In 2002 my wife and I visited The Andy Warhol Museum and our intention of visiting the museum was basically to have an experience. We were in Pittsburgh, PA and we wanted to soak up as much of the city as we possibly could while we were there. We were tourists seeking food, beer, art, and culture outside of our place in Central Pennsylvania. The goals and tactics were the same as any other museum visit. We were there to re-affirm existing ideas about ourselves and seek things out that fit those identities, as well as, find new things to explore individually and together.
Artsonia is “the largest student art museum in the world” or so it says on its web site. It is a place for students, parents, and teachers to upload student artwork to share their creations with a wide online audience, establish a fan club, interact with other students, teachers, and parents, and sell products with their artwork on it. Visitors can browse galleries based on medium, by school, by grade level, or by keyword search. Schools and artists can win top honors and sometimes prizes. Schools even earn 20% when people purchase products from the gift shop. The section for teachers includes downloadable lesson plans created by fellow teachers and parents can create fan clubs and invite people to view and leave comments about the students’ artwork. The blog contains tips and guides for parents and teachers and covers topics about using the web site or app and sharing and building fan clubs.
Art of the Title is an online showcase and community site for people who are interested in and work on title sequences for television, film, web, conferences, and video games. At Art of the Title, they “honor the creators and innovators who contribute to the field, discussing and displaying their work with a desire to explicate, facilitate, and instigate.”
When visitors first come to the site’s home page, which isn’t the only way to access the site, they are presented with the name and logo of the site at the top followed by navigational aids for title sequences, designers and studios, search, and ways to access their social media through hyperlinked icons. The body of the home page has the latest featured title sequence and/or interview of someone in the industry and the most recent articles about the domain underneath. In the footer of the web site, a person can also access additional navigational aids for information about the site, news title sequences, features, designers, studios, and sponsorship. The format of the home page and the most recent articles is a combination of linked images and text about the particular title sequence or interview.
Here’s a quick list of 10 people or organizations who I follow for topics related to user experience and educational technology. The following individuals and organizations fit within what I hope to accomplish with this semester’s informal learning project for A ED 814 Informal Learning at Penn State. It’s my intention at this point in time to take what I’ve learned and am still learning about user interface design and user experience and the concept of place–which derives from thought, feeling, meaning, and understanding–to develop some art about identity and how people make sense of their world. I’m not sure if this will be a digital exploration or an analog or mixed media approach. I need to let the answer drive the solution.
My idea for performing/creating something in my everyday environment that calls attention to the everyday scene or routine in a new way, is inspired by Janie Leck-Grela’s blog post on yarn bombing, Deb Ryland’s blog post on culture and reality TV, and Lindsay Bayer’s blog post on personal space and objects. The idea is to engage people without disabilities and create awareness about people with certain disabilities (such as color blindness, low or lack of vision, and mobility) and how they access and consume information via the internet. The goal is to bring to light how our actions in building online educational resources can have a direct impact or be an impediment for others. Hopefully it will generate enough awareness about culture, ourselves and the connectedness to others, and how objects and information can be understood in different ways.
I used to ride my longboard from the parking garage to my office downtown in the early morning. Just after the dawn breaks and before the first class in the morning, I would carve my way from parking garage to office. However because of campus police and being relocated, I no longer ride my board in the morning. No more moment of Zen. Then I parked in the garage on Penn State’s central campus and walked past the student union building and a string of science buildings, over the bridge that is the base of the Information Science and Technology building, and across Atherton Street to my building. On my walk in the morning, at lunch, and on the way home, I get to see a lot of things. I get to see a segment of student life outside of the classroom. I get to see people moving from class to class, heading to lunch, heading home, heading downtown, etc. I get to see different things at different times relative to my mode of transportation. When I’m on the longboard, how I look and interact with my environment is much different than being on foot. Being on foot means I get to experience things more slowly. I can pretty much observe nuances much differently than when I’m on the longboard. When I’m on the longboard, I’m worried about matching my carving to the pitch of the road, how many people are in the environment, rocks and pebbles, bicycles, cars, cops, etc. I get to surf the concrete wave. My focus is on that momentum and how that momentum makes me feel. Continue reading Making Visible
I would approach teaching the concept of critical public art pedagogy with future students by first defining what is meant by critical public art pedagogy, show students examples of public art, provide students with examples of organizations, groups, or institutions engaged with public art, have students evaluate and reflect on the mission or objectives of those engaged in public art through journals and class discussion, and have students create public art individually or in groups that addresses their relationships to their community and/or school.
What is critical public art pedagogy?
In terms of metaphor, James Rosenquist’s “I Love You with My Ford” addresses the modern proclivity for consumerism and the critique of the idyllic future. During this time, the automobile and canned spaghetti were conveniences and women during this period were associated with certain roles and objectification. There were modern conveniences for the home and the freedom associated with the automobile and the buying power of Americans. The future was bright with innovation and stuff–things to make your life easier. Automobiles, TV dinners, and spaghetti can be seen as status symbols for middle America.
In terms of code switching, I’d like to use one aspect of the linguistic definition that it is a “strategy at negotiating power for the speaker.” The female character moves between dream and reality to negotiate existence, her relationship with herself and the male character, and to deal with emotion. It is set in a familiar environment, most likely her home, and becomes an environment of unrest as the familiar becomes unstable. She has to negotiate the familiar objects, settings, people, etc. as she switches between dream and reality.
Deodorant. It’s a western norm. I wear deodorant and antiperspirant to avoid the giant, armpit rings and smell that comes with daily activity. It’s part of our cultural conventions. Cleanliness, I have been told, is next to godliness. At what price this cleanliness? According to EGW’s Skin Deep Cosmetics Database:
- Irritation (skin, eyes, or lungs)
- Organ system toxicity (non-reproductive)
- Developmental/reproductive toxicity