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Stop-Motion Animation in Art Education

ED 6590 Dissemination Plan

Alanna Penney

on 19 August 2010

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Transcript of Stop-Motion Animation in Art Education

Visual Sociology & Sociology of the Visual Reflection Visual Creators & Visual Consumers Art & Literacy Conclusion Creativity Art & Animation Collaboration How to Make Stop-Motion Animation Art & Technology Perceptions Multimodal Perspectives http://www.wikihow.com/Create-a-Stop-Motion-Animation Popularity of cel, stop-motion, computer, and clay animation

Wallace & Gromit, Chicken Run, The Nightmare Before Christmas

What about stop-motion animation’s place in the classroom?

Conflicting research about the effectiveness of using animation is the classroom setting (Kervin, 2007; Lin, Kratcoski, & Swan, 2005; Mills, 2006; Mills, 2009; Zhang, Zhang, Duan, Fu, & Wang, 2010; Kim et al., 2007)
Introduction A visually literate person has the ability to use symbols to communicate messages to the world
It is up to the person who experiences these texts to understand what their social and literacy practices bring to the visual Encourage students to visually ‘read’ the world around them to preserve, understand, and represent culture •Difference between consuming art and creating art (Gouzouasis, 2006)
•The ability to create and consume art through online collections and public broadcasting via Myspace, Youtube, and blogs (Radclyffe-Thomas, 2008) •Opportunity to advance inventiveness, innovation,and creative solutions through the integration of art and technology (Bryant, 2010; Burke, 2008) •Visual sociology: examining the production, uses, and interpretations of the visual
•Sociology of the visual: combining art production as a part of the research (Thomson, 2008)
•Through visual sociology and sociology of the visual, art educators become aware of the perceptions and interpretations of visual cultural materials students are exposed to inside and outside of educational environments (Kendrick & Mckay, 2002)
•Is there any point in using a computer to create art when a traditional medium achieves equal or better effects? (Wood, 2004) •‘Ngeners’ are using digital media to learn, work, play, communicate, shop, and create communities very differently than previous generations •Are art educators going to deny students the possibilities of technology because of traditions? •Tool or a subject? •Learning about and from the technology but also with the technology (Boethel & Dimock, 1999; Martini, Panayotidis, & Moss, 2005) •Is it possible for students to be creative when using technology? (Bryant, 2010; Livingstone, 2010) •Issues/barriers (Betts, 2008; Loveless, 2003; Mills, 2010; Radclyffe-Thomas, 2008; Wood, 2004; Boethel & Dimock, 1999)
•Without embracing an integration of art and technology, are art educators doing a disservice and influencing technologically illiterate citizens? •What, if any, variables positively affect the creation of stop-motion animation for learning? •If stop-motion animation is to be successfully integrated, what should art educators be aware of? •What is stop-motion animation? •Students learn better when they reflect during the process of meaning making (Moreno & Meyer, 2007)

•As students construct or create knowledge with technology, they seek and process information, reflect on their understandings, beliefs, and thinking processes (Boethel & Dimock, 1999)

•As students create and consume art, it is important they reflect on the process they follow
•Adds another dimension to the discussion of integrating stop-motion animation in art education

•Language is only a part of meaning-making; the visual, spatial, audio, linguistic and gestural are also significant (Albers & Harste, 2007; Mills, 2010)

•Imagination, vision, and problem solving; the role of the student is transformed into a designer and producer of their learning (Albers & Harste, 2007)

•Students critically analyze lighting, shadows, facial expression, body movement or gestures, speech, audio, sound effects, and space (Mills, 2006)

•Critical awareness of texts
•Being creative does not have to come at the expense of learning technological computer skills (Bryant, 2010)

•Shovelware (Schrand, 2008)

•It is up to the art educator how they approach the new technology

•A restructuring and rethinking of the way educators approach teaching and learning with technology is necessary (Livingstone, 2010; Thomson, 2008)

•Creatively use their existing technological devices and in turn better relate and communicate with the world around them
•Evaluate, rationalize, gather, and share knowledge (Thompson, 2008)

•Self, peer, and teacher discussions that may lead to greater insights (Bryant, 2010)

•Reflect on the ideas of others (Mills, 2010)

•Rethinking of the traditional student-teacher relationship •Is stop-motion animation a medium whereby traditional learning and assessment can take place?

•Educators who use traditional methods to utilize stop-motion will encounter many obstacles and barriers that may not be conquered without considerable grief

•Art educators may be less inclined to implement stop-motion animation in their education programs with all these added obstacles

http://www.aardman.com/ http://mashable.com/2010/04/17/best-lego-music-videos-youtube/ http://mashable.com/2010/05/29/stop-motion-videos/
•The use of stop-motion animation in art education has the possibility of making students’ learning more authentic and relevant (Moreno & Meyer, 2007; Carpenter & Taylor, 2006)

•Expand their visual literacy skills through the creative and collaborative experiences present in stop-motion animation

•Students also have the opportunity to use visual technology to understand, engage, communicate, and reflect in and about their present culture •When technology is not being used in a creative manner, traditional classroom practices and experiences do not expose students to collaborative multimodal learning experiences

•A need to reconceptualize art educator’s approaches to technology

•A reconceptualization of how both educators and students function within technologically rich art education environments “The proper artistic response to digital technology is to embrace it as a new window on everything that's eternally human, and to use it with passion, wisdom, fearlessness and joy.”

Ralph Lombreglia
(as cited in Genn, 2010)
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