So I have been working on this for about a month. I should have a video of the painting process uploaded shortly.

daveski writes “Education community needs a safe “youtube” portal” over at the Google Apps Education Forum:

Many schools block youtube.com, including my school.  While there are many terrific educational videos on youtube, many are inappropriate for education.  What we need is a secure portal into an educational version of youtube, call it “youtubeforschool.com”.

1. Create a team of teachers that are willing to preview videos submitted to them for placement into “youtubeforschool.com”.
2. Video viewers on youtube.com can click on a link recommending the video for placement into “youtubeforschool.com”.
3. Schools can allow access to “youtubeforschool.com” while maintaining security for youtube.com.

Objective: Students will work in groups to create a two minute film collage that creates a “mood” or “emotion” in their audience using HDV Cameras, Adobe Premiere, and sound.

Example Moods:

• Anxiety
• Fear
• Paranoia
• Loneliness
• Isolation

Requirements

• Students will work in groups of 3 (Some exceptions)
• Films are 2 minutes long in length
• Moods will be assigned randomly
• Films consist of three shots (2 Cuts)
• Each shot will be part of a different “story” or “setup” that works to support the assigned “Mood”
• No dialogue will be included in any scene!

Exhibition: October 29th 2009

Delivarables:

• Sensory Sheet Exercise
• Film Planning Worksheet
• Two Minute Film

Assessment:

• Film Checklist (Includes all items required)
• Audience Survey
• Peer Assessment
• Self Assessment

Links:

• Bill Viola’s “Sweet Light” (1977)
• “The Sweetness of Sweet Light” (2009) - A Documentary that discusses the importance of Viola’s work on “Sweet Light”

Click here to see Ian Pike’s “Normal Heights Through the Blue and White” at sdreader.com

Chair Painting from the digital painting class at the HTH Summer Academy I taught at

I drew this on the back of a plate during the span of a crazy strange short story thing called dime stories in Northpark. Ian read. I drew in the back. It was pretty awesome actually.

New HP Elitebook I got for my new school computer. It has pressure sensitive tablet screen! (I am kind of in love.) Its for an HP Grant my school is involved in. Apparently I may save the environment with my amazing abilities to rangle young people into artistic experiences. I don’t know how I am supposed to do this… But I will…

And the most exciting thing of all:

Page 1 Panel 1 - Headcomics Presents: “This is Where Things Start to get Weird” By Ian Pike and Patrick Yurick

What Came First: The Art or The Artist?

As I read Peter London’s “Drawing Closer to Nature” today I pondered this question. Specifically London’s chapter was dealing with the idea of winning in art. The chapter was titled “There is no Winning in Art”. My favorite part was a reference to James Carse by London:

“Art is an infinite game inviting continuing engagement. [Carse] tells us that a finite game is played for the purpose of winning, whereas an infinite game is for the purpose of continuing the play.”

So what came first: The Art or the Artist? I couldn’t help but think about this as I read the chapter. (I even came up with the question) I systematically looked back through my own interactions with others who identify themselves as artists and tried to think about how they would have answered the question. There was about a fifty-fifty divide.

There are those artists in the world that believe, and rightfully so, that art is dictated by it’s interaction with the human mind. How would art exist if it was not recognized by somebody? This is such an interesting take on the idea of art because it places the human mind as the recognizer – as the creator and the definer. This is an enormously powerful role for any person to find themselves in. This kind of thinking correlates very nicely with the modern take on religion. In that I mean that the vast majority of modern religion tends to put itself and its believers at the forefront as the definers of what is “holy”. This is much like the artist who makes the art. Man creates religion, man creates art – the artist came (and comes) first.

And there are those who would answer, also rightfully so, that art is everything – that art is everywhere. Art is dictated by existence. Art is existence and therefore everything that exists is art. This is an extremely powerful viewpoint in itself because it allows the artist to be anybody or anything. Answering that the art came first almost assuredly dictates that “Art is” and it would be whether we were here to appreciate it or not. A tree that falls in the forest with no one to see it falls gracefully and as it does creates sounds and dances in its final descent – and this is art. A baby whale’s birth is art. A man tripping on the sidewalk in New York city on a gloomy afternoon – is art. On and on. This kind of thinking correlates very nicely with the idealistic approach to spirituality and religion, one where the creation of all things is ineffably holy and man just happens to be here as its witness.

As I pondered all of this I could not help but think that there is something that inevitably gets lost when attempting to answer the question either way – you stop creating in the moment to start defining the illusory past. I cannot answer the question without asking myself – what kind of artist am I? Do I believe I am the center of the universe – the almighty creator of painted universes. Am I the humble human who’s existence is insignificant and I am just lucky to witness the creations around me?

My answer – I am neither and I am both. This is the ultimate contradiction – and here is how I can explain it. In the end of the Matrix (the first one not the crappy sequels.) Neo dies and is resurrected. Some have compared this to Christianity’s resurrection of Christ and some have compared this to part of the Buddhist’s concept of “to die before you die”. I am sure there are many others. None of them I am too concerned with – what captivates me is what occurs to Neo as he wakes up after dying. Neo sees the world [the Matrix] as it truly is. He rises up and sees everything as numbers and computer code. Because of his new sight he is able to stop bullets and even jump into existing code and alter/rewrite it.

This scene is the definition of what art is to me. We are both answers to the the question of whether the artist or the art came first – we are the creators and that which has been created. We are the artists and the art. We create ourselves while being created. I once described this to students in comparison to the act of painting. When we paint we are creating – yet the act of painting and seeing it instantly creates the painting within our minds. Essentially we are rewriting the code. It is not to say that the paint in the jar and the blank canvas was not art – it was, but it was art that had not changed us yet. It unused items do always have that potential and are able to do so at any time. If something never utilizes its potential to change the human mind it does not become less powerful as an artistic artifact – it just is a powerful artistic artifact that has not changed a human mind.

When we paint however we are actively engaging with a loop of being the creator while simultaneously being created by the action. The artist is the art itself and is also nothing special, while being completely awesome.

Confused?

Basically everything is just code that is completely significant, but also common place. We are both the artist and the art – and in that comes the responsibility of constantly moving back and forth towards understanding and practicing.

“Practice. Learn. Forget.” Morihei Ueshiba

Education for the 21st century: Creating a Hybrid Learning Community by Phil Wagner and Patrick Yurick is licensed under a Creative Commons Attribution 3.0 United States License.
Based on a work at www.headgraphics.net.

What might a 21st-century community look in which students direct their own education? In this world, the following scenario could take place: a student, engrossed in his favorite video game, puts down his gaming console and decides that he has an innovative idea for a new game of his own.  From the convenience of his home computer he signs on to his profile at his school website and posts a bulletin within the “projects” section of the school’s online network.  His bulletin states the reasons why his video game idea is innovative and what kind of people he needs to help him bring his idea to fruition. After a few hours, seven other students have shown an interest in his idea and want to join him in the endeavor. The intended critical mass of interested parties having been reached, they must now seek out the relevant information and processes to make the project happen.

The group is assigned a teacher/mentor that will aid them in facilitating the achievement of their goal. A meeting time is set and the interested parties meet up in a conference room located at the online school’s Hub complex. The High Tech High Online Hub Complex is a state of the art building that acts as a meeting ground for the physical aspects of project based learning. In some rooms there are students working on massive science projects while in other rooms students are studying the fine arts related to current cultural topics. The video game designing student has contacted fellow classmates in the carpool list, but due to no one traveling to the Hub at the time so he has had to travel via public transit.

With notes scribbled on whiteboards and paper, the student’s initial idea is fleshed out. It is determined that computer programming, graphic design, and physics are crucial aspects of the forthcoming project and, while the students have some experience in graphic design, their first challenge is that they lack the requisite programming skills. The group decides to sign up for a programming session where other groups are learning the tools necessary to write video game code. A student with a strong interest in the visual aspect of the project works with a student from another group to walk through an online tutorial in game graphic design. The project continues with the mentor acting as consultant, ensuring that the students are not getting overwhelmed and are finding the resources they need.  When the video game is completed, the students reflect with the mentor on what was the most difficult part of the project. It may be determined that the project would have gone much more smoothly if a tutorial on some particular facet of the process had been made available to them. This would have saved some time on trial and error and unnecessary difficulties. The group works to publish documentation wherein their reflections won’t just benefit their own future project endeavors, but will also serve as an available resource to future student projects and other users around the world.

How do we achieve this vision while working to simultaneously ensure that our students are well educated and allowed to pursue their passions? Perhaps the Internet is the answer public education has been looking for. Over the past decade, online schools and universities have opened at radically increasing rates while most colleges are adopting some form of hybrid online/traditional classrooms to facilitate learning. In the traditional classroom, students interact with other students and teachers, an interaction which creates a relationship that can be treasured for a lifetime. Online lectures and textbooks are still lectures and textbooks, which can be very difficult and confusing. Without another person to help us and without challenging projects that require human interaction the online classroom will be devoid of the life naturally attained within the traditional classroom. Lectures and textbook based learning is why the current form of “online schooling” will never be completely successful. Project based learning with a human face to face component must be included in this new online paradigm in order to facilitate personal and meaningful engagement of students.

One of the principles that our public education system is founded on is the idea that a well-informed citizenry remain strong, free, constantly interactive and capable of diverse thinking. Educating to diverse communication standards (both new and old) is vital to strengthening the community of a multi-cultural society. It is becoming increasingly apparent as we move further into the twenty-first century that education should dovetail with rapidly evolving practices in contemporary communications. In fact, institutional policies are reacting to this demand across the United States.1 Public education must be flexible enough to follow communities within its structure no matter where they exist. Online education becomes inevitable in this scenario because, as it has become the popular means of mass communication, it has also begun to supplant and augment the traditional loci of communities world-wide. The modern classroom has become the Internet, and vice-versa.  Because of the limitless potential of human interaction made possible by the numerous technologies we find at our disposal in the twenty-first century, communities based on instantaneous communication have formed within a new frontier that exists worldwide.  Public education, if it is to stay relevant to the needs of the modern community, needs to find its place at the forefront of this frontier.

Online communities have replaced geographical ones. While many are unable to name one of their neighbors, they connect daily with hundreds or thousands of likeminded people for various reasons. These communities are in place, yet education has not effectively found a way to harness these connections for meaningful learning—even while meaningful learning is taking place within them all along!

As public educators work to discern and define the function of the K-12 classroom in this new era of communication, they must strive to meet the demands brought forth by new and ever-emerging technologies while still working to create a school that will—above and beyond all things—facilitate learning for the K-12 student. But moving towards a methodology which no longer focuses strictly on the “traditional” means of communication does not mean that teachers need to abandon their basic instinct, viz. to learn we need to interact physically with one another. The traditional concept of a school as being a place where students come together to learn in the same physical environment is not a concept that should be abandoned. Rather, public educators need to change their preconceptions of how and when students come together to learn so that their education can support this new type of technology driven classroom.

Since very early in American history, educators have worked to ensure that all students are prepared and well rounded. Every year more and more people are choosing to enter a college or university; choosing to go beyond their required education in order to receive training in areas about which they are passionate. Yet, in the last couple of decades we have seen technology explode onto the scene, permanently changing the way we live, interact, and learn. While schools have worked hard to ensure that students are equipped with the tools needed in today’s society, we can always ask: is technology being used its fullest extent? The above scenario, in which students utilize available technologies to the fullest extent in order to complete a complex project, outlines a possible situation in which students, rather than simply making use of technology to absorb disjointed and only marginally useful facts, employ such technology to learn and develop within a tightly-knit community.

Is it possible to envision a world where an online student body is able to complete a project that they are interested in while still obtaining the skills and facts necessary to fall in line with the National Standards of Education? How can schools stay in touch with the world if they are not part of the mainstream student communities of the 21st century? All humans have a natural inclination towards learning; whether learning to walk, read a book, or to take a car apart and put it back together again. It is the responsibility of public educational institutions to mentor these natural motivations and to encourage a productive and collaborative society. Can this be successfully achieved and supported within the confines of an online school?  If public educators are to rise to the challenges of our times, the answer must invariably be, “yes.”
The Internet has become the unofficial 21st century method for learning.  Almost anything can be learned by simply watching a YouTube video or following along on someone else’s blog. News is transmitted instantaneously throughout the world creating an almost unlimited supply of information for almost any need. However, when we look in the classroom, we find information continuing to be disseminated in the same way it has been for centuries. Where information comes out of the Internet like a waterfall, students are asked to sit for eight hours a day and move through information at a trickle. This is why public education needs to follow the community, especially when the community is obviously shouting that it knows where it wants to be.

So how do we tap into those communities? If there is one thing that has truly kept the fire of learning alive, it has been the library. Imagine a super-library, a kind of K-12 learning center that has been built to be alive and able to act a resource for an online community. A place that would support a kind of project-based learning that could be facilitated anywhere there was an Internet connection. This online school Hub would be filled with teachers and experts who could be present both physically present and virtually for students to interact with no matter where they are. This place would also serve as an easy meeting place for the physically interactive parts of project-based learning that are required of its online student body.

We propose that this Hub be the school that actively engages with the 21st century community structures. This high tech Hub facility will be a place where teachers no longer become the gatekeepers of a rigid grading system, but rather start acting as mentors and facilitators within a complex hive of student activity. Why this hub would be successful as a base for an online/virtual school is because it would enable what public education has been seeking to accomplish all along – it would allow students to naturally gravitate to the school out of the want for learning. The basic idea is that human beings learn while uncomfortable, i.e. in new situations where they are forced to be alert. If students were able to first engage with a school from a comfortable place it is our theory that these students would in turn be not only motivated to come to school they will be drawn to it. A “Hey, what’s going on here?” attitude will be fostered when a student is able to observe the classroom before entering it.

It is of our opinion that if a High School were to utilize new technologies to expand the classroom and support its communication between all parties involved the result would be a class that is no longer confined by the walls of one room. The classroom could then become earth and the world we live in would become the teacher. This “free from physical constraints” classroom would be populated with students who are able to communicate anywhere that they can receive Internet bandwidth. Projects could take place in the African bush or in a coffee shop in Bern, Switzerland.

As we move into the future of learning the question of how to combine truly personalized education and online learning becomes self-evident. There are many more conversations that must come up to answer this, but none can arise until we have a core understanding as a community of what we are trying to achieve and what we are trying to teach as educators.