Coherent body of works

To what extent does the submitted work communicate a coherent collection of works which fulfil stated artistic intentions and communicate clear thematic or stylistic relationships across individual pieces?

Highest level of the criteria would be: The work selected for assessment demonstrates that the student fully considers their stated intentions in the effective selection and application of media, processes and techniques. The body of effectively resolved and refined works displays sensitivity to materials.

  • has each piece equal value.
  • a balanced approach to the overall exhibition.
  • the idea of coherent is backed up by a sequenced and logical development of work.
  • has made connection in the rationale to support the inclusion in the exhibition.
  • The work shows a relationship to the selected artworks media use, process and techniques.

B – Technical competence

To what extent does the submitted work demonstrate: effective application and manipulation of media and materials and effective application and manipulation of the formal qualities?

Highest level of the criteria would be: The work selected for assessment displays effective application, manipulation and refinement of skills to reach an assured level of technical competence with the selected materials in the chosen media.

  • refined and resolved works are evident in the quality of work
  • the uses of media is understood in its application
  • technical competence is refined throughout the work.
  • this is a body of work
  • does the work stand up on its own technically
  • is it appropriate use of media for the works idea?

C – Conceptual qualities

To what extent does the submitted work demonstrate effective resolution of imagery, signs and symbols to realise the function, meaning and purpose of the art works, as appropriate to stated intentions?

Highest level of the criteria would be: The work selected for assessment visually elaborates ideas, themes or concepts to a sophisticated point of effective realisation with consistency across the body of work. There is evidence of the subtle use of complex imagery, signs and symbols that afford effective communication of stated artistic intentions.

  • ability to convey and communicate the personal ideas, concepts and evidence to support this.
  • the rationale and awareness of the works layers of interpretation
  • evidence is supported through the use of text references to the work

We discussed in our group;

D – Curatorial practice (SL only)

To what extent does the curatorial rationale justify the selection, arrangement and exhibition of a group of artworks within a designated space?

Highest level of the criteria would be: The curatorial rationale fully justifies the selection of the exhibited works, which are presented and arranged clearly, as appropriate to the student’s stated intentions in the space made available to the student.

  • Should be concise and clearly communicate the intention of the exhibition.
  • Utilises the exhibition text to leverage the depth of the rationale.
  • Could / possibly have an overarching philosophy or idea which binds the work.
  • The arrangements and placement of works (as a sequence or stand alone) in the exhibition should be acknowledged and discussed.
  • The student acknowledges the role that the space/arrangement has on the work and the journey that the audience takes through their exhibition. Could be linear, thematic, media, or stylistic.

D – Curatorial practice (HL only)

To what extent does the curatorial rationale demonstrate the justification of the selection, arrangement and exhibition of a group of artworks within a designated space and reflection on how the exhibition conveys an understanding of the relationship between the artworks and the viewer?

Highest level of the criteria would be: The curatorial rationale concisely justifies the selection of the exhibited works, which are presented and arranged clearly, as appropriate to the student’s stated intentions. The student provides an appropriate and clearly justified reflection on how they attempted to establish a relationship between the artworks and the viewer within the space made available to the student.

  • Should be concise and clearly communicate the intention of the exhibition.
  • Utilises the exhibition text to leverage the depth of the rationale.
  • Could possibly have an overarching philosophy or idea which binds the work.
  • The arrangements and placement of works (as a sequence or stand alone) in the exhibition are acknowledged.
  • The student acknowledges the role that the space/arrangement has on the work and the journey that the audience takes through their exhibition.

AND

  • The rationale identifies the connections between the work as individuals as well as what it adds to the overall exhibition meaning / context  / impact.
  • Acknowledges that the audiences have a relationship and a dialogue with the artwork and the links between them.
  • The presentation of artworks contributes to the audiences ability to interpret and understand the intentions and meanings within the artworks exhibited.

In summary;

It is important that as a teacher producing a grade, you mark from the evidence which you are providing to the examiner. Use the artworks, pages, statements and materials supplied to the examiner.

Any images, texts, artworks or references to other people’s work are clearly acknowledged and referenced in the statement. Make it clear that this is a deliberate appropriation or pastiche of the nominated work and the value which that adds.

Organisation and collection of information

Sue suggested that the use of key words for their statements and a format which allows students to document the required components is very useful. An Excel sheet which has descriptions of what is required for students to complete the various components. This could be broken into different sheets which outline the details of each component for the students to complete; title, size, media, date, statement, etc.. One for the artwork details is particularly useful.

AFTER LUNCH!

Working on exemplars for the application of the criteria. This will be interesting!

SL Process Portfolio – Student A

Notes on the marking;

A- 6, B – 4, C – 4, D – 4, E – 2

The fragmentation of the ideas made it difficult to track if the ideas were fragmented or the work was incomplete. It contained a linear development but not exploring the media. Drawing with pen was strong, but the pencil and paint was lower standard. Annotations were very literal in some areas, yet in others this was helpful for understanding the intention. All 2D forms

SL Exhibition – Student A

Notes on the marking;

A – 3/4, B – 3,  C – 3, D – 1

They don’t need to use more than one media in exhibition, this student has painting in oil and ink . Justification in the rationale is very fragmented and the concepts are not supported in the artworks in a consistent way.

SL Comparative Study – Student A – 

Notes on the marking;

A -3 , B -3 ,  C -3 , D -3 , E -2

  • Density of information is low
  • not synthesised
  • text and background is competing
  • Historical study, rather than the comparative analysis. Page 7 before any analysis is made.

What did we learn from our marking-

  • clear documentation of student works is vital.
  • the overall exhibition image is important to see the relationship of artworks.
  • frameworks are important.
  • guide the students to concise and easy to follow information.
  • consider the space of a screen as important real estate.
  • a comparison is a comparison, not a segmented/blocked effort.

The Gallery visit- 

Find two works to compare and the third artist is one we choose from outside of the gallery space.

Below are images from the visit.

HKPD_Out_and_About075 HKPD_Out_and_About068 HKPD_Out_and_About074 HKPD_Out_and_About073 HKPD_Out_and_About072 HKPD_Out_and_About070 HKPD_Out_and_About069 HKPD_Out_and_About077 HKPD_Out_and_About076

“If it’s not Baroque, don’t fix it.”

The parallels with the old structures have been broken and the links to an extended written component have impacted on the classroom practice and planning approach. A great teacher driven approach to the development of skills in more than one expressive form has informed the structures of teachers first and second semester. Gently, gently is the approach to independent practice for students. Setting assignments for written comparative analysis.

The use of teacher driven approaches will obviously assist in the production of skills based work in the development of conceptual approaches in the second year.

IMG_2353

Excitement – What are we loving

  • Research driven component
  • Formalised
  • more teacher support
  • audience component of the exhibition / curatorial component
  • process portfolio ids a little more authentic
  • flexibility of screens
  • internal assessment of Studio work
  • assessment objectives are so much clearer./ specific
  • clearer and more supportive for the teachers.

Worrisome – 

  • the inconsistency
  • constructed Journals
  • teacher workloads
  • EAL students incapacity to handle language requirements
  • no exemplars
  • 40% assessment weighting on the Studio component.
  • teacher input/guidance will have a huge impact of the success of the student

Needs to know

  • Upload reliability
  • What can you actually do which is allowed?
  • The interview has gone.
  • Teacher input/ workload for students.

Suggestions for moving forward.

  • What about the interview?
  • Skritch App for annotating pages. or uPAD is similar.
  • Landscape format for pages may help.
  • Sign posting changes for students direction changes as an ongoing practice.

APPS

  • Suggested App for EE. –  EasyBib App. Scans and creates bibliography.
  • Zotero App plug-in for citations
  • A great app is CamScanner. Prepares and adjusts for you to email to teacher.

Core Areas

  1. Visual Communication
  2. Visual Art Methods
  3. Visual Arts in Context.

Theoretical, art-making, and curatorial practice. for the interlocking components which cross across the domains of the core areas.

Artmaking forms 

2- and 3-D and light and lens based media. (Fashion artworks must stitch their own work) It appears there is a focus on the Authorship of the work. SL will make for 2 columns, and HL will be at least 3 columns. The use of the first year gains significance in the covering of this areas.

Is the IWB is GONE? We no, but is can be used as a document to develop sequential documentation.

Notes from Powerpoint – “• the development of art-making skills and techniques • experiments with media and technologies • personal reflections • their responses to first-hand observations • creative ideas for exploration and development • their evaluations of art practices and art-making experiences • their responses to diverse stimuli and to artists and their works • detailed evaluations and critical analysis • records of valued feedback received • challenges they have faced and their achievements.”

Janet Echelmann TED Talk

Follow on Twitter – https://twitter.com/JanetEchelman

A great example of a process journal (not this approach for IB Art though as it needs to be in screens) and the development of signposted material development, intentions, and successes. Good documentation as it also brings in the audience interaction with the Concepts are identified and documented and presented.

What is great about this artists T.O.K. links about the appreciation of art. Imagination and the links to the real world. Taking scientific data and converting it to science.

Another Artist who is building great art process.

https://www.ted.com/speakers/shea_hembrey

Shea’s website.

How I became 100 artists.  The Perfect Biennial. The criteria for artists he created. (Our own little Joseph Beuys)

  • Has to be explainable in 5 minutes.
  • The three H’s (Head, Heart, and Hand.)

Two years of Studio work. All created by him. Video, land art, installation, sculpture, environmental art, painting, etc….

What is it that stands out to you about this person! Quiet interesting in general. What is he saying about the art world?  What is Art in general? The fact that he created the work himself and used others persona to represent it. What would the artist create next and why?

Sideline – possibility to map this to another year level as an activity about considering the Art Making Practice of an imaginary artist. A worksheet which outlines the intentions, Influences, heritage, and materials and techniques. Finish the activity with an illustration of their most famous piece.

Comparative Analysis

Students analyse and compare different artworks by different artists.

Snip20150307_1

SL: Compare at least 3 different artworks, by at least 2 different artists, with commentary over 10- 15 screens.

HL: As SL plus a reflection on the extent to which their work and practices have been influenced by any of the art/artists examined (3-5 additional screens).

Analyses and compare at least 3 artworks by at least 2 different artists from different times, places or cultural contexts.

  • Produce a personal and critically reflective analysis with consideration of the role of the artist, artwork and audiences and the interaction of the areas.
  • It is not an essay. It should be balance of visual and written content, with acknowledged sources and effective use of art language.
  • Assessed on-screen so work must be clear, legible and correctly orientated.
  • Teachers should read and give advice to students on one draft of the comparative study, but should not edit the draft. The next version handed to the teacher must be the final version for submission.

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In my group we looked at Criteria D – Making Comparisons and Connections 

Making comparisons and connections – effective identification and critical analysis of the connections, similarities and differences between the selected artworks, objects and artefacts.

Highest level of the criteria – critically analyses the connections, similarities and differences between the selected pieces. These connections are logical and coherent, showing a thorough understanding of how the pieces compare.

We believed that the use of artworks selection process is key to building the value of this section. If you chose artworks that feed into one another such as appropriated works such as Titian’s Olympia, Manet, and a contemporary version of Yasumasa Morimura this which is a post modern interpretation of this. Conversely, the

This criteria looks at the response as a holistically and demonstrates informed and logical evidence based opinions which show some insight beyond surface interpretation which demonstrates an understanding of the artwork across a period. An understanding of how the time period is different relative to the other artworks. The comparison of the formal qualities. It has a connection to formal qualities which build across the work and acknowledges the connection which these works have in the work. When looking at the connections it would also acknowledge that art functions change over time and the response would acknowledge the works place in this and the role that art has within its cultural context. The material manipulation or use can be a significant component but, not dominating the responses.

A great resource for students to see this comparison across time would be How Art Made the World.

E Criteria – Presentation and subject specific languages 

Visual qualities are assessed here. Legibility and visual communication is assessed here. Layout and presentation is important and terminology is essential. The structure of purposeful ideas. Formal qualities

Criteria F – HL OnlyMaking connection to own art making practice.

The selection of artists here shows a strong connection to their own art making, and extended, appropriate investigation relevant to their insights of their work. Stylistic links, past and present development of work, experimentation of media The student should be considering their own development in meaning, making skills, and material use.  An idea could be to connect prior art making in studio to the selection of their artworks. They need to be selection artists across the skills based classes/workshops that we run in the first year to build connections to their own work.

A starting point for you.

www.paintinganalysis.com

WWW.Voicethread.com also is a great way for students to look at a drafting to this and a way to use this at a class level. Visual doodling is a great addition. Here is a example.  Would love to hear what people think about this.

How do you do this?

The work that is included in the

Is it a block of time or is it an exam, connected to a museum visit, teacher driven lecture style structures, interview?

If no previous experience is needed in the Stage 6 Visual Arts course, how do we get students to respond at the appropriate level. What assumptions can we make about prior experiences?

These are the skills which we recognise as having a basis for the responses that are required;

  • Experience of comparing art and artists from different time and places.
  • Formally analyse art; understand, differentiate and draw conclusions.
  • Understand context: build vocabulary around themes of identity, culture, belief systems, symbolism, taboo and recognising one’s own visual culture.
  • Know what function and purpose means in regards to a work of art.
  • Be able to ask the right questions.
  • A solid grounding in the vocabulary or art and art criticism.

From this understanding we should be looking at the scaffolds.

Ideas one: A task 

Mini comparative study focusing on two artworks from 2 different cultures which explored a theme. These are about helping the structures to be in place for the next piece. This could be placed in the middle of the first year. A foundation component also as a written foundation skill. Pulling out two artists from their work.

Idea two: Assignment

Present requirements and benchmarks and deadlines at different points throughout the year.

Idea three: Post-Museum Visit

Some independent work following the selection of some artists and artworks from the visit and respond to these works abiding to the criteria.

Idea four: Prepare, respond, develop, and present.

Have students work on components throughout the year and respond to the specific areas which are required. Supply frameworks which can be then developed and compiled at the end ready for a combined product. This can inform the journal work and the longitudinal approach to the research rather than a ‘flash in the pan’ assessment task. This could form the structure of a formalised assessment task such as in GCSE and the external set assessment task. A block of formalised time which can be used to finalise the research and assessment which has been done earlier.

End of Day 1.

Well it has been a while since I posted a entry about PD so I thought I would get on the wagon again and despite the masses of PD I have completed in the span since my last post, this is the stuff that excites me.Image

We have started a Teacher Inquiry Group (TIG) in my department which is poking into the structures, workflow and benefits of Aurasma in the Art exhibition/general exhibition format. We have had a couple of meetings and in that time I have become increasingly excited about the outcome of this investigation. The students have come on board and we have built into the programming for the nuts ahead the requirement for students to complete a “aura” as part of the exhibition submission. They, themselves, are excited. Much of the response about the process is that it is just a glorified QR code which has the ability to read a real picture as a trigger anther than some obtuse black and white graphic which is illegible to anyone except the device you are using. 

In the context of our TIG we are building on a already excellent exhibition experience and much of the content can be or is already digitised for upload to Aurasma Studio, the desktop web based version of the app. The App is cross platform on the Apple and Android operating systems so it can easily be covering most visitors to the student exhibition. What begins to really excite me as a art and digital media teacher is the use of other peoples devices to build more into the art exhibition experience without having to have random black and white boxes slabbed all over the gallery experience. The audience just points their phone/ipad/iphone/etc at the artwork and this triggers a artist statement or a insight of some sort to the artist. I really like the fact that it could also be in another language for the multilingual amongst us. 

Here is a quick An Introduction to the Aurasma App

We hope to build many new option for the experience of the through the use of the new augmented Reality option. These include the extension of the banners to have overlays when triggers are attached to them. The invitation to act as a trigger for a slideshow and video advert for the exhibition. The perpetuation of the student works into the school magazine by inclusion of aura triggers on the pages, the potential for the student videos to be seen in the corridors by parents with their phones so we don’t have to worry about showing them on TV’s or digital tablets, etc.

Aurasma help has been really quick to respond to our questions which is really reassuring as it is pretty much new territory for us and to know they are supporting new ventures is a solace. 

In the first discussion about the interest in the AR process of the TIG we looked at the benefits of what the TIG was and what it would offer to us as a department to use it professional structure in our planning. We used the SOAR model to map out our thoughts.

SOAR

Strength

What are your greats assets? – human and physical resources.

  • Comfort with group dynamics already as we have run for a few years as a group.
  • The exhibition of content will happen anyway, but this is opportunity to use TIG time.
  • The tools are primarily visual and lend themselves to the display on information in a new way.
  • Our department has a digital strength and familiarity.
  • Many students have to documents process so they are already developing.
  • Time based formats are used on individual devices.
  • Kids are working with mobile device
  • Strong knowledge of content through a contemporary delivery model.
  • Initiative within the school as a laptop/wifi system
  • Timely for the school direction.
  • Expanding the nature of students work.

Opportunities

What can you improve? Think about innovation

  • Deliver of the exhibition experience
  • Understanding of design cycle in art
  • Opportunities that students can develop as a result of the process.
  • Student driven content development
  • Displays online content
  • Links to bigger knowledge base
  • Students have to document practice and present this as a virtual Visual Arts Process Diary (VAPD).
  • Opens up this to Elementary School (ES) students.
  • Gives students a voice about their art perhaps through video captured on their device.
  • Parents and students have mobile devices already. They can work for us.

 Aspirations

What is your preferred outcome/future? Think big picture?

  • Students develop artworks/displays which have presentation in mind that uses virtual layers.
  • Students document arts practice and present this as a virtual VAPD. Opens up this dimension to ES students.
  • We see opportunities in content deliver where we haven’t looked before through the SMAR model.
  • AIS Visual Arts are a global leader (or at minimum best practice) in innovative display and communication and community engagement of student works.
  • Research of methodology develops a first hand understanding on contemporary exhibition models.
  • Department practice influences school approach to display and student lead conferences
  • Student devices are used much better in developing visually stimulating present of their work

Results

How will we know it when we see it? Think measurable results?

  • Comfort with engagement in the new display systems so Teaching Assistants (TA’s) and students know how to use it and make informed choices about most appropriate location for resources.
  • Student’s engagement with process and devices and content is authentic and knowledge becomes a vehicle for devices.
  • AR models become common practice in the school and wider community
  • Aurasma channel is populated with student content
  • SMAR Model is familiar to staff and higher end choices are made naturally.
  • Reframes where Art sits in the curriculum and the importance and opportunity it provides for value adding.

What we discovered through this was a bit of big sky thinking was needed as we where going somewhere we haven’t been so could imagine the best possible situation.

Ideas and applications

  • Invitations have an embedded video attached to the logo or act as a link to phot gallery online after showing a video.
  • Books and in the school magazine have videos still active for video content.
  • Video component of the Secondary exhibition is actually driven by still frames.
  • Artworks can have slide shows embedded if you want to see more work from this student.
  • Second level applications after the single tap of the Aura. – Google Doc’s links after a demo.
  • Art banners in the school can have larger images attached.
  • Student videos in the corridor after exhibition by including a still frame trigger.
  • Artist choice award through Google forms or Survey Monkey on second click applications.
  • Extension dimension of virtual images into 2-d artwork. Aspect of the work can venture, grow, and extend outside of the frame.
  • Artist statements of their work when a mobile device is pointed at their name tag or the 

 Here are some more resources we found quickly on the subject mater which we will use with the students to inspire, educate and lead the process.

http://www.youtube.com/watch?v=uHIxYpBW7sc

Great resources

http://thrasymakos.wordpress.com/?s=aurasma

 Well, I might leave it at that. Plenty more to do.

 

 

 

PD Morning for Coaching ICT

Posted: August 6, 2011 in PLN


Today we are having a talk from our new ICT and Learning Coach at the school. Her name is Adrienne Michette and she has started with us three weeks ago. She has a background in IB MYP and is providing support to staff, students, and works within the school environment. She is a idea generator, developing creative ways for embedding tools, and stays in touch with emerging tools and technologies. The most effective use of these is a key component in the success of her position. All feedback from staff who have been involved with her so far have had terriffic things to say about her support. Helping staff to utilise tools for lessons and adapting structures already in place to draw on new tools.
Now that all our students have laptops it is not nesseccarily about the technology, but more about how we move forward with the tools we have at our disposal. We need to move forward.
We are now watching the Did You Know 2.0 video again. But this is it’s fourth version and it is now two years out of date already. Thoughts are coming from the discussion following this have been; teachers as managers, the information filter of Google (TEDTALK), online safety for teachers and students, the digital culture will transform the culture of information delivery as the new generation expects the information to be delivered in a certain way.