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James Spagnoletti

Göbekli Tepe -National Geographic Magazine--"Origin of Religion" - 36 views

ngm.nationalgeographic.com/...mann-text

WHAP World_History_One agriculture religion prehistoric archaeology

shared by James Spagnoletti on 17 Sep 11 - No Cached
    • James Spagnoletti
      James Spagnoletti on 17 Sep 11
       
      Very cool photographs--take a look.  You will be doing your first art/artifact case studies this week. 
  • Most of the world's great religious centers, past and present, have been destinations for pilgrimages
  • Göbekli Tepe may be the first of all of them, the beginning of a pattern. What it suggests, at least to the archaeologists working there, is that the human sense of the sacred—and the human love of a good spectacle—may have given rise to civilization itself.
  • ...13 more annotations...
  • In the 1960s archaeologists from the University of Chicago had surveyed the region and concluded that Göbekli Tepe was of little interest. Disturbance was evident at the top of the hill, but they attributed it to the activities of a Byzantine-era military outpost.
  • Schmidt had come across the Chicago researchers' brief description of the hilltop and decided to check it out. On the ground he saw flint chips—huge numbers of them. "Within minutes of getting there," Schmidt says, he realized that he was looking at a place where scores or even hundreds of people had worked in millennia past.
  • s the months and years went by, Schmidt's team
  • found a second circle of stones, then a third, and then more. Geomagnetic surveys in 2003 revealed at least 20 rings piled together, higgledy-piggledy, under the earth
  • The pillars were big—the tallest are 18 feet in height and weigh 16 tons. Swarming over their surfaces was a menagerie of animal bas-reliefs, each in a different style, some roughly rendered, a few as refined and symbolic as Byzantine art.
  • The circles follow a common design. All are made from limestone pillars shaped like giant spikes or capital T's. Bladelike, the pillars are easily five times as wide as they are deep. They stand an arm span or more apart, interconnected by low stone walls. In the middle of each ring are two taller pillars, their thin ends mounted in shallow grooves cut into the floor.
  • "They hadn't yet mastered engineering." Knoll speculated that the pillars may have been propped up, perhaps by wooden posts.
  • To Schmidt, the T-shaped pillars are stylized human beings, an idea bolstered by the carved arms that angle from the "shoulders" of some pillars, hands reaching toward their loincloth-draped bellies.
  • The stones face the center of the circle—as at "a meeting or dance," Schmidt says—a representation, perhaps, of a religious ritual.
  • As for the prancing, leaping animals on the figures, he noted that they are mostly deadly creatures: stinging scorpions, charging boars, ferocious lions. The figures represented by the pillars may be guarded by them, or appeasing them, or incorporating them as totems.
  • The site may have been built, filled in, and built again for centuries.
  • Bewilderingly, the people at Göbekli Tepe got steadily worse at temple building.
  • The earliest rings are the biggest and most sophisticated, technically and artistically. As time went by, the pillars became smaller, simpler, and were mounted with less and less care. Finally the effort seems to have petered out altogether by 8200 B.C. Göbekli Tepe was all fall and no rise.
Troy Cherry

St. Peter's Basilica - Rome, Italy - 16 views

www.sacred-destinations.com/...rome-st-peters-basilica

shared by Troy Cherry on 06 Oct 09 - Cached
  • History In the 1st century AD, the site of St. Peter's Basilica hosted the Circus of Nero and a cemetery. According to ancient tradition, St. Peter was martyred in the Circus and buried nearby. His simple grave was remembered and visited by the faithful, and in 324, Emperor Constantine began construction on a great basilica over the tomb. The shrine of St. Peter is still the central focus of the church today. Skip the Lines! Book a top-rated guided tour of St. Peter's, the Sistine Chapel and the Vatican Museums before you leave home. Learn more In the mid-15th century it was decided that the old basilica should be rebuilt. Pope Nicholas V asked architect Bernardo Rossellino to start adding to the old church. This was abandoned after a short while, but in the late 15th century Pope Sixtus IV had the Sistine Chapel started nearby. Construction on the current building began under Pope Julius II in 1506 and was completed in 1615 under Pope Paul V. Donato Bramante was to be the first chief architect. Many famous artists worked on the "Fabbrica di San Pietro" (as the complex of building operations were officially called). Michelangelo, who served as main architect for a while, designed the dome, and Bernini designed the great St. Peter's Square.
    • Troy Cherry
      Troy Cherry on 06 Oct 09
       
      St Peter's in Rome. I love the good stuff
Martin Burrett

Jackson Pollock art - 76 views

wbx-files.s3.amazonaws.com/npollock_by_miltos_manetas.swf

Art paint artist painting

shared by Martin Burrett on 07 Jul 11 - No Cached
  • Martin Burrett on 07 Jul 11
     
    Create your own Jackson Pollock style pictures using this tool. http://ictmagic.wikispaces.com/Art,+Craft+&+Design
Randolph Hollingsworth

Critical Play-Artists Rethinking Games - 53 views

www.maryflanagan.com/...inkingGames-WithImages.rtf.pdf

gaming history

shared by Randolph Hollingsworth on 21 Jun 11 - No Cached
  • Randolph Hollingsworth on 21 Jun 11
     
    First published as: Flanagan, Mary. "Creating Critical Play" _Artists Re:Thinking Games._ Eds Ruth Catlow, Marc Garrett, and Corrado Morgana. Liverpool: Liverpool University Press, 2010, 49-53.
Maureen Greenbaum

Education Week: Fighting the Enemies of Personalized Learning - 57 views

www.edweek.org/...22renzulli.h31.html

personalized learning education

shared by Maureen Greenbaum on 02 Mar 12 - No Cached
  • Most educators agree that the one-size-fits-all curriculum needs addressing
  • emergence of technology in education has certainly created a renewed interest in personalizing learning and providing teachers with the tools necessary for differentiating curriculum.
  • True personalization requires more than just looking at achievement levels and trying to compensate for deficiencies
  • ...5 more annotations...
  • differentiation of content requires adding more depth and complexity to the curriculum rather than transmitting more or easier factual material.
  • achievement levels, information about student interests, learning styles, and preferred modes of expression allow us to make decisions about personalization that take multiple dimensions of the learner into account.
  • Respect for learning-style variations can be achieved by using instructional strategies such as simulations, Socratic inquiry, problem-based learning, dramatizations, and individual and small-group investigations of real problems. Expression-style preferences can be accommodated by giving students opportunities to communicate visually, graphically, artistically, and through animatronics, multimedia, and various community-service involvements.
  • Our obsession with content mastery and Skinner's behavioral theory of learning are slowly but surely giving way to an interest in personalization and differentiation.
  • While it is understandable that our early use of technology was mainly an adaptation of Gutenberg-online and a teaching-machine mentality of what learning is all about, we now have both the pedagogical rationale and technological capability to use the many dimensions of student characteristics that clearly and unequivocally result in higher engagement, enjoyment, and enthusiasm for learning.
Tricia Hunt

The World's Best Print Ads, 2012-13 | Adweek - 124 views

www.adweek.com/...-best-print-ads-2012-13-150758

web2.0 digitalmedia technology ads print

shared by Tricia Hunt on 22 Sep 13 - No Cached
  • Time, Wired and The New Yorker
    • Tricia Hunt
      Tricia Hunt on 22 Sep 13
       
      Incredible! Such and example of trusted sources pushing certain products while at the same thing advertising themselves.
  • This campaign turned famous authors into headphones.
    • Tricia Hunt
      Tricia Hunt on 22 Sep 13
       
      Genius!  I love the idea of audio books being Authors' voices speaking to us in an intimate way.
  • School portraits are turned on their heads to remind the viewer that every child gets education
    • Tricia Hunt
      Tricia Hunt on 22 Sep 13
       
      Powerful message that appeals to statistics and helping people for a better cause
  • ...7 more annotations...
  • elp us provide quality education to thousands of children in Chile because if we can change their education we can change their destiny."
    • Tricia Hunt
      Tricia Hunt on 22 Sep 13
       
      Such a powerful message!
  • old the page for comedy.
  • ou know it's funny
  • When you see the logo
  • The drawings from the famous "Real Beauty Sketches" campaign, which won the Titanium Grand Prix this year. At left, a woman as described to a sketch artist by the woman. At right, the woman as described by a stranger.
    • Tricia Hunt
      Tricia Hunt on 22 Sep 13
       
      WOW! Even more powerful!  This shows the impact media has made on us.  The left is the woman describing herself and the right is a STRANGER describing her!!! INSANE!
  • Fake ads cleverly pushed for better literacy rates in France
  • thumbs-up means nothing in this brutal campaign pleading for more tangible charity support than a like on Facebook.
  • Tricia Hunt on 22 Sep 13
     
    "These iPad mini ads, released late last year, were placed on the back covers of several national magazines-including Time, Wired and The New Yorker."
Tanya Hudson

Storybird - Create and share beautifully illustrated digital stories! - 91 views

storybird.com

edtech library digital storytelling content creation ELA_writing primary uppergrades tools

shared by Tanya Hudson on 28 Jan 10 - Cached
  • Bob Martin on 28 Jan 10
     
    Collaboarative Digital Storytelling
  • ...4 more comments...
  • Deborah Thonus on 11 Feb 10
     
    This site is wonderful for younger students and older ELLs. Using exquisite art graphics from an extensive library of images children create online storybooks. The fanciful and beautiful graphics inspire the creator to write a story. The program then publishes the online book with a default "private" setting. This site appears to be carefully monitored and supervised. Excellent for ELA.
  • Deborah Thonus on 11 Feb 10
     
    This site is wonderful for younger students and older ELLs. Using exquisite art graphics from an extensive library of images children create online storybooks. The fanciful and beautiful graphics inspire the creator to write a story. The program then publishes the online book with a default "private" setting. This site appears to be carefully monitored and supervised. Excellent for ELA.
  • Beth Panitz on 25 Jan 11
     
    Choose an artist, then create a story by selecting artwork. 
  • Martin Burrett on 01 Jul 11
     
    Story Bird widely used story book maker website. It has great templates picture bank. It's ease to use and the results look wonderful. http://ictmagic.wikispaces.com/English
  • Marc Patton on 19 Jul 12
     
    Storybirds are short, art-inspired stories you make to share, read, and print.
  • Tanya Hudson on 12 Nov 12
     
    Combine your words with high-quality artwork from talented illustrators around the world.
dabennett7

Remix Culture : Center for Social Innovation (CSI) - 12 views

csi.gsb.stanford.edu/remix-culture

shared by dabennett7 on 29 Mar 15 - Cached
  • there’s a war raging over what some now are calling a new art form in the emerging Web 2.0 culture—remix
  • remix is collage, a recombination of existing, reference images or music and video clips from popular digital culture, elements of which are mashed up into something new.
    • dabennett7
      dabennett7 on 29 Mar 15
       
      Does this sound familiar? Common core and even the SBAC assessment are rooted in remix.
  • as long as the remix is significantly altered from the original—should remix be permitted by law
    • dabennett7
      dabennett7 on 29 Mar 15
       
      How will copryright laws evolve for the 21st century? What skills must our students gradate with to prepare them for a world of Remix vs. Copyrights?
  • ...7 more annotations...
  • Should remix be outlawed as a violation of an artist’s or photographer’s copyrigh
  • “Remix is literacy in the 21st century,” Lessig said. The chief of Stanford University’s Center for Internet and Society
    • dabennett7
      dabennett7 on 29 Mar 15
       
      If digital literacy includes remixing, then the skills of citation and attribution are more important than ever.
  • failing to legally protect remixes as original forms of art and expression “will make pirates of our children...We cannot kill this form of expression;
  • Johnson, author of The Invention of Air, a new book about the history of information flows in American and British society, said remix has “deep roots in the Age of Enlightenment and among America’s Founding Fathers.”
    • dabennett7
      dabennett7 on 29 Mar 15
       
      Remix is not new...  but it is easier and more accessible than ever.  A smartphone alone is a remix machine capable of remixing text, audio, video, images and more.  Then with a click you can publish your remix to the world from anywhere!
  • Where do we think innovation and creativity come from
  • Fairey rounded out the talk, citing remix as one of the early 21st century’s most popular forms of free political expression.
  • Remix is all about making references; references are how you establish a point of view in popular culture, and they are crucial to my work as an artist.”
    • dabennett7
      dabennett7 on 29 Mar 15
       
      This is what we as educators are all about... We challenge students to make connections, identify themes, clarify or argue a point of view.  We push them to remix everyday. Are we challenging them to respect the ideas they build their learning upon?
anonymous

Grove Art: Subject Guide in Oxford Art Online - 12 views

www.oxfordartonline.com/...renaissanceartandarchitecture

oxford renaissance Art History tieclass reference

shared by anonymous on 27 Jun 17 - No Cached
  • the Renaissance was a period when scholars and artists began to investigate what they believed to be a revival of classical learning, literature and art. For example, the followers of the 14th-century author Petrarch began to study texts from Greece and Rome for their moral content and literary style. Having its roots in the medieval university, this study called Humanism centered on rhetoric, literature, history and moral philosophy.
    • anonymous
      anonymous on 27 Jun 17
       
      This 'rebirth' of classical thought and investigation led to many advances in the areas of art, science, medicine, and literature.
    • anonymous
      anonymous on 27 Jun 17
       
      Make a list of three specific historical people from the article to share with the class.
meghankelly492

Project MUSE - Learning from Masters of Music Creativity: Shaping Compositional Experie... - 7 views

muse.jhu.edu/224140

world Music

shared by meghankelly492 on 22 Jul 19 - No Cached
  • n contrast to others who are not as prone to divulge their feelings about their creative process
  • "Variation in style may have historical explanation but [End Page 94] no philosophical justification, for philosophy cannot discriminate between style and style."3
  • The testimonies of the composers concerned bear on questions about (a) the role of the conscious and the unconscious in music creativity, (b) how the compositional process gets started, and (c) how the compositional process moves forward
  • ...39 more annotations...
  • It is hoped that the themes that emerge by setting twentieth and twenty-first century professional composers' accounts of certain compositional experiences or phases of their creative processes against one another will provide a philosophical framework for teaching composition.
  • Furthermore, the knowledge of how professional composers compose offers the potential of finding the missing link in music education; that is, the writing of music by students within the school curriculum
  • Such involvement may deepen their understanding of musical relationships and how one articulates feelings through sounds beyond rudimentary improvisational and creative activities currently available
  • raw philosophical implications for music composition in schools from recognized composers' voices about their individual composing realities
  • It is hoped that the direct access to these composers' thoughts about the subjective experience of composing Western art music in the second half of the twentieth and the beginning of the twenty-first century may also promote the image of a fragmented culture whose ghettoization in music education is a serious impediment to the development of a comprehensive aesthetic education.
  • n other words, there is a striking unanimity among composers that the role of the unconscious is vital in order to start and/or to complete a work to their own satisfaction.
  • I need . . . to become involved, to come into a state where I do something without knowing why I do i
  • This is a complex problem and difficult to explain: all that one can say is that the unconscious plays an incalculable rol
  • Nonetheless, these self-observations about the complementary roles of the unconscious and conscious aspects of musical creativity do not cover the wide range of claims in psychological research on creativity
  • I strongly believe that, if we cannot explain this process, then we must acknowledge it as a mystery.25 Mysteries are not solved by encouraging us not to declare them to be mysteries
  • When Ligeti was commissioned to write a companion piece for Brahms' Horn Trio, he declared, "When the sound of an instrument or a group of instruments or the human voice finds an echo in me, in the musical idea within me, then I can sit down and compose. [O]therwise I canno
  • Extra-musical images may also provide the composer with ideas and material and contribute to musical creativity.
  • ome composers need to have something for it to react against.38 Xenakis, however, asserted that "all truly creative people escape this foolish side of work, the exaltation of sentiments. They are to be discarded like the fat surrounding meat before it is cooked."
  • as, as these examples show, dreams can also solve certain problems of the creative process.
  • In other words, to compose does not mean to merely carry out an initial idea. The composer reserves the right to change his or her mind after the conception of an idea.
  • n sum, self-imposed restrictions or "boundary conditions"55 seem to provide composers with a kind of pretext to choose from an otherwise chaotic multitude of compositional possibilities that, however, gradually disappears and gets absorbed into the process of composition which is characterized by the composers' aesthetic perceptions and choices.
  • Therefore, it is not surprising that influences from the musical world in which the composer lives play an important role in the creative process
  • Thereby the past is seen as being comprised by a static system of rules and techniques that needs to be innovated and emancipated during the composers' search for their own musical identity.
  • I strongly suggest that we play down basics like who influenced whom, and instead study the way the influence is transformed; in other words: how the artist made it his own.
  • Nothing I found was based on the "masterpiece," on the closed cycle, on passive contemplation or narrowly aesthetic pleasure.61
  • Furthermore, for some composers the musical influence can emerge from the development of computer technology.
  • In sum, the compositional process proceeds in a kind of personal and social tension. In many cases, composers are faced with the tensive conflict between staying with tradition and breaking new ground at each step in the process. Thus, one might conclude that the creative process springs from a systematic viewpoint determined by a number of choices in which certain beliefs, ideas, and influences—by no means isolated from the rest of the composer's life—play a dominant role in the search for new possibilities of expression.
  • If a general educational approach is to emerge from the alloy of composers' experiences of their music creativity, it rests on the realization that the creative process involves a diversity of idiosyncratic conscious and unconscious traits.
  • After all, the creative process is an elusive cultural activity with no recipes for making it happen.
  • n this light, the common thread of composers' idiosyncratic concerns and practices that captures the overall aura of their music creativity pertains to (a) the intangibility of the unconscious throughout the compositional process,68 (b) the development of musical individuality,69 and (c) the desire to transgress existing rules and codes, due to their personal and social conflict between tradition and innovation.70
  • In turn, by making student composers in different classroom settings grasp the essence of influential professional composers' creative concerns, even if they do not intend to become professional composers, we can help them immerse in learning experiences that respect the mysteries of their intuitions, liberate their own practices of critical thinking in music, and dare to create innovative music that expresses against-the-prevailing-grain musical beliefs and ideas.
  • Therefore, it is critical that the music teacher be seen as the facilitator of students' compositional processes helping students explore and continuously discover their own creative personalities and, thus, empowering their personal involvement with music. Any creative work needs individual attention and encouragement for each vision and personal experience are different.
  • After all, the quality of mystery is a common theme in nearly every composer's accoun
  • Failing this, musical creativity remains a predictable academic exercise
  • Music teachers need to possess the generosity to refuse to deny student composers the freedom to reflect their own insights back to them and, in turn, influence the teachers' musical reality
  • Indeed, it is important that music teachers try to establish students gradually as original, independent personalities who try to internalize sounds and, thus, unite themselves with their environment in a continuous creative process.
  • Music teachers, therefore, wishing student composers to express and exercise all their ideas, should grant them ample time to work on their compositions,
  • n sum, music knowledge or techniques and the activation of the student composers' desire for discovery and innovation should evolve together through balanced stimulation.
  • While music creativity has been a component of music education research for decades, some of the themes arising from professional composers' experiences of their creativity, such as the significance of the unconscious, the apprehension towards discovering ones' own musical language, or the personal and social tension between tradition and innovation, among others, have not been adequately recognized in the literature of music education
  • By doing this, I strongly believe that musical creativity in general and composing in particular run the risk of becoming a predictable academic exercise
  • which merely demands problem-solving skills on the part of the student composers (or alleged "critical thinkers").
  • . On the other hand, only few music educators appear to draw their composer students' attention to the importance of the personal and social conflict between staying within a tradition or code, even if it is the Western popular music tradition, and breaking new ground at each step in the creative process and, possibly, shaping new traditions or codes.
  • Culture is a precious human undertaking, and the host of musics, arts, languages, religions, myths, and rituals that comprise it need to be carefully transmitted to the young and transformed in the process."85
  • Nevertheless, further research is needed in which women's voices can be heard that may offer an emancipatory perspective for the instruction of composition in education which will "challenge the political domination of men."
Martin Burrett

+ DRIPS | interactive webcam, light, microphone & mouse action painting application / c... - 4 views

drips.nalindesign.com

Art artist drawing webcam microphone

shared by Martin Burrett on 15 Aug 11 - Cached
  • Martin Burrett on 15 Aug 11
     
    A wonderfully simple to use drawing tool that blobs paint over a virtual canvas in a Jackson Pollock like way, making quick and easy pieces of art. You can use your microphone and webcam to paint too. http://ictmagic.wikispaces.com/Art,+Craft+&+Design
Martin Burrett

The Warholizer - 6 views

warholize.me

art artist photos images

shared by Martin Burrett on 10 Aug 11 - No Cached
  • Martin Burrett on 10 Aug 11
     
    Make an image into a work of art in the style of Andy Warhol. Just upload your chosen image and choose a colour. http://ictmagic.wikispaces.com/Art,+Craft+&+Design
Martin Burrett

Mondrimat - 77 views

www.stephen.com/mondrimat

art artist maths fractions

shared by Martin Burrett on 31 Mar 12 - Cached
  • Martin Burrett on 31 Mar 12
     
    This is a great site for creating virtual art. Make art in the style of Piet Mondrian. This art style lends itself to maths with stimulus for fractions and proportion. http://ictmagic.wikispaces.com/Art%2C+Craft+%26+Design
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