The lesson looks at some sources about the Beautiful and the Sublime. The goal is to then figure out what significance this distinction carries.
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The Visual Storytelling lesson plan is a series of four learning ladder activities designed around mobile/digital technology for use by intermediate art and design students. It is a framework for concept ideation, visual design planning, and production. Activity 1: Story Slides is a foundational activity for developing narrative visual storytelling skills. It can be used as an icebreaker for introductions as well as provide the instructor with an authentic assessment of current student visual design skills.
Teaches creative design based on the scientific method through the design, engineering, and manufacture of a detailed inlaid tile. This is an introductory lecture/studio course designed to teach students the basic principles of design and expose them to the design process. Throughout the course, students will be introduced to the terminology and concepts that underlie all forms of visual art; which--in many ways--forms the basis for the design of all physical objects. Along with learning mechanical skills, thinking both critically and visually, and working with different media, the students will consider how the arts grow out of and respond to particular cultural contexts and ideas; and how these thinking patterns can be applied to virtually all types of design.
Presentations, lectures, demonstrations, discussions and various artistic works will be used to show students how other artists and designers have dealt with the same issues they will be facing in lab. Each class will begin with a critique of the students' homework, followed by a discussion (and presentation when appropriate) of the pertinent issues of that week. All aspects of the course will aid the teams of students in designing and building a major inlaid tile whose elements are designed as digital solid models and manufactured on an abrasive waterjet machining center. The course will conclude with an exhibit of the completed tiles open to the MIT and the Greater-Boston public. Enrollment is limited to 16 students who will be divided into groups of 4 students each. Preference will be given to students who attend the first day of class in a pre-selected team of 4.
Becoming the Next Bill Nye is about using video production techniques to develop your ability to engagingly convey your passions for science, technology, engineering, and / or math. You'll have the opportunity to script and on-screen host 5-minute YouTube science, technology, engineering, and / or math-related shows to inspire youth to consider a future in science.
This class provides an introduction to modern art and theories of modernism and postmodernism. It focuses on the way artists use the tension between fine art and mass culture to mobilize a critique of both. We will examine objects of visual art, including painting, sculpture, architecture, photography, prints, performance and video. These objects will be viewed in their interaction with advertising, caricature, comics, graffiti, television, fashion, folk art, and "primitive" art.
This class introduces fundamental issues in sculpture such as site, context, process, psychology and aesthetics of the object, and the object's relation to the body. During the semester Introduction to Sculpture will explore issues of interpretation and audience interaction. As a significant component to this class introductions to a variety of materials and techniques both traditional (wood, metal, plaster) as well as non-traditional (fabric, latex, found objects, rubber, etc.) will be emphasized.
This course is an introduction to principles and techniques of visual communication, and provides opportunities for science and engineering majors to acquire practical skills in the visual computer arts, in a studio environment. Students will learn how to create graphics for print and web, animations, and interactive media, and how to use these techniques to effectively communicate scientific and engineering concepts for learning and teaching. This class involves three hands-on creative projects, which will be presented in class.
This course investigates relationships between two media, film and literature, studying works linked across the two media by genre, topic, and style. It aims to sharpen appreciation of major works of cinema and of literary narrative. The course explores how artworks challenge and cross cultural, political and aesthetic boundaries. It includes some attention to theory of narrative. Films to be studied include works by Akira Kurosawa, John Ford, Francis Ford Coppolla, Clint Eastwood, Orson Welles, Billy Wilder, and Federico Fellini, among others. Literary works include texts by Aeschylus, Sophocles, Shakespeare, Cervantes, Honoré de Balzac, Henry James and F. Scott Fitzgerald.
This course explores visualization methodologies to conceive and represent systems and data, e.g., financial, media, economic, political, etc., with a particular focus on climate change data in this version of the course. Topics include basic methods for research, cleaning, and analysis of datasets, and creative methods of data presentation and storytelling. The course considers the emotional, aesthetic, ethical, and practical effects of different presentation methods as well as how to develop metrics for assessing impact. Coursework includes readings, visualization exercises, and a final project.
This resource was created to help students understand that implicit biases are mental shortcuts that all brains do. They happen without awareness and are socially conditioned and unconscious. A person's conscious mind might not truly agree with the implicit bias that they harbor and could unintentionally act upon.It is important to learn about implicit bias to prevent the negative consequences of these biases. To thrive in this world, we all need to know how to work together. Unfortunately, some barriers need to be overcome. Teamwork skills are vital, and a positive, inclusive environment helps greatly in the development of teamwork skills.
The book offers a blend of theory and practice in guiding readers to apply design thinking principles to solving some of our world’s biggest problems. At the same time, readers are encouraged to become aware of new and emerging technologies that make prototyping and applying solutions a reality.
This class offers a foundation in the visual art practice and its critical analysis for beginning architecture students. Emphasis is on long-range artistic development and its analogies to architectural thinking and practice. Students will learn to communicate ideas and experiences through various two-dimensional, and three-dimensional, and time-based media, including installations, performance and video. Lectures, visiting artist presentations, field trips, and readings supplement studio practice.
Intended for middle, high school, and early college classes, this learning resource takes a multifaceted look at 19th-century painting in France, as well as at the culture that produced and is reflected by that art. Organized by region, it provides a quick glance at the setting, history, and cultural life of Paris, the ële-de-France, the mountain areas of Franche-ComtÂŽ and Auvergne, Normandy, Brittany, and Provence as well as in-depth examinations of more than 50 works of art. The packetÅs classroom guide includes activities that bring the music, literature, politics, cuisine, and artistic strategies of 19th-century France to life. Recommended for social studies, history, French language, and art curricula.
Richard Kobayashi, bust portrait, facing front. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-27. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.
Corporal Jimmy Shohara, head-and-shoulders portrait, facing front, in uniform. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-34. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.
Yoshio Muramoto, bust portrait, facing front. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-62. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.
Miss Michiko Sugawara, head-and-shoulders portrait, facing front. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-74. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.
Nurse standing behind man in wheelchair with young man talking to two young women in foreground. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.
Henry Hanawa, bust portrait, facing front. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.