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Lesson Plans


artdigest #1298 U of Cambridge ~ Creativity

[ Thread ][ Subject ][ Author ][ Date ]
S. Henneborn (heneborn)
Thu, 11 Mar 1999 22:22:08 -0600


artsednet-digest Thursday, March 11 1999 Volume 02 : Number 1298

This edition includes :

Re:monoprints
Re:Maya Lin & Glass
Re: NEA's bad behavior

Re:Maya Lin & Glass
Re: jurassic park
Re: Fw: Can you teach creativity?

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------------------------------

Date: Thu, 11 Mar 1999 11:24:31 -0600
From: "Betty Bowen" <bbowen.ok.us>
Subject: Re:monoprints

Yes, I'll compile what info I get via email that doesn't already appear on
the list (about monoprints). Thanks for all the input!

Pam - I don't know what is in Pam - it smells really pariffinny (spell check
will love that one!) to me. Is there a reason you can use oil paints but not
print inks?

Easy Wipe also extends the "open time" of ink. I also use "Setswell", which
I've seen also as "Sure Set". I've had my can so long I don't know which it
is anymore! It only takes a tiny bit, but it also helps make the ink more
wipeable. The main purpose of setswell is to open the fibers of the paper to
receive the ink better, thus allowing the layering of colors without
build-up, especially on papers that can't be dampened. (used with stripping,
it makes a big difference)

>to be used on non gessoed heavy paper

Printing inks can be used just as well on lightweight paper as heavy. I tend
to use a lot of Japanese papers, mostly mulberry, with traditional
European-type print inks. I print mosly by hand with a drawer pull, so Easy
Wipe and Sure Set are crucial.

Do many of you have presses in the classroom?
Betty

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Date: Thu, 11 Mar 1999 11:27:07 -0600
From: "Betty Bowen" <bbowen.ok.us>
Subject: Re:Maya Lin & Glass

If your students are both into Maya Lin and glass, have you seen photos of
her installation at the museum in Columbus, OH? Am I wrong? I do think it is
hers. Piles of crushed glass in a sort of atrium area. Looks a little lame
in photographs, but is very beautiful in person, according to a friend who
lives there.

BB

------------------------------

Date: Thu, 11 Mar 1999 12:50:29 +0000
From: Ann Carolan <acarolan.us>
Subject: Re: NEA's bad behavior

Dear NEA members,
(I would like to add some information to message below by EVasso)
: Many of us may not know the crimes against human rights committed in
Chiapas. This
is a major hot spot for Amnesty International as well as "Witness for Peace"
efforts. Many people risk their lives to witness to the atrocities committed
to the
indigent people there by the government.

Please help us understand the situation.
ann carolan

EVasso wrote:

> ............
> I am writing out of concern arising from a front-page article that was
> printed in today's New York Times. The article is entitled, "The NEA
> Couldn't
> Tell a Book by Its Cover," and reports that William Ivey, the new chairman
> of
> the NEA, canceled a $7,500 grant that had been approved ... the book, called "The
> Story of Colors."... But, according to the NYT, the book is a "literary,
> whimsical" story about "diversity and tolerance" centering on a "folk tale
> about Mexican gods who took a gray world and filled it with brilliant
> colors." .... The author of the
> book is Subcomandante Marcos, the leader of the Zapatista peasant movement
> in the southern Mexican State of Chiapas. Ivey claims he was worried that the
> money would fall into the hands of the Zapatistas.........

------------------------------

Date: Thu, 11 Mar 1999 17:08:58 -0500
From: Jane Shiflett Manner <jmanner>
Subject: Re:Maya Lin & Glass

Betty Bowen wrote:
>If your students are both into Maya Lin and glass, have you seen photos
>of her installation at the museum in Columbus, OH?

Yes I have. The piece is "Groundswell" and is on the roof of the Wexner
museum at Ohio State University at Columbus. It is one of my students'
all-time favorites and was the one I had thought I'd never find an image of
to show them. With Sandra's help, some folks from Cooper Union in NYC, and
the museum in Columbus, I did finally get every thing I wanted them to see.
The PBS documentary, which I think is "Maya Lin: A Strong Clear Vision,"
is mainly about the Viet Nam Memorial but does show this work in progress.
You are right about still photos not doing the work justice. The video
does a much better job and I understand that what light does to the mounds
of glass fragments as you move to observe the piece is awsome. Alas, I
haven't been to Columbus. The concept and the title are certainly intriguing.

groundswell- 1. A violent swelling or rolling of the ocean, caused by a
distant storm or earthquake. 2. a rapidly growing wave of popular
sentiment, opinion, etc.

------------------------------

Date: Thu, 11 Mar 1999 17:32:25 -0500
From: "Stephanie Ignazio" <smi>
Subject: Re: jurassic park

Any ideas on ways to create a "Jurassic Park" effect for a study on
dinosaurs? I'm at a loss where to start! The kids are in first grade. HELP!
We've done the preliminary drawings of how to "draw" dinos...now what????
Stephanie

------------------------------

Date: Wed, 10 Mar 1999 22:00:52 -0700
From: "Larry Cox" <L_J_Cox>
Subject: Re: Fw: Can you teach creativity?

- -----Original Message-----
From: UMI - ProQuest Direct <tsupport>
To: L_J_Cox <L_J_Cox>
Date: Sunday, March 07, 1999 7:38 PM
Subject: <ProQuest Direct> Order<73528584>

>Can You Teach Creativity?
>British Educational Research Journal
>Oxford
>Sep 1998
>
>---------------------------------------------------------------------------
- -----
>
>Authors: Colin Conner
>
>Volume: 24
>
>Issue: 4
>
>Pagination: 490-482
>
>ISSN: 01411926
>
>Subject Terms: Nonfiction
> Creativity
> Education
>
>
>Abstract:
>
>Conner reviews "Can You Teach Creativity?," by Anna Craft with Jana Dougal,
>Gordon Dyer, Bob Jeffrey, and Tom Lyons.
>Copyright Carfax Publishing Company Sep 1998
>
>Full Text:
>
>Can You Teach Creativity?
>
>ANNA CRANT WITH IANA DOUGAL, GORDON DYER, BOB JEFFREY & TOM LYONS, 1997
>Nottingham, Education Now Books 132 pp.
>
>ISBN 1-871526-34-5
>
>For many people, especially psychologists, the debate about creativity,
>what it is and how to develop it, was a subject of intense debate in the
>1960s and 1970s. There was also a time when British education was regarded
>as amongst the most creative in the world, especially at primary school.
>With the introduction of the National Curriculum in 1988 and the increased
>specification of what should be included in the curriculum, there were
>suggestions that the excessive structure had reduced and inhibited creative
>responses and creative reactions from teachers. Many teachers talked of
>their inability to respond to children's questions and concerns, to their
>individual needs and to develop the whole range of their potential. The
>studies by Pollard et al. (1994) into the implementation of the National
>Curriculum suggest that such reactions were varied and that the National
>Curriculum was 'mediated' by teachers. Similarly, the studies by Woods
>(1995) and Woods & Jeffrey (1996) indicate that creative responses to the
>National Curriculum are alive and well in some of our best primary schools.
>
>
>That there is still a place for the development of creativity, despite
>the current focus on the basics of literacy and numeracy is recognised
>in the White Paper, Excellence in Schools (Department for Education and
>Employment, 1997), where it is argued:
>
>If we are to prepare successfully for the 21 st Century. We shall have
>to do more than just improve literacy and numeracy skills. We need a broad,
>flexible and motivating education that recognises the different talents
>of all children and delivers excellence for everyone.
>
>In support of this aspiration, in February 1998, the Secretary of State
>set up the National Committee on Creative and Cultural Education, chaired
>by Professor Ken Robinson of the University of Warwick. The brief of this
>committee is to `make recommendations to the secretary of state on the
>creative and cultural development of young people through formal and
informal
>education' (Robinson, 1998). The committee proposes to look across the
>boundaries between the arts and the sciences, education and business and
>at the importance of promoting creative abilities in all of these areas.
>Creativity, they recognise, is a difficult concept, but they argue that
>creative thinking, breaking the boundaries of current knowledge,
identifying
>alternatives,
>
>... is possible in all areas of human activity. Science is too often
thought
>of as dry and impersonal; the arts as free forms of personal expression.
>But scientists can be highly creative just as work in the arts can involve
>rigorous discipline.
>
>The complexity of the issues involved in the development of creativity
>is the subject of this interesting and thought-provoking book by Anna Craft
>from the Open University. The opening sections are exactly as might be
>expected. Evidence is provided and justification offered for a
reconsideration
>of the importance of creativity in children's educational experience. It
>is only as you reach the final sections of the book that the reader
realises
>the text is visionary and an exhortation, concerned with the development
>of principles for education in the twenty-first century.
>
>The book is written `in the belief that fostering creativity is critical
>for constructive social development'. It is divided into four sections.
>The first explores the concept of creativity and advocates the development
>of `possibility thinking'. Possibility thinking means two things, `not
>being stumped by one set of circumstances, but using imagination to find
>a way around a problem'. Secondly, it is about asking questions. Associated
>with these elements are a range of individual characteristics necessary
>for the production of the `creative mind'. In particular, curiosity and
>a sustained openness to linking thinking with experience. Drawing upon
>the work of Gardner, the breadth of human capability is acknowledged: ...
>the emphasis through statutory curriculum and assessment arrangements is
>on linguistic and logico-mathematical intelligences. But to develop each
>child's capabilities appropriately, we need to broaden our awareness of
>the intelligences which we can foster, and in which different individuals
>may be strong. (p.10)
>
>The second section discusses the implications of the ideas discussed for
>the school curriculum and investigates the extent to which creativity is
>fostered by a whole range of different school subjects; the arts and
humanities,
>mathematics and science, design and technology.
>
>Section three offers suggestions on ways in which teachers might develop
>and extend their skills in order to support children in the development
>of their creative capacities. In this section some interesting contrasts
>are offered through a case study of a collaborative research project with
>primary school teachers in Spain.
>
>The final section is probably the most contentious. It focuses on
strategies
>for the development of a vision for education in the twenty-first century.
>It advocates the use of a systems thinking approach. Proponents of systems
>thinking argue that instead of accepting society as it is, communities
>should take steps to design and create their own future. This could involve
>a rejection of `the current situation and frameworks for education' and
>the generation of 'a new interpretation of the requirements for human
learning
>and development which should be designed for the future'. How far this
>might be possible is clearly open to question, but the proposed changes
>to the National Curriculum for 1998 offer some space to teachers, provided
>they achieve their targets for literacy and numeracy, and who is to say
>that in the reconstructed curriculum for 2000, there will not be
opportunities
>to disapply from the current National Curriculum and set up `experimental
>alternatives', as was originally proposed when the current curriculum was
>introduced.
>
>This book is written in a clear and accessible style and contains an
effective
>balance between a very broad research base, illustrations of effective
>practice and suggestions for activities for the reader to engage with.
>It serves as an important contradiction to the bureaucratic demands imposed
>on schools by recent government initiatives.
>
>COLIN CONNER
>
>University of Cambridge School of Education
>
>Reproduced with permission of the copyright owner.
>Further reproduction or distribution is prohibited without permission.
>
>
>=============================== End of Document
================================
>
>
>
>
- -----Original Message-----
From: nop62861 <teresatorreseca>
To: Larry Cox <L_J_Cox>
Cc: artsednet <artsednet.edu>
Date: Wednesday, March 10, 1999 5:49 PM
Subject: Re: Fw: Can you teach creativity?

>Larry, Thank you for the message about creativity. I am not sure if it can
be
>taught , but as Best said in "The Rationality of Feelings" it can be
>educated.I think it is a necessity to all teachers, not only art teachers
to go
>in this direction.
>Mihaly Csikszentmihalyi (1997) rejects the idea that creativity can be
>understood " by looking only at the people who appear to make it happen"
and
>argues that "creativity results from the interaction of a system composed
of
>three elements: a culture that contains symbolic rules, a person who brings
>novelty into the symbolic domain and a field of experts who recognise and
>validate the innovation"
>Creativity can be objective , but somehow there is something inexplicable
about
>it, the subjetive explanation of creativity do not satisfy me, i know that
not
>only artists but also scientists are seeking a more clearly understanding
of it.
>
>I want to know more about it...
>.... I want to read the book you are talking about, please send me the
>reference.
>Thank you
>Teresa
>
>
>
>
>

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End of artsednet-digest V2 #1298
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