Global Education. INSTITUTION British Columbia Art Teachers Association, Vancouver

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AUTHOR McCoubrey, Sharon TITLE Global Education. INSTITUTION British Columbia Art Teachers Association, Vancouver. REPORT NO ISSN-0710-0744 PUB DATE 94 NOTE 50p.; For related items, see SO 025 594-595. AVAILABLE FROMBCATA, Provincial Specialist Association of the BCTF, 105-2235 Burrard Street, Vancouver, British Columbia V6J 3H9, Canada. PUB TYPE Collected Works Serials (022) Guides Non- Classroom Use (055) JOURNAL CIT BCATA Journal for Art Teachers; v34 n2 Sum 1994

EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS Art Activities; *Art Education; Artists; Conservation (Environment); Elementary Secondary Education; *Environmental Education; Eskimos; Foreign Countries; *Global Education; Instructional Materials; Metaphors; Recycling; Technological Literacy; Virtual Reality; Visual Arts IDENTIFIERS British Columbia; *Canada

ABSTRACT This theme issue focuses on topics related to global issues.(1) "Recycling for Art Projects" (Wendy Stephenson) gives an argument for recycling in the art classroom;(2) "Winds of Change: Tradition and Innovation in Circumpolar Art" (Bill Zuk and Robert Dalton) includes profiles of Alaskan Yupik artist, Larry Beck, who creates art from recycled items, and Inuit artist, Alootook Ipellie; (3) "Honouring the Environment through Art" (Sharon McCoubrey) makes connections between art and environmental concerns and offers suggestions for classroom related projects;(4) "The Electronic Environment: A Revolution in Image Production and Consumption" (Don Bergland) describes some specific technologies including the man made environment, virtual reality; and (5) "Diamonds are Forever: The Use of Metaphorical Art to Help Students Develop an Environmental Ethic" (Gloria Snively Corisglia) provides sample lessons of metaphor used to integrate environmental studies and art education. (MM)

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BEST COPY AVAILABLE By: Brianna Scan, Richmond, B.C. Global Education 2 British Columbia Art Teachers Association Volume 34 Number 2 Summer 1994 Journal Editor: Sharon McCoubrey

BCATA, Provincial Specialist Association of the BCTF 100 - 550 West Sixth Avenue, Vancouver, B.C. V5Z 4P2

GLOBAL EDUCATION

Editor's View 3 Sharon McCoubrey

Recycling for Art Projects 5 Wendy Stephenson

Winds of Change: Tradition and Innovation in Circumpolar Art 12 Dr. Bill Zuk and Dr. Robert Dalton

.4( Honouring the Environment Through Art 19 Sharon McCoubrey

# The Electronic Environment: A Revolution in Image 27 Production and Consumption Dr. Don Berg land

Diamonds Are Forever: The Use of Metaphorical Art to 35 Help Students Develop an Environmental Ethic. Gloria Snively Corisglia

Book Reviews:Tell The World 44 The Elders Are Watching 45 On A Different Topic 46 Drawing Against the Odds Mia Johnson

ISSN 0710 - 0744

The BCATA Journal for Art Teachers is an official publication of the British Columbia Art Teachers' Association. The opinions expressed in the journal are those of the authors and do not necessarily reflect the views of the editors or the association.

3 Artist's Statement:

11.1 drew this picture to show how the earth is very sick and is in danger, as well as lots of these animals are endangered species. Us people are killing ourselves, the earth, the plants and the animals. We are also polluting the grounds and the water with garbage and chemicals. We need to stop this or we will be in deep trouble." Brianna Scarr

The illustrations in this Journal accompany the `articles and are individually acknowledged.

BEST COPY AVAILABLE (EDITOR'S VIEW

World peace, social justice, ozone monitoring, cultural diversity, waste reduction, international aid, environmental preservation... Global education encompasses many topics of immense importance. Few current debates in education or resources for teaching fail to make reference to global education.

What role does art play in global education? This Journal answers that question in relation to several of the topics listed above.

A day spent volunteering at a recycling station does much to convince one of the need to recycle and reduce garbage. Wendy Stephenson gives a strong argument for recycling in the art classroom. Along with the sound pedagogical justification for doing so, she offers practical suggestions to facilitate recycling.

"We often think of our Arctic as remote, pristine, and cold...great rivers, extensive forests, open tundra, and unspoiled wilderness." (Canada's Green Plan, 1990). Bill Zuk and Bob Dalton take us to the Arctic in their article "Winds of Change" and provide us with an insight into circumpolar art that may be new to many of us. One of the artists profiled in this article provides a good example of creating art from recycled items.

"Honouring the Environment Through Art" makes some connections between art and environmental concerns and offers some suggestions for related classroom projects.

Having recently completed a year working in an interactive software company, Don Bergland is able to give us an update on an environment of a different kind, the electronic environment. "...one of the most amazing environments ever developed by humans" (Don Bergland). In addition to describing some of the specific technologies, including virtual reality, digital libraries, encyclopedic multimedia etc., Don discusses the visual nature of the electronic environment and presents a challenge for teachers.

Gloria Snively Coisiglia reminds us of the importance of the metaphor in learning. Her article describes ways to use visual metaphors in the classroom in order to facilitate the students' understanding of environmental issues.

The power of art can be very effective in dealing with the serious issues of global education. The responsibility for global concerns must be carried by all, including the art class. Connecting art to global issues provides a mean- ingful and relevant context for the students visual exploration. The challenge is there for all of us as educators to ensure that art is part of global education.

Sharon McCoubrey Journal Editor

A Dream

I dream at night, About a land of peace and happiness A land of love and faithfulness.

A land where there is no war. And where there are no people that are poor.

Where everyone has equal rights, Where there are no fights, Where everyone is judged by who they are and not by what they own.

Where there is no pollution, But where oh, where is the solution?

Alison McCoubrey

Editor's Note: While I was working on this Journal this summer, I received a letter from my nieces in Ottawa, and the following poem connects directly to the focus of this Journal, so I include it here. Thank you, Alison.

Correction: In the last BCATA Journal, Vol 34 No. 1, I referred to Carol Fineberg's work with Project Zero. She has since informed me that although she found the research work from Project Zero to be very useful, her research was on New York City's Arts Partners Programs. Thank you for the clarification, Carol.

JEST COPY AVAILABLE Recycling for Art Programs: Making Art with Found Objects and Freely Available Materials by: Wendy Stephenson

Teacher resourcefulness portunities. With the proposed how much they cost are im- has often led to the use of recy- recycling approach, students portant elements in learning cled materials in art programs. would be expected to contrib- about the production of art. Some Canadian curriculum ute materials to their own (Lowenfeld, 1987, pp. 462- guides have acknowledged the projects and to class activities, 3)[ital ics added] potential of such materials, and scouting around to bring sup- the successful use of recycla- pliesfrom home, outdoors, While the term recycling ble, natural, and freely avail- and the community. may not have been current able materials has been docu- when Lowenfeld was first writ- mented in many articles about It would probably be best if ing in the late 1940s, this state- art activities. no art materials at all were ment shows that he realized available for the high school the value of making the acqui- More and more artists, sci- student to use. This would sition of studio materials chiefly entists, inventors, and citizens mean thateverymaterialwould the responsibility of the stu- are beginning to think in terms have to be obtained through dent. In the same passage he of recycling and creating new the students own efforts. The showed that he was sensitive objects from old ones. Art clay would have to be pur- to differing economic capabili- teachers, often by necessity chased locally or dug from a ties of students stating that the more than anything else, have clay bank. Lumber would have cost of materials should not been doing this for years. It is to be obtained from the local put non-affluent students at a now time for us to expand on building supply house and disadvantage. The proposed our use of recycled materials sculptural supplies from the recycling approach avoids any in our classrooms and to em- local junkyard. The advantage possible inequity by having stu- phasize to our own students in this type of arrangement is dents provide only those mate- the reasons for reusing materi- that the student will be able to rials thatthey can acquire with- als (Congdon, 1991, p. 68). continue using these sources out cost from available sources after graduation. [Otherwise] or from nature. Teachers would A commitment to the pro- interest in art may die because continue to purchase any ma- posed recycling program could of the unavailability of materi- terials needed for the program create additional learning op- als; knowing where to get them, that can not be acquired freely

5 7 or substituted for in some way. businesses or industries in the skills and knowledge which The broad range of art projects community that would be will enable them to enjoy a that can be undertaken using willing to donate suitable re- productiveand satisfying life recycled and natural materials lated materials that would and to be positive, responsi- are revealed in many books otherwise be disposed of. ble participants in ourdemo- and publications on art activi- .Where storage space is inad- cratic society and the global ties. Relief printing is shown to equate, each student can cre- community. rely on found objects; three ate some, perhaps personal- .The District will encourage dimensional sculptures and izing her or his own box, and support the involvement assemblages feature discards container, or drawer. Some of parents and the commu- from the local service station additional storageoutside nity as partners in the school and lumberyard; banners and the classroom may be re- system. wall hangings give new life to quired to accommodate do- .An effective learning envi- scraps of fabric, old buttons, nated materials. ronment should engage the bits of ribbon, and beads; . Artteachers communicate learner in building positive, weavings and baskets incor- their proposed art schedules realistic attitudes towards porate wild grasses; collage well in advance so that stu- both self and society. work integrates commercially dents have adequate time to It seems that a major empha- printed posters, advertising ma- find and bring in specific re- sis on using recycled materials terials, and other detritus; hand- cyclable materials by the time in the art program could con- made paper books incorporate they are needed. tribute significantly to these scrap paper and laundry lint. .The art class nurtures sup- aims. Instilling a recycling The proposed approach aims portive relationships between awareness would build realis- to operate on the following school departments to ensure ticattitudesin students by help- assumptions. a free exchange of equip- ing them to realize that the . Nomaterial should be pur- ment, recyclable materials, earth can not provide the chased or supplied by the art and services between depart- world's population with un- teacher where the materials ments. limited resources, that materi- function can be provided by .Several media are worked on als do need to be reused in reuse of materials that the at once in the classroom in various ways and that contrib- student can bring freely from order to make the best of uting recycled material to their home or outdoors or that are existing materials and equip- art program is something spe- in the school and would oth- ment. cific that gtudents can do to erwise be thrown away. To assess how a recycling help protect the environment. .Students are expected to approach may be justified ac- In addressing issues relating to bring recycled materials for cording to a schools stated art education and the environ- their own art projects as well goals, consider excerpts from ment, Barbosa (1992, p. 60) as to contribute to a pool of the Statement of Philosophy of stated, other responsibility of materials for the class. the Richmond (BC) School art educators is to create aware- .No materials are to leave the Board (1989). Presumably this ness of the environment and its artroom as waste that have philosophy and those of other link to social issues. potential use for future art schools are not dissimilar. projects. This includes the The Philosophy (pp. 1-3) By tracking down and us- smallest scraps of paper that states (in part) that: ing reusable materials, students can be used in papermaking .The Richmond School Dis- can become more productive or collage. trict is dedicated to provid- by learning how to "make due" .Senior students are expected ing opportunities for all stu- creatively. to have some contact with dents to develop the attitudes,

6 Encouraging parents in- track, Congdon (1991, p. 71) Aesthetics volvement, by having them on states, perhaps we will think the lookout for possible reus- about recycling and ways that The study of aesthetics parable materials and perhaps it can give us identity, spirit, ticularly can be brought more helping children deliver these and humor "She comments, sharply into focus when based materials to school, has the "Folk artists have always been on an examination of art potential of creating further par- good at this" (p. 68). projects made with recycled ent/school contact. Many par- materials for the same reason ents would undoubtedly wel- As this latter comment sug- that Morreall and Loy (1989) come an outlet for materials in gests, the use of recycled mate- see the value of examining their home that would other- rials encourages acceptance of kitsch as an alternative to ex- wise be discarded. a wider definition of art and amples of traditionally-valued recognition of a broader vari- art in considering aesthetic In trying to establish apart- ety of art worlds, not just that of questions. They state: nership with the community, high art in the dominant cul- talking with people in busi- ture (Chalmers, 1991, p. 57). There is a danger that stu- nesses, retail outlets, and in- By focusing on more inclu- dents may come to have too dustries senior students seek- sively defined art made from much reverence for all works ing sources of specific kinds of recycled and nontraditional of art and feel uncomfortable supplies would learn to materials, teachers can ap- criticizing any of them. By uti- broaden their contacts. In the proach, in a comfortable way, lizing examples of kitsch and Lower Mainland of BC, organi- issues relevant to their diverse lesser works of art, that danger zations within the community learners why the art products is greatly reduced. The students which indirectly contributed from their particular cultures can usually spot quite easily materials to schools via the or groups may be viewed as what's aesthetically bogus in non-profit Imagination Market craft rather than being given kitsch items, and that allows (now defunct) are likely to be the status of high art, and who them to gain confidence and just as willing to give any of has the right to confer this sta- sensitivity in talking about more their unneeded materials di- tus and to decide what is and important works. rectly to students from local what is not art. schools. In examining their own Curricular Issues projects utilizing recycled ma- While students will find lo- ter i a I s,students willbe cating and acquiring materials Encouraging the use of prompted to "develop their to be one kind of learning ex- freely available, nontraditional own criteria and abi I ity for mak- perience,utilizing these materials could also helpteach- ing aesthetic judgments" nontraditional materials will ers introduce in a more mean- (Madeja and Onuska, 1977, p. ingful way the exploration of challenge them in yet other 12). aesthetics, art criticism, and art ways. Teachers can encourage history, while broadening the Some of the questions they students to accept the idea of range of approaches sanc- will deal with include:What is using recyclable materials by tioned in the studio portion of helping them realize that such the course. This approach art? What is beauty? Why does materials are in many ways a could also contribute to the one art project achieve the sta- reflection of our lives and that other curriculum concerns al- tus of art while another re- starting from these materials ready alluded to, such as ecol- mains a mere compilation of can help all of us make art ogy, conservation, multi- materials? which is closer to our time and culturalism, communications, place, thus more readily ex- and social and personal re- pressing who we are. On this sponsibility. 7 9 Sensitizing students to also re- Art Criticism wishes to express. What is the act to what they find in the contribution of the material to environment without letting Dealing with art made from what the form conveys? How associations of source, or past recycled, nontraditional mate- does the material affect the ex- use, cloud their judgment, can rials can pose some particu- pressive content of the work? also help students broaden their larly intriguing questions be- How would the work be al- aesthetic taste. Believing that it cause it is not always possible tered if another material were is possible to increase one's to translate views about exist- used? abi I ity to see beauty, Lowenfe Id ing mainstream art to such (1987, p. 319) wrote: work, thus more critical judg- Art History Much of modern society now ment is required. has a heightened awareness of Teachers can continue to ecology, and children need but Looking at a well-known integrate the study of relevant little encouragement to de- piece of art, made from recy- art history with the studio work velop a concern for their envi- cled material, the teacher could of the students. In dealing with ronment. Discovering the guide students through a criti- a recycling approach, this en- beauty of natural materials cal process of examining the courages focusing on the work need not be limited to woods feeling it evokes, determining of recognized artists who have and streams alone. Even scrap the work's formal structure, worked with similar materials. material can have hidden searchingfor its symbolic clues, Working in relief or creating beauty in it. Rusty iron, or wrin- considering its theme, and de- assemblages from recycled ma- kled paper, or even mould or ciding on the contribution of terials would undoubtedly kin- mildew can be pleasing to look the materials used, and deter- dle an interest in the reliefs of at if one is able to redefine mining how all these elements Kurt Schwitters, the large works values and not think of them as reinforce each other and how of Louise Nevelson, and the discarded and rejected parts of changing any one of these as- sculptural assemblages of Pi- a sometimes oversterile envi- pects would significantly alter casso. Similarly students doing ronment. the meaning and effectiveness bannermaking, quilting,or of the work (Eisner, 1972). other fiber-based work would The questions of change in Through this critical viewing, find the art of Joyce Wieland, taste through time and the ex- students could determine the Norman LaLiberte, and tradi- istence of aesthetic pluralism relevant achievement of the tional and contemporary across cultures is also readily work and judge why this par- quiltmakers highly relevant, explored in considering art ticular piece might be consid- while those working with ma- madefromfoundand ered better or worse than a terials from nature would more nontraditional materials. The piece that they have produced fully appreciate the arts of the way that the controversial in the same genre. Pacific Northwest Coast or ready-mades of Dada artists those of Melanesia. Similarly and the plastic pieces BC's lain Judging found art and art those creating collages from Baxter, for example, have been from recycled materials ad- scrap paper or commercially perceived by the public may dresses the role of intentional- printed ephemera and memo- suggest to students that aes- ity in art, another central ques- rabilia would be curious about thetic taste shifts through time. tion in the study of aesthetics. how Leana Fay, Braque, and On this, Eisner ( p. 110) writes: Robert Rauchenberg con- fronted the same problems they Often (the material) is di- have been challenged with in rectly related to the type of creating art with these same visual meaning that the artist materials. Also of interest

8 .0 would be work from One of the most important Implementation multicultural sources, tradi- aspects of utilizing recycled art tional women's art, and folk materials is that it would en- A recycling approach art, as well as from the major courage students to develop would probably be most read- movements such as Cubism, an eye for potential materials. ily implemented atthe elemen- Constructivism, and Abstract Seeing and responding to pos- tary level until such a time as a Expressionism (sculpture and sible materials all around them, new set of expectations can be collage), along with lesser- and realizing that such materi- cultivated among secondary known contemporary artists als have the potential to be students. A senior art teacher from around the world relying made into art, would give learn- at a secondary school in Van- on reusable and scrap materi- ers continuing ideas for projects couver indicated that there are als. as well as encourage them to a few students who can be maintain an involvement with counted on to always bring Dealing with the same art production after they have requested materials, but she materials and techniques as left school and no longer have said the program would come these other artists would make access to teacher-provided to a standstillif the teacher students more receptive to materials. were depending on materials studying what is relevant to being brought by all students. their own work rather than just Students should be encour- An elementary school teacher looking at this art for its own aged to work with the materi- in the same area of Vancouver, sake. Students could also con- als around them that they are however, had no problem re- sider questions that relate to most sensitive to; they could cently in getting her grade fours why some work recognized by benefit from being shown how and fives to bring recyclable arthistorymadefrom other artists do this. Canadian materials to use in their pottery nontraditional materials has urban artist Betty Goodwin lesson. She sent home with had the status of art conferred turned to painting on truck tar- them a list of recyclable items on it and been displayed in paulins in finding them par- and gave them a few days' galleries and museums while ticularly appealing because of notice to bring them to class. art made from similar materi- their individually marked and Almost all children brought, as als by artists from diverse stained surfaces. British artist requested, at least three sug- groups has not been admitted Andy Goldsworthy, in touch gested items on the list of freely as a "candidate for apprecia- with nature, creates his art by available and at-hand materi- tion by the art world" (Cham- organizing and transforming, als and equipment (ice cream bers, 1989, p.9). and then photographing, natu- buckets, yogurt containers, ral materials such as leaves, plastic bags, combs, wire, etc.). Studio Production stones, ice, and grasses where It seems that by starting with he finds them in fields and the elementary grades, a new In the classroom utilizing woods. set of expectations could be recyclable materials, students instilled that could carry for- need to be alerted to the fact While utilizing recycled ward to thesenior grades. that idea and materials still materials is likely to encourage Secondary school drama teach- need to work together. They more diverse activities going ers for some time have expected need to realize that a unique on in the classroom at any one students to routinely come up material can spark an idea or time, recycling need not alter with various items to serve as an idea can create the need to the overall goals of the art pro- costumes and props for the search for a specific material- gram or make it material- improvised plays that they per- materials and ideas thus can driven. form in class. Such resource - feed on each other, but neither fu I ness, therefore, seems not to can work on its own. 9 11 be too much to expected of Organization, concept of art. They are likely visual art students of the same to feel a greater ecological age once the idea of pooling Storage, and Timing awareness and sense of social recyclable materials for the art of Material responsibility in the way they class has been introduced. Dur- Contributions relate to the resources around ing the depression era, many them. This approach is likely art programs relied on contri- to increase their sensitivity to butions from students, as evi- In deciding to implement a the art of a variety of other dent from a significant percent- recycling approach, teachers cultures and time periods that age of the articles in School need to encourage students to have utilized recycled and ArtsMagazine during that time contribute, receive, organize, freely available materials. Es- period. and store recyclable materials tablishing a recycling approach in a way that makes them us- in the art program could also Establishing able and accessible. A tenet help students seethe artmaki ng worth teaching and worth potential of materials around Departmental Ties knowing early in life is that you them, which could encourage As well as aiming for don't really "have" a material if their involvement with art mak- stronger ties with businesses you can't find it when you want ing throughout their lives. and industries in the commu- it. Students will need to learn nity and between the class- to organize materials wallpa- References room and the home, the recy- per books, small plastic and wooden items, pressrun end Barbosa, A. M. (1991). Art education cling approach for the art pro- and environment.Journalof gram could encourage the for- cuts of paper, old theatre post- Multicultural and Cross-cultural Re- mation of stronger alliances ers, etc. so that they are avail- searchinArtiducation- 9, 59-64. between classrooms and able and usable when students Chambers, J. H. (1989). The aes- school departments. The po- need them. Teachers will want to ensure thetic-artistic domain, criticism, and tential of receiving used cos- teaching Journal of Aesthetic Mu- tumes from the theatre depart- that receiving contributed ma- ration 23(3), 5-17. ment or fabric scraps from the terials does not distort the tim- family studies class (or even ing of the planned art program. Chalmers, F. G. (1991). Art worlds, environmental images. Journal of borrowing one of their sewing Posting an activities schedule well in advance and determin- Multicultural and Cross-cultural Re- machinestousefor a search in Art Education, 9, 57-58. bannermaking project), or re- ing how to respond to incon- ceiving wood scraps from the veniently-timed offers of ma- Congdon, K. G. (1991). Art worlds, industrial arts program to use terials should serve to mini- environmental images, and art edu- mize any potential problems. cation: A folk art focusJournal of in relief work or three-dimen- Multicultural and Cross-cultural Re- sional assemblage should en- search in Art Fdlication, 9, 65-72. courage new interest in the In Conclusion activities of these other classes Eisner, E. W. (1972) Fdurating artis- It appears that introducing as the art teacher tries to deter- tic vision, New York: The Macmillan a recycling approach to pro- Publishing Co., Inc. mine what she or he can offer viding material for the art pro- in trade on behalf of the art gram offers several learning op- Lowenfeld, V., & Lambert, W. B. class. (1987) Creative and mental growth: portunities. In fact to not uti- A textbook in art education. (8th ed.) lize such a practice seems like New York: MacMillan Publishing. a lost opportunity. Through recycling, students can appre- Madeja, S., & Onuska, S. (1977). ciate, and can be challenged Through the arts to the aesthetic St to work with, a more inclusive Louis, MI: CEMREL, Inc.

10 12 Morreall, J., & Roy, J. (1989). Kitsch and aesthetic education Journal of Aesthetic Education- 23(4), pp. 68- 71.

Richmond School Board, (1989). Statement of philosophy. Unpub- lished manuscript. Richmond School Board, Richmond, BC.

Footnotes

1. The Imagination Market, a Vancouver-based non-profit organization, solicited and received discarded remainders and waste products (many of unusual shapes, forms, and materials) from business and industry and made them available at low prices through a storefront retail outlet that teachers, parents, and artisans took advantage of as a source of supplies for creative activities.

Wendy Stephenson teaches in the Faculty of Education at the University of British Colum- bia.

11 Winds of Change: Tradition and Innovation Circumpolar Art By: Dr. Bill Zuk and Dr. Robert Dalton This article deals with an art and its role in sustaining conditions have developed in ongoing project which exam- tradition and expressing their them an ingenuity and resil- ines the perspectives of abo- cultural identity? ience which gives a particular riginal people in the 3. What role do traditions play character to their art-the drama circumpolar regions of the in influencing the way art is and exhilaration of life plays world and their view of tradi- currently being made? itself out in their carvings, paint- tion as an important founda- 4. How does innovation in their ings, prints and other art forms. tion for culture. It also exam- art reflect new outlooks and Their artwork reveals a humour ines innovation as an impor- concerns? and seriousness about daily liv- tant aspect of renewal. Com- ing. It also depicts a profound ments by scholars and aborigi- Background closeness to the land, an ex- nal artists are discussed and tensive knowledge of the myths the work of two individual art- The Arctic regions of and legends of an ancient past, ists is reviewed as a way of Alaska, northern Canada, and an abiding belief in spir- acknowledging the role and Greenland, Siberia and Scan- itual realms and beings. importance of tradition and dinavia (Norway, Sweden and innovation and how innova- Finland)constitutethe This investigation follows tion revitalizes culture, giving circumpolar world. Each of an earlier examination of tra- it new meaning. these countries has substantial ditional and innovative indig- populations of aboriginal peo- enous art in North America In addressing the issue of ple with various languages and (Zuk and Bergland, 1992). The tradition and innovation in cultures. They live in some of present study also deals with circumpolar art, a number of the harshest and most remote the Inuit of the Canadian Arc- questions must be asked: areas of the planet -environ- tic and the Eskimo of Alaska, 1. Who are the aboriginal peo- ments which for thousands of but it has enlarged its scope to ple of the circumpolar. world? years have tested their will and include the indigenous art of 2. What do they say about their ability to survive. These unique the Greenlandic, Siberian and

12 14 Sami people (Laplanders in hunting scenes, animals and Macnair et al (1987) de- Norway, Sweden and Finland). nature, rituals and dance, war scribe the innovator as some- What was of particular interest and conflict, and "other time one who is less restricted in to the writers of this article was honored and time worn themes their use of materials and their not only the distinctiveness and cherished by white patrons as exploration of subject and vibrancy of artwork created by nostalgic tokens of a romanti- form. This process may involve indigenous people in various cized past" (pp.258). Art that ingeniously combining or sub- areas of the Arctic but their has been generated for the curio stituting more than one mate- growing awareness of them- or tourist trade is an example of rial or process, or abbreviating selves, of having shared inter- this kind of tradition. and simplifying ideas while still ests and concerns. This has applyingthe intellectual sharp- been expressed through con- 'In an article written in ness and control that charac- ferences, exhibitions and in Steinbright and Atuk-Derrick's terizes master work from a pre- other ways. Artists are becom- Arts from the Arctic exhibition vious era. To add to this de- ing very aware of each other's catalogue (1993), Fair remarks scription, Jacka (1988) notes work from country to country that the term "traditional" is that the process of innovation in the polar regions (Steinbright used by scholars and many involves an absence of pre- and Atuk-Derrick, 1993). They aboriginal people to suggest dictability in that it typically are showcasing their art in na- two primary groups or catego- departs from rigid structures or tional galleries and other ries of artists. The first group rules. Innovative artwork prominent venues to promote consists of rural based, subsist- evolves through continued ex- public attention and gain cor- ence oriented people who iden- perimentation and an expand- porate sponsorship; they are tify with the form and symbols ing repertoire of ideas. participating in workshops and used in their culture -forms and conferences to develop a pan- symbols virtually unchanged What are the situations or Arctic consciousness among from those of the past. The sec- events that nurture an innova- their own people; and they are ond group of artists builds upon tive outlook in the lives of some writing books and publications traditions. aboriginal artists? While some to disseminate their views are stimulated by experiences about art. A high level of activ- Fair describes the contem- outside their culture, others feel ity and achievement is appar- porary indigenous artist (and they must return to their ances- ent, suggesting that the visual presumably the innovator) as a tral homes for inspiration and artsare thrivinginthe person who is often formally cultural ties. Jacka (1988) notes circumpolar world and there- educated and well travelled, that a slower lifestyle removed fore deserve attention and com- adept at picking and choosing from urban life produces a feel- mentary. ideas and symbols from his or ing of taking a step back in her cultural past and combin- time. This sometimes serves to Tradition and ing them with current ideas generate new ideas. It should Innovation and experiences. While formal be increasingly evident that the education and travel may give idea's pertaining to innovation What are the characteris- artists a new awareness of their discussed so far are either de- tics of tradition and innovation culture, adeptness and versatil- pendent upon or inextricably and how do they manifest ity in combining previous ideas linked to fundamental tradi- themselves in aboriginal art? and experiences with new con- tional values of the culture. Hoffman in (Wade 1986), sug- texts provides a more useful gests that traditional art ideas description of innovation. are often characterized by scenes of daily domestic life,

1315 Voices of the People: with Christiansen's ideas about world civilization. We cannot traditions: return to the old ways, but we Role and Importance must retain the old ways and of Tradition and "The works of the artists reflect them in our attitudes Innovation mirror the physical and spir- and our art" (Blackwood and itual landscape of the north. Hall in Fitzhugh and Crowell, There is an urgent need to The spirit world of myths, leg- ed. 1988, p.326). listen to the voices of aborigi- ends and shamanic imagery is nal artists and what they them- a common theme. These works The balance between tra- selves have to say about the reflect the deep respect for na- dition and innovation is a deli- role and importance of tradi- ture, family and cultural val- cate one for Schoppert who tion and innovation. Their ues and offer a sense of hope sees both as vital. views add a unique perspec- forthefuture"(1993, tive. In an introductory com- Steinbright and Atuk-Derrick, Edna David Johnson does ment from an art exhibition p. 67). not want to be bound by tradi- cataloguecompiled by tions and says so in describing Steinbright and Atuk-Derrick While Anghik's remarks do how she creates with art mate- (1993), Thue Christiansen, a not address innovation, his art- rials: Greenlandic artist, comments work contains much that is "My artwork marks events in

on the important role art serves. new. His monumental sculp- my life.I have a respect for Art can convey the hope of a tures use exotic materials and native traditions, but I refuse to nation like her own to estab- gemstones in innovative ways be bound by them in my art- lish itself, to be recognized as a to reinterpret mythology and work or my life...1 like crossing nation among other great na- stories. boundaries in my artwork: tions. Art may also contribute making mask forms out of cast to those within the society re- The following comments of cedar paper, taking traditional affirming their collective iden- three contemporary indig- geometric basket designs to tity. To accomplish this, she enous artists vary considerably make large pieces of artwork, alludes to the importance of in the way they deal with the using hand manipulated paper traditions and also of change: role and importance of tradi- techniques, weaving tradi- "All of them (artists) use motifs tion and innovation. The first tional patterns in cedar and that stem from their daily life. two artists quoted have Tlingit wood to use in my mixed me- They are artists with a sense of origins. Their ancestral lands dia pieces" (Fitzhugh and respect for the traditions of thei r border the Arctic areas of Crowell, ed., 1988 p. 336). land, but also with a great deal Alaska. Jim Schoppert speaks of courage to receive the offers first: Finally, Susie Bevins- from the surrounding world in Erickson Qirnmiqsak, an Alaska order to renew and receive new "The exquisite work of our Eskimo artist describes the feel- impulses" (1993, p. 62). ancestors teaches us to create ings of conflict that confront work for the day in which we the innovator: The new impulses referred live. By taking the old, breath- to in Christiansen's remarks are ing new life into it, and devel- "If you try anything new, understood to mean new or oping a new creation, the spirit traditionalists shun you, some innovative ideas which are of our people lives. We (native gallery owners disown you, art necessary for revitalization. artists) carry with us fragments critics dislike your work and of our culture and are now some Native people react with Abraham Anghik, a Cana- bringing these elements into disdain. But we have to be dian Inuit artist of consider- the much broader scope of free" (Fair in Steinbright and able repute, seems to agree Atuk-Derrick, 1993, p.20). 14 16 SusieBevins-Erickson making large-scale abstract mammal's appearance, Beck Qimmiqsak's remarks are sculptures fabricated from steel refers to it as a "spirit". poignant in describing the dif- and cast in metal. He worked What seems most innova- ficulties experienced by inno- in this manner for about fifteen tive in the work is its use of vators. She quite likely speaks years before turning to his cul- materials and yet even here for innovative artists every- tural heritage as the main in- Beck explains that his process where. spiration for his art. has roots in traditional forms. There is something new but Many of those who speak Figure 1 shows one of his also something old in the man- about their traditions speak of more recent works in which he ner in which the sculpture is respect, they speak about re- uses found materials to create constructed. He comments: spect for the land and for their animals familiar to the Arctic: "I am an Eskimo, but I'm also a history as a people as told in walruses, polar bears and so 20th century American. I live stories and legends, and on. By its title, Punk Walrus in a modern city where my through various visual symbols lnuasuggests a mingling of two found materials come from of art. In speaking about inno- cultures, Western popular cul- junkyards, trash cans, and in- vation, the artists recognize that tures and Eskimo. The subject dustrial waste facilities, since the work, their world, is chang- of walrus is one which Eskimo the ancient beaches where my ing, and they must change with artists have carved for centu- ancestors found driftwood and it. They respect the past but are ries and this is more than an washed-up debris from ship- not necessarily bound by it. objective record of the marine Those who introduce innovative ideas in their art, sometimes risk censure by those who wish to hold onto the past, and those pressures come from within the group as well as outside it.

Two Case Illustrations of Contemporary Innovations

Larry Beck

Larry Beck is an Alaskan Yupik. Born in 1938, Beck received a formal education in art at the University of Wash- ington where he earned a B.A. Figure 1 in painting and an M.F.A. in sculpture. In the years that fol- lowed, he worked exclusively in the Western fine art tradition

15 wrecks are no longer available one's conquest but to relate "As an Inuk living in the to me. But my visions are mine, events, instruct the young about Arctic, you can expect to get and even though Iuse Baby the hunt, and express respect trapped in a whiteout several Moon hubcaps, pop rivets, for the animal as part of nature times each winter. The cul- snow tires, Teflon spatulas, with whom the Eskimo lived in tural upheaval we experienced dental pick mirrors, and stuff to harmony. in our community in the late make my spirits, this is a proc- fifties and early sixties seems, ess to which the old artists could In talking about his art, Beck in retrospect, a lot like being relate. Because, below these makes reference to his visions. caughtin one of those relics of your world, reside the Here again there is a tradition whiteouts, trapped and unable old forces familiar to the Inua." upon which he has drawn. The to go forward...The traditional (Fitzhugh in Crowell, Ed., 1988, spirit world is one of dreams, period from hunters and gath- p. 333). of encounters with creatures erers to community dwellers who have extraordinary pow- proved fatal for many Inuit who In his statement Beck ar- ers. Such experiences are sig- simply could not adjust" (Ipellie gues that the process which we nificant to him. 1992, p. 24). would call assemblage has been part of Eskimo culture for Alootook Ipellie cut short a long time and it is one which his schooling and went home. older artists in his society would Some years later he returned to understand and appreciate. Ottawa where he began writ- There is a centuries-old re- ing stories and poems, and sourcefulness in Beck's discov- Alootook Ipellie doing drawings for publications ery of new uses for old and for distribution among his peo- discarded items. He has em- Born in a hunting camp on ple, the Inuit. The cartoon is an ployed an image development Baffin Island, Canada in 1952, art form which is sometimes strategy by substituting found Alootook Ipellie is proud of his assigned a rather low status in objects for parts of the walrus heritage as an Inuk. What for- Western art but not so among whose shape they somewhat mal education he received was the Inuit and certainly not by resemble. While the specific in a vocational arts program in Ipellie. It serves as an impor- materials used in Figure 1 are Ottawa, Ontario where he was tant means of communication. not listed, it would appear from sent to continue schooling be- examination of the work that yond the sixth grade. He found "Looking back to where I he has used hub caps for the it difficult to adjust to life in a came from and how Iwas head and neck, oil can spouts large, southern city. He strug- raised, I am extremely proud of for tusks, safety pins and straight gled with the language, with my Inuit heritage, but I think pins for whiskers, and a dark masses of people, and with rigid it's important that a member of material for the back of the schedules. The experience was any cultural group should be head and neck. A narrow strip not a happy one. The transition able to interpret what is hap- runs along the dark material from traditional ways to mod- pening to his or her people" and this appears to be a de- ern was a difficult one for his (Ipellie, 1992 p.24). tailed drawing likely a narra- people too. Ipellie uses a north- tive of community life or the ern metaphor about whiteouts This seems the clear intent walrus hunt itself. Such narra- (an unusual atmospheric con- of his drawing in Figure 2. Like tives were commonly carved dition in which tiny suspended the shaman who transforms in ivory knives and other mate- ice crystals make things indis- himself into a caribou or seal rials, with incised line. They tinguishable in one's surround- in order to intercede on behalf were not meant to boast about ings) to explain: of his people as insurance for 1 8 16 5HAe-YAANJW1.5 A LOT LIA'r V/5/17406 AN AL /CAI woRtD... You CHANGE ACCORDING Irt..4r" AOri6r-100.61-* TO kilseChev YOU WS/ X.. c_n_44C0c_0triLqr.)T., 00, ?L. ei..4"riL4-12- (IICAE rodr-c:_f

...OR SEALS IN THE uNDE R SEA WORLD! ESSENTIAL 0-` Jr"ArLaCI, Ar'Verc- LIVecrirD/).). 41-111-11.61cr`61L'

Figure 2 survival, aboriginal artists also senting a significant political able art, enabling the people to interpret the cultural experi- step towards Inuit self-govern- make a living in permanent ence of their people. They do ment). The shaman's transfor- settlements. This meant giving so in order to contribute to mation seems to symbolize or up their dependence on the their identity as a people and even act as the agency for the hunt with its seasonal migra- to communicate that identity political transformation which tions which sometimes led to a to the dominant culture, a ne- has occurred. meagre existence. The hunters cessity if the culture is to main- turned their skills to carvings tain its vigor. As with the Beck sculpture, and sculptures as well as sten- Ipellie's cartoon rests upon Inuit cil and stone relief prints. They In a remarkable, innova- traditions while introducing created pictures of village life, tive metamorphosis the sha- new ideas or innovations. dreams and legends. But mass man in this drawing enters a Theirs is an oral tradition, one communications such as those room marked N.W.T. (North- in which the important stories newsletters in which Ipellie's west Territories) and undergoes and legends are told from one cartoons are published, are .a an unusual transformation, first generation to the next. A car- newer idea and provide a to a caribou, then to a seal. toon format is ideally suited to means of reaching a much When he leaves, he passes story-telling, and yet the car- larger audience (McGrath, through adoor marked toon, mass-produced by mod- 1989). Written communication Nunavut, the newly formed ern technology, is new. In the is a relatively new phenom- and semi-autonomous region modern era, printmaking was enon in Unuit society. Figure 2 of the eastern Canadian Arctic introduced to the Unuit as a gives an indication of text, pro- (a recent historic event repre- means of producing market- vided in both English and Inuit

17 19 syllabics (syllabics is a system Unuit adjust to new ideas and Fitzhugh, W. and A. Crowell (Eds.) Crossroads of continents" circumstances. (1988) of writing which resembles riiltiirec nf and Alaska Wish- shorthand, introduced to the ington, D.C.: Smithsonian Institu- Inuit in the Canadian Arctic by Summary tion Press. missionaries midway through this century). Where incised Tradition and innovation Ipellie, A. (1992). Nunatsiagmiut: lnuit_Art drawings in ivory may have are important concepts in the People of the good land evolution of cultures, especially Quarterly. 7 (3) Summer/Fall, 22- been mnemonic devices for 28. previous generations of story- ones which have experienced Jacka, L. and J. Jacka (1988) Beyond tellers, those traditions have such rapid and dramatic change tradition. Contemporary Indian art been extended through car- as those in this study. Like the and its evolutionFlagtaff, AZ.: Northland Publishers. toons with text. The cartoon Arctic itself, the people are both resilient and fragile. They have format itselfis not simply McGrath, R. (1989) The influence of adopted from the West. In managed to survive for centu- comics on Inuit art and literature. Ipellie's drawing, the use of ries in a harsh and unforgiving Inuit Art Quarterly Winter 1989, 4- diagonal breaks create differ- land and yet they face unprec- 8. ent changes from those which edented challenges to their su r- vival as a people. One of the Macnair, P., J. Hoover, A. and K. are vertical and represent time. Neary (1987)The legacy_ Tradi- Diagonal breaks represent pas- changes occurring in the Arctic tional and innovation in Northwest sage of another sort, into other is a growing awareness of com- Coast Indian artVancouver, B.C.: worlds or realms. mon concerns and interests Douglas and McIntyre. among the indigenous people of the circumpolar region. Po- Ray, D. (1981), Aleut and Fskimn Traditional life is present in art- Tradition and innovation in South the content of the cartoon, in litical barriers to contact are Alaska London: C. Hurst & Co. the shaman's costume and in falling away and the people the reference to traditional re- themselves are asserting a new Steinbright, J. and C. Atuk-Derrick (1993) Arts from the Arctic. An ex- liance upon certain game ani- collective awareness. Visual art has an important role to play in hibition of circumpolar art by indig- mals, the caribou being the enous artists from Alaska, Canada, main source of food for inland this process and this is evident Greenland, Sami (Lapland) and Rus- dwellers and the seal for coastal in all kinds of artistic activity. It sia. Alaska: Institute of Alaska Na- dwellers. Dreams and spiritual is also apparent in the state- tive Arts and Anchorage Museum of journeys are highly valued and ments of the artists themselves History and Art. and in the work of Larry Beck are accorded great respect in Vorren, 0. and E. Manker (1962). this narrative. Modern life is and Alootook Ipellie. I app life and customs Toronto, On.: also referred to in the cartoon Oxford University Press. by the presence of modern References dwellings entered by wooden Wade, E. (Ed.) (1986) The arts of the Archuleta, M. and R. Strickland North American Indian. Native tra- doors, by written language, and (1991 ).Shared Visions. Native Ameri- ditionsinesulution. New York: Hud- by reference to geopolitical can painters and sculptors in the twen- son Hills Press. changes in the Arctic. tieth century New York: The New Press. Zuk, W. and D. Bergland (1992). Art First Nations: Traditional and Inno- Like Beck, Ipellie has found Barnett, H. (1953) Innovation: The vation Vol. 1 & 2, Montreal, P. Q.: a means of bringing together basis of cultural sbange_ Toronto, Art Image Publishers. the best of two cultures, pre- Ontario: McGraw Hill. serving and validating traditional life while participating Eaton, L. (1992). Tradition and innovation The pottery of New Mexico's Bill Zuk and Bob Dalton teach in a process of cultural trans- Pueblos Vol 61(3) Flagstaff, AZ: art in the Bachelor of Educa- formation as the Eskimo and Museum of Northern Arizona Press. tion at the University of Victo- ria. 1 8 20 Honouring The Environment Through Art By: Sharon McCoubrey

Environmental issues are What role does art play in evance and meaning to their everywhere. It is unlikely that education's efforts to deal with art explorations. one could read a newspaper, environmental concerns? Can magazine, or watch television environmental issues be dealt Several statements from the in a single day and not en- with in the art classroom with- 1994 Visual Arts Curriculum counter a report or dialogue out jeopardizing the nature and will reveal the strong link be- about the concerns for the en- learning inherent in art? These tween art and the environment, vironment. Much of the infor- are relevant questions because and reassure that such a link mation and sense of responsi- historically, art educator's have will contribute to reaching the bility for solutions are directed dealt with requests to play a intended learning outcomes for at education. Curriculum pack- role in other areas of study or art. ages and various recourses fo- topics for the purpose of en- cusing solely on environmen- hancing or decorating that "Perceiving and respond- tal concerns are being created topic, but not necessarily pro- ing to images develops a sen- and distributed; entire confer- viding for learning within the sory awareness and aesthetic ences are being held to deal realm of art. appreciation of our environ- with this topic. These actions ment." are wise as much hope for fu- I believe there is a mutually ture resolution of the problems enhancing connection be- "Communicating through lie with the aware and con- tween art and environmental images is a powerful means of cerned youth. This is confirmed issues. The power of art makes expressing ideas and emotions by Severn Cul I is-Suzuki's com- it an effective vehicle through to satisfy a range of personal ment, "Our message is that which to approach the severe and social needs." children are the future, and the concerns of the environment. mess adults leave will be our Working with the topic of the "Images are made mean- home one day." (Cul lis-Suzuki, environment, which is current ingful to the learner within 1993 p. 4). and prevalent in the everyday personal, social, cultural and lives of our youth, gives rel- historical contexts."

19 These three statements are ing images. The issues of soci- The strongest explanation found in the introduction of ety are the issues of art. for art being a powerful vehi- the VISUAL ARTS Prescribed cle for envi ronmental concerns Provincial Curriculum Guide, We have often said that if liesin the nature of art,it July, 1994, and provide an ex- you really want to know some- touches the spirit. Art can go planation of the nature and thing, draw it. The intense ob- beyond the facts and informa- importance of art education, servation required to see some- tion, beyond the cognitive do- while the following statements thing sufficiently to reproduce main, and reach our feelings. are selected from the learning it in a drawing leads to know- That is a crucial consideration outcomes section of the Guide. ing the subject well beyond because itis primarily when "Make images (2D, 3D) of basic recognition. When stu- our feelings, our spirit, have personal significance from their dents create images of the en- been touched that action is own world" vironment, they get to know it likely to follow. Several artists, in a deeper sense. What fol- Renee Poisson and Dorset "Work cooperatively to lows is a greater appreciation Huntingford, are aware of that make images of social signifi- and admiration for the envi- impact when they create their cance." ronment and the deep concern artwork. "Art is important be- to not ruin or loose it. Artist cause a work comes so strongly "Evaluate art's importance Thomas Beck explains thatthat from the artist that it can be a as an agent of change, person- love and concern is the reason challenging experience for the ally, historically, socially, and for his art work, "My work is a viewers. Something might culturally." connecting link between na- catch their attention and make ture and those of us who have them stop, allowing conscious- "Recognize the role of lost touch with the earth. I am ness a new space." (Carmanah, visual arts in reflecting, sus- thus a catalyst for inciting in 1989, p. 128.). taining and challenging beliefs people a renewed love of na- and traditions in society." ture and a desire to preserve "It is my hope that you can this delicate planet" feel, through my art, at least a We can now be sure that (Carmanah, 1989, p.32). touch of the magic, timeless- our prescribed curriculum does ness, and sheer joy of life that support the art-environment Art is a powerful vehicle exists in nature. It is my desire connection, but the question because the visual message is to pull your heartstrings." "Why is art a powerful way to effective. The voice of art is (Carmanah, 1989, p.86). address environmental con- heard more clearly' than the cerns?" can be investigated fur- voice of the spoken word. Per- We know of David Suzuki ther. A closer look at visual art haps it is the involvement of because of his work in sci- to determine its role in our more of our senses; perhaps it ence, and his great accom- society and its impact on us is the greater amount of infor- plishments in passing on to all personally will provide a justi- mation that is provided by a of us much information about fication for the reference "the visual image; and perhaps the nature. It is true that knowing power of art" viewer is transported to a real the facts and figures about en- experience when looking at a vironmental concerns is an Throughout time, art has visual image. Art educator, Bob important step in taking the reflected society. A major is- Samples said, "Graphic repre- concerns seriously. However, sue in our current society is the sentation makes us deal with David Suzuki has also ac- environment, making it a logi- things in a different way." (Sam- knowledged the power of art cal and common subject for ples, 1990). in the role of dealing with the artists to deal with when creat- environment. "Among non-

20 22 native peoples, science is the most dominant view, but there are echoes of a spiritual atti- tude that differs radically from the fragmented linear perspec- tive of science. Poets, artists, and composers tap into other dimensions of human sensa- tion that could provide a coun- terbalance to the destructive course we have set up for ourselves. We desperately need to search for those alternatives to ourpresentpriorities." (Carmanah, 1989, p.9).

The nature of art makes it a powerful vehicle for dealing with environmental concerns and our students should be involved in creating art about nature.

Classroom Activities The following suggestions for art activities are catego- rized in 4 groups: Environmen- tally Friendly Practices in the Art Class, Art Projects that In- crease Awareness about Envi- ronmental Concerns, Art Projects that Honour the Envi- ronment, and Art Projects That Use Recycled Items. The intent Elizabeth Rose McLaren, Dufferin Cresent Elementary School. in providing these suggestions here is to offer ideas for activities which might be useful to you, and to give a starting point for the planning of many other possible activities that could be done in the classroom.

21 Environmentally Art Projects That . In a spaceprovided at the Increase Awareness bottom of the poster, have Friendly Practices in the students write a comment the Art Class About the about why it is a special place, or what could be done to The following suggestions, Environment save it. not an exhaustive list, serve to Art projects can be used to Laminate the completed post- model environmentally draw attention of the students ers, then display them in the friendly practices for the stu- and of the general public to school hallways, a shopping dents as the art teachers 'do some of the problems of the mall, or other public loca- their part'. environment, the affects of vari- tion. ous destructive actions, and the .Participate in classroom and possible solutions. school practice of recycling Cartoon paper and cardboard. Help Save .Collect and discuss cartoons This Place Poster from newspapers and other . Have abox in the art class- sources that are based on en- room that contains paper to . Painting a pictureof a spe- vironmental issues. be recycled for other art cific location will help the .Identify and discuss the mes- projects. Paper taken from students understand the sage of each cartoon. this box could be used for threat of pollution to all the Ask each student to think of a collages, mosaics, testing environment, including their message about environmen- colours, sketching image own community. tal concerns. . Discusswith the students that ideas, doing rough copies, .Working in a sketch book, artists usually paint landscape and various experimentation. have the students experiment pictures because they think a particular scene is beautiful with characters and ideas that .Avoid excessive and waste- or appealing in some way. could be used to humorously ful use of paper. View slides or pictures of present that message. landscape paintings. .Spend some time looking at .Re-use containers for vari- .Ask the students to think of various cartoons to observe ous purposes in the art room an area of the natural envi- different drawing styles, fa- such as paint mixing, water, ronment in their neighbour- cial expressions and ways to storage, etc. hood that they think is beau- represent characterizations. tiful. This spot could be their .When the ideas have been .Avoid using toxic products back yard, a park, any spot worked out, have the stu- that would be harmful to the they are familiar with. If pos- dents do final drawings on a environment. sible, have the students visit blank cartoon strip. that spot and do a pencil .Display the cartoons or share sketch of it, or have the stu- .Use water as needed, but not them in a school newsletter. wastefully. dents do a pencil sketch of it from memory. Back in the classroom, have Newspaper Headlines . Usethe lights and other elec- the students do a watercol- trical equipment as needed, .Collect newspaper headlines our painting from the sketch. that refer to environmental but not unnecessarily. .When dry, attach each paint- issues. ing to a poster that has been When possible, use found prepared with borders and .Each student will select a objects or recycled items for the title "Help Save This headline, place it as a title on creating sculptures and other Place". his/her art paper, then do a artworks. drawing, painting or cartoon 24 that illustrates the headline. 22 Persuasive Imagery Partner Pictures, use a different format. Problem-Solution . Havethe students draw a pic- .Collect and display pictures ture on each calendar page from advertisements, posters . Havethe students work in to depict any aspect of envi- or magazine articles that pairs for this project. ronmental issues. Each stu- make a strong statement .One student is to draw a pic- dent could create his/her own about an environmental is- ture about what he/she con- calendar, or a group of stu- sue. Discuss the message of siders to be the worst envi- dents could work together to the image and why it is per- ronmental problem. create one calendar. suasive. . Uponcompletion, this pic- .Have the students create an ture is given to the partner Life in a Garbage Dump image, combining collage who then will draw another and drawing, that might be picture showing some solu- .List a number of everyday used to show people about tion to the problem portrayed. activities such as eating at a the disastrous effects of pol- .Display the two pictures to- table, sleeping in a bed, chil- lution. The persuasive impact gether and discuss. dren playing outside, work- of the image might be ing at an office desk. achieved by the juxtaposi- Picture Statistics .Challenge the students to tion of something natural with think about that activity tak- something destructive. . Havethe student research ing place in a garbage dump. various aspects of environ- .Each student will select one Images Exchange mental concerns, such as the everyday activity, then draw amount of garbage dumped or paint it taking place in a .Environmental issues are of per year in an area, or the garbage dump. The inclusion global concern. To assist stu- ratio of milk sold in bottles of actual garbage on the im- dents to think globally about compared to the milk sold in age is an option. this concern, arrange for the cartons. .Display the images and dis- exchange of pictures with an- .Have the students work in cuss the affects of too much other class somewhere over- pairs to meet the challenge garbage and the possibility seas. of representing the statistics of garbage accumulating all .Ask the students to think in a graphic form. around us. about and discuss the envi- .Display the pictures posted ronmental concerns that are next to the written informa- particular to their own area. tion that is represented. Dis- .Create paintings to show the cuss which of the two repre- situation locally showing ei- sentation has the greater im- ther the problem or an action pact. Art Projects that toward a solution. Honour the - Each painting could be ac- An Environmental Environment companied by a written dia- Calendar logue about the environmen- Students can create images tal concerns. .A calendar serves to give re- in the art classroom for the .Exchange the paintings, then minders on a regular basis. purpose of portraying the discussthe issues that are por= . Preparethe calendar pages beauty of our natural environ- trayed in the images received for the months of the current ment. Heightened awareness and how they are the same or year, a computer program and appreciation of the envi- different from the concerns can do this quickly. ronment will increase the valu- that exist locally. .Draw a frame onto the top ing of it. half of the calendar page, or

23 25 Clay Mural they often pay tribute to some David Suzuki, "Convinced aspect of nature, have the of our knowledge and ability .Ask the students to think students choose a particular to control nature, we exploit about the various compo- component of the natural en- the very life-support systems nents of the natural environ- vironment, then write a haiku of the planet in the name of ment, such as rocks, trees, about it. short-term comfort and eco- waterfalls, flowers, birds, but- .Use distinctive printing to put nomic profit." (Carmanah, terflies, etc., then choose one the haiku onto a scroll, then 1989, p. 9). A different state - or two they would like to do brush painting to illus- mentor poem could be used. work with in this project. trate the Haiku. .Ask the students to think .Give each student a slab of about what the statement clay on which they are to Polaroid Images means, what practices or situ- draw an image of their cho- ations are suggested by the sen subjects. Create the im- .Using a polaroid camera, comment. age in relief by carving away have the students walk out- Have each student draw an the clay or building it up. side the school or in a nearby image that portrays his/her . Letthe slabs dry, kiln fire park in order to select a scene personal interpretation of the them, glaze, stain, or paint to photograph. statement. Display the im- the bisqued slabs. . Usethe picture as a starting ages and discuss the varia- .Pre-planning ofthe mural will point, add drawing or paint- tion of interpretations. be necessary to ensure that ing to create an image which all the slabs will work to- represents an environmental Create a Book gether to create the mural. issue. .Display the mural as a repre- .Select and discuss a topic, sentation of nature. Create a Slide such as: What I am going to do to save the earth, or, Envi- Slide Presentation .Ask the students to look for ronment in Danger. and collect very small items .Each student will create one .Have the students select im- from nature, such as seeds, page of a book. The book ages, take sl ides of them, then thin grasses, etc. will have to be planned to assemble them with a sound . Arrangethe small items to determine its size, verticle or track to produce a slide pres- create an image on a square horizontal format, borders, entation to be shown in the of clear mactac. Cover this type of printing, binding, etc. classroom. with a second piece of . Havethe students think about .One approach to take would mactac. Felt pens could then the topic from a personal be to have some of the slides be used to draw on the plas- point of view. taken of images showing the tic to further develop the .The students will create an beauty of nature, others image. Place the mactac image that represents their showing the devastation of square into a slide frame. thoughts about the topic, then pollution or some other en- .Place all the students' slides write a statement to accom- vironmental concern. into a carrousel, select ac- pany the illustration. .A similar presentation could companying music, and .Assemble the pages and bind, be produced using video or project the slide show of im- then share the book with multimedia. ages from nature. other classes or put it in the school library Illustrated Haiku What Does It Mean? .After examining Japanese .Post and discuss a comment, Haiku, and the way in which such as this statement by 26

24 Art Projects That Use Box Sculptures Castoff Collages Recycled Items .Have the student col lect smal .Challenge the students to look cardboard boxes. for a particular item that is There are many items that View slides or pictures of are thrown into the garbage, . normally thrown away. They sculptures, observing the both in the home and at the are to decide on an item that curved lines or straight lines they could collect and accu- industrial or business site. The in the images. following projects use items mulate enough of to use for a .Ask each student to select collage or a mosaic. that might normally be put into and work with an assortment .When each student has de- the garbage. of boxes to create a sculp- cided on his/her particular ture. Glue together as needed. castoff item, post a list in the .When the assemblage is com- classroom in order for all stu- Box Cityscape plete, cover it with plaster dents to help collect for each .Look at various art works that creating both smooth and tex- other. portray cityscapes. Discuss tured surfaces. .When sufficient items have the basic layout and features .An alternate finishing op- been collected, have each of the local community. tion would be to paint the boxes student create a collage or a .Have the students bring from white, then add black lines in mosaic that is made up of the home various small boxes varying patterns' to complete items glued onto a back- that might normally be the image. ground. thrown into the garbage. .The students will need to be Small boxes might include Cardboard Tubes innovative with the use of the cereal, cracker, toothpaste, items in order to have an .Cardboard tubes are often dis- pudding, film, shoe boxes, image visible. carded from wrapping paper, etc.It will not take many wax paper, toilet paper, etc. days to gather a large amount Coloured Foil Mosaics Have the student collect vari- of boxes. ous sized rolls. .Working as a large group, .The brightly coloured foil cir- .Sculptures can be created by cles on milk bottles are an plan a cityscape. cutting the tubes into various exciting material to use for . Examinethe size and shapes lengths, then gluing them to- art projects. Have the stu- of the boxes to get ideas of gether to form a composi- dents collect these foil cir- how they might be used. tion. cles over a period of time in . Use alarge sheet of corru- The tubes could be cut length- order to accumulate a suffi- gated cardboard or other sur- wise, diagonally, or across. cient amount of the various face as the base, then glue Mounting the tubes onto a colours. the boxes onto it to represent background would give a dif- the buildings and other fea- .Select a subject for a mosaic, ferent option to the sculptures of the build environ- the choice and complexity is ture. dependent on the age of the ment. .The sculpture can then be student. .Paint the boxes in order to finished by painting, using a Complete a drawing on the change their identity to build- . particular colour scheme, base, a stiff cardboard will ings. Add other features to such as analogous, or a par- work well. complete the scene. ticular principle, such as con- .The foil circles can then be trast, to complete the image. cut into various shapes and glued onto the base to fill in the areas of the drawn im- 27 age.

25 Cardboard Circle Conclusion Hoot, J.L. & Foster, M.L., (1993). Promoting Ecological Responsibil- Patterns The title "Honouring the ity through the Arts Childhood Frill- cation- 69(3), 150-155. -When the foil circles are col- Environment Through Art" was lected from milk bottles, there chosen because of the defini- Ministry of Education, (1994). is a small white cardboard cir- tion of the word honour, an VISUAL ARTS Prereriheri Provincial cle with each top. These can outward token or sign of re- Curriculum Guide, Pilot Edition, July, 1994, Vivtoria, B.C. also be saved and used for vari- gard or esteem, to give special recognition, to pay homage. ous art projects, such as a col- Samples, B. (1990) Global Friiira- lage. Having students use art to hon- tion- Address given at the B.C. Pri- - Workingwith pattern seems our the environment will lead mary Teachers Annual Provincial well suited to this material. to an appreciation that will Conference, Prince George. - Havethe students manipu- touch the spirit and give the best chance of preserving our Western Canada Wilderness Com- late the circles and other shapes mittee, (1989) Carmanah Vancou- they have cut the tops into, on environment. ver: SummerWild Productions. a base to create a pattern. -Glue the white shapes onto a References dark background. Cullis-Suzuki, S. (1993)Tell the -Additional painting or draw- World. Toronto: Doubleday Canada Sharon McCoubrey teaches art in ing could be added in order to Limited. the Bachelor of Education Program further develop the image. at Okanagan University College in Grant, T., (1994).The Green Teacher Kelowna, B.C. Issue 37, February-March. Construction Site Treasures If possible, have the students visit a construction site and look for the materials and items that are discarded as Niolp,,1% the work takes place. Ensur- ing that permission is ob- argfroditp "GN tained, collect these items I Jt, (perhaps overtime rather than 41,1 010447;4 on only one visit) and use hot them in the classroom to cre- pritii111 ate a sculpture. .A study of artists, including Ith4 folk artists, who use an assortment of object in their creations would motive the students to create their own assemblages.

26 The Electronic Environment: A Revolution in Image Production and Consumption By: Dr. Don Bergland

Humans have always ex- a dynamic revolution in image nologies include such things celled in created fantastic arti- production and consumption! as computer graphic imaging ficial environments to supple- It is the purpose of this paper to (CGI), virtual reality (VR), mul- ment, augment, or exploit the describe some of the major timedia, and electronic net- natural environment. The most technologies and applications working all of which have astounding of these invented within this electronic environ- found direct practical applica- environments is currently de- ment and provide a basis for tions in the areas of the visual veloping in our culture at an understanding the resulting arts, business, industry, sci- amazing pace. Called by a va- visual image revolution. ence, entertainment, and edu- rietyof names such as cation. Cyberspace, the Interactive The Electronic Landscape, Digital Reality, Environment Computer Infospace, and the Datasphere Graphic Imaging (Metcalfe, 1994b), it hosts a The arena within which this complement of arcane appli- image revolution is occurring The explosion of image pro- cations such as virtual games, is an environment clearly de- duction tools and techniques global networks, electronic lineated by contemporary cul- in computer and software tech- bulletin boards, digital librar- tural metaphors. Terms such as nology has led to the develop- ies, data banks, encyclopedic "the frontier", "pioneering", ment of an intensive new field multimedia, personalized elec- "cyberspace", and "super- called Computer Graphic tronicnews, and video highways" have been used to Imaging (CGI). Developments conferencing. All these are describe interaction withits in this field have been rapid components of the developing landscape. This environment and dramatic. As a technol- electronic environment. What consists of a multitude of new ogy, CGI focuses on the pro- may not be entirely evident, technologies and applications duction of electronic and dig- however, is that the focus of which have arisen through re- ital images through computer this environment is almost en- cent discoveries in electronic processing. It has pervaded all tirely visual and has resulted in and digital science. The tech- aspects of our culture from the

27 29 arts to corporate business and become essential tools in the industry, it has expanded into is currently growing at a fan- imaging systems that deliver business, education and enter- tastic rate (Brown, J.R., 1993). medical information and in the tainment applications at an ex- By 1998, it is predicted that the process of generating entirely traordinary rate. In 1993, mul- computer graphics market new views of physical struc- timedia sales reach $5 billion, alone will have almost dou- ture and anatomy (Rhodes, and analysts predict they will bled in size from a $36 billion 1993). In business and com- grow to $24 billion by 1998 market to a $69.9 billion mar- merce, CGI techniques and (O'Connell, 1993). Multime- ket (Porter, 1994). products are integral to the pro- dia technology expressed duction of business imagery, through the video gaming in- Computer graphic imaging visual presentations, graphs, dustry reaching $12 billion in is a universal technology which charts, organizational and ad- sales in 1993. finds practical application in ministrative modeling, and most areas of human activity. schematics. Police and legal Multimedia has been em- In the visual arts, the develop- practices are being innovated ployed extensively in many ment of computer and sophis- by CGI techniques and com- areas of human endeavour. ticated graphics software has puter graphics are now being Artists are now using it both as permitted individual artistic used extensively in courtroom a way of expressing traditional expression in such areas as crime reconstructions, crimi- ideas and as an innovative drawing, painting, sculpting, nal tracking, and identification medium fordiscovery. In medi- 3D modeling and rendering, procedures (Sims, 1994b). In cine, multimedia products are animation, storyboarding, pho- the entertainment industry, CGI being developed which ad- tography, graphic production, technology is the basis for the dress all aspects of health care and video post production and production and presentation of and medicine (O'Connell, editing. An entire visual arts action theatre entertainment, 1993). Multimedia presenta- studio can now exist on one interactive media, simulation, tions employing images and microcomputer allowing art- motion-based simulators, large animation are used in pharma- ists to work and create in ways screen film formats, and ride- ceutical and surgical equip- never before imagined. Out- film simulation. Television ment advertising as well as in put devices are also becoming graphics and effects, medical school training and very sophisticated. Through the filmmaking, visual SFX, and regular practice (Mahoney, process of stereolithography, video have been revolution- 1994a). In business, the most for example, it is now possible ized by the new visual proce- productive and prevalent com- to design a sculptural object dures possible through CGI mercial use of multimedia has on a computer screen and then techniques. Even Disney now been in corporate training. Pro- "printout" an actual 3D model used electronic graphic tech- grams which utilize video clips (Dickson, 1992). In other ar- nology in image production of managers explaining job eas, CGI technology has pro- (Robertson, 1994). functions with charts, graphs, vided the basis for scientific text and even animation are developments in global climate Multimedia proving tobeessential research, terrain imaging, flight (O'Connell, 1993). The video simulation, and aerospace re- Multimedia basically in- and computer gaming industry search. Medicine has fully ex- volves methods of combining has developed at a phenom- ploited graphic technology in and integrating visual images, enal rate and uses multimedia medical illustration, anatomi- text, and audio to create uni- technology to produce thou- cal reconstruction, model fied presentational and inter- sands of new game titles a year building, and other health prac- active productions. Once used for Sega, Nintendo, and other tices. Computer graphics have extensively in the video game major gaming platforms. Edu-

28 30 cationis using multimedia molecular modeling, psychia- 57,000 computer bulletin technology for edutainment ti- try, and surgery. In education, boards in North America and tles, educational programs, and virtual reality and multimedia the figure dcubles every 18 as tools for student discovery. are merging to enhance dis- months. There are approxi- covery by removing bounda- mately 15 million users of these Virtual Reality ries from the way learning and bulletin boards (Metcalfe, teaching traditionally occur. 1994a). The concept of net- Virtual Reality (VR) is per- (Brown, J.R., 1993). VR is be- working through interactive haps one of the most imagina- coming an important tool in television will generate a mar- tive and innovative concepts education since the technol- ket that will participate in rev- to occur in our history. A VR ogy allows students to learn in enues from a combination of environment is one in which ways that cannot be repre- industries that collectively gen- the visual surroundings have sented in the real world. Within erated $300 billion in 1993 been computer generated. A a VR setting, for example, a (Rebello, 1994). person "enters" this visual student can explore an atom space through the use of elabo- by taking it apart, reconstruct- Electronic networking links rate head-mounted displays. By ing it, and putting it into orbit. participants in a variety of ar- using these in combination (Leibs, 1994). VR participants eas and purposes. In the visual with data gloves and tracking can also literally explore fu- arts, many electronic on-line suits, participants can actually ture and past worlds through galleries and networks permit move around and interact with current technology. Many his- artists to use interactive meth- computer-generated imagery torical environments and sites ods of exhibiting and produc- and feel as if they are actually such as the Basilica of San ing their art. The International inside the environment. Vir- Francesco in Assisi are being Painting Interactive(IPI) tual Reality is growing at an- visually recreated. Participants project, for example, is an elec- nual rates of approximately can enter the virtual environ- tronic studio where global elec- 60%. This is about twice the ment and stroll around admir- tronic canvases are hung on growth rate graphics experi- ing frescoed walls and tile mo- the network. Artists from many enced 25 years ago. By 1997, saic floors (Sims, 1994A). different cities can work to- it is estimated that over a bil- gether on joint digital paint- lion dollars worth of Virtual Electronic ings. One of the latest projects Reality products will be involved a hundred painters, shipped (Machover and Tice, Networking video artists, graphic design- 1994). Networking is the "social" ers, and musicians in fourteen concept of linking computer cities around the world who Virtual Reality is a technol- terminals together in a con- worked together for forty-four ogy which finds applications nected web of intercommuni- hours creating many digital throughout society. Artists are cation. This involves large net- paintings on the network finding new expressive outlets works of linked terminals as (Brown,D.J., 1993). Electronic by creating art exhibits using well as small electronic bulle- galleries exist on the network VR environments(Sims, tin board services. Networks as places where artists can hang 1994a). Medicine is using VR are developing vast followings. their digital images and can be tools and environments for re- As of October, 1993, it was accessed by computer at any search investigation, training estimated that there were ap- time. The Electronic Cafe is a simulation, and computer as- proximately 35 million users videoconferencing program sisted operations (Earnshaw & of connected computer net- linking artistsin 60 cities Vince, 1994). VR "walk-though works alone (Godwin, 1994). around the world. Projection models" are now being used in Itis estimated that there are displays bring these confer-

29 31 ences to large screens in the plications have unquestionably fu I I-colour, highly- illustrated cafes, creating a "virtual space" been dominated and control- glossy magazines presently in which artists from different led by the graphics and image dealing with the video game cafes appear to be in the same production field (Nelson, industry alone. The dominance room (Staten, 1993). Informa- 1993). Within this context, of the visual element within tion and entertainment indus- visual images may be produced these industries is undeniable. tries are also changing though and consumed for distinct but The art and entertainment in- a variety of network applica- interrelated purposes. They can dustries will continue to de- tions. The Information serve an artistic and entertain- mand new formats, image con- Superhighway (National Infor- ment function, facilitate the cepts, and a multitude of artists mation Infrastructure) is a data communication process, or im- to maintain the supply. highway dedicated to trans- part understanding and infor- porting information. This high- mation. Recognition of the In terms of communication, way links homes, offices, busi- nature of these new purposes visual images can facilitate the nesses, libraries, and universi- will help elucidate the image process in several ways. First, ties into one large network. revolution currently occurring there is the growing under- Users are able to access mov- in the electronic environment. standing that communication ies on demand, shop, conduct is more effective when ex- banking, play video games with Image production and con- pressed visually. This means other people, make travel ar- sumption in the area served by that in many field, people must rangements, tour museums and the arts and entertainment is learn how to produce and con- galleries, enter library systems, vast. As we have seen, the pri- sume communicative images or just communicate. In edu- mary electronic technologies in new ways. Business people, cation, students are able to re- and applications require im- engineers, educators, admin- ceive lessons from anyone any- mense amounts of computer istrators and others must un- where. The famous "500 chan- graphics. The arts, entertain- derstand graphics communi- nels" concept (The Full Service ment, film, and video indus- cation, spatial visual ization,m Network) is another example tries alone consume over- creative visual thinking, and of networking technology. By whelming amounts of imagery. have the ability to convey ideas viewing television sets and us- New and powerful visual styles in images. Many industries are ing a controlling device, users and techniques are being de- enhancing their communica- will be able to participate in veloped and displayed in tel- tion power by availing them- game shows, "virtually" try on evision graphics, film and video selves of the new technologies various fashions, watch mov- sequencing, layout, and spe- of CGI and VR. This means that ies, or play video games when- cial effects. In publishing and non-artists must now learn new ever they want (Vizard, 1994). advertising alone, the number visual languages such as those of images produced yearly is found in animation, The "Visual" Nature astounding. New magazines filmmaking, and 3D graphics of the Electronic dealing with various topics and in order to market and perform subjects feature amazingly pro- regular services with compe- Environment duced graphics. Magazines tence (Mahoney, 1994b). With such asAdbusters, Axcess, the proliferation of computers, These technologies and ap- Edge, Mondo 2000, Ray Gun, graphic software, and desktop plications have created a revo- and Wired show distinct new graphic production, immedi- lution in image production and image and layout styles which ate image making is encoun- consumption. Although elec- express the vibrancy and dy- tered more frequently in em- tronic technology is something namic of the electronic envi- ployment and leisure. Both the which can be applied in a wide ronment. There are over thirty desire and expectation to cre- variety of media products, ap-

30 32 ate competent visual images is that haven't yet occurred in tems (Kaufman, Nielson, & rapidly expanding to non-art- reality as well as visualize Rosenblum, 1993). In the elec- ist populations. Second, a con- places that don't yet exist. In tronic environment, the line cept called "visually-oriented the field of science, it has be- between art and science has computing" has developed in come a structured approach become indistinct. which graphics now serve as a for developing imaging systems language of communication which allow researchers to Although structured visu- between humans and comput- observe with graphic imme- alization was primarily devel- ers. Visual-oriented comput- diacy those aspects of a system oped by the scientific commu- ing allows computer users to which may not be apparent nity, it has since expanded into see graphically the effects of through verbal or numerical the fields of engineering, edu- their communications with the data (Dickson, 1992). This visu- cation, and business. The ef- computer and demands that alization process has been fectiveness of this concept has they use their visual skills to widely employed in all the sci- led to a form of visualization manipulate graphical objects ences and has been used to technology that has revolution- on the screen as part of a com- conceptualize climate simula- ized the way humans conduct munication process (Aber- tors, volume representations, theirprofessionalwork nethy, Nanney, & Porter, and models developed in (Kaufman, Nielson, & 1989). Not only does this de- botany, chemistry, and micro- Rosenblum, 1993). "Academ- mand producers of new visual biology. In medicine, it has ics have capitulated almost to- interfaces and communication been used to invent and design tally to the concept of learning structures, it places a critical practical medical imaging enhanced by visualization and demand on consumers who techniques (Williams, Evans, business can measure monetar- must approach communica- & Shirley, 1989). A vast number ily the incremental retention of tion in a non-verbal and purely of societies and conferences messages delivered with col- visual fashion. The immense have been organized to ex- our, sound, and motion" (Nel- proliferation of graphics and plore the concept of visualiza- son, 1993, p. 97). Visualiza- graphical processes into all tion. Their goal has been to tionis now accepted as an areas of our culture demands a provide a multidisciplinary in- essential part of the scientific, new visual literacy from every- teraction between scientist in business, research, and educa- one. human vision and electronic tional processes (Brown, J.R., imagery and to allow interac- 1993) and is considered a high Closely allied with visual tion between imaging technol- growth area that will continue communication is the function ogy designers and users to push the boundaries of both of the image in imparting un- (Rogowitz, Brill, & Allebach, the electronic and the image derstanding and information. 1991). This field has even spon- revolution. Although there are many ways sored a new career opportu- in which this process happens, nity with the emergence of the "Visual" Education the most structured and sys- "visioneer". Visioneers are tematized work has occurred computer scientists working in and the Electronic within a discipline called "visu- visualization who draw upon Environment alization". Visualization is the techniques from the related It is not difficult to perceive use of computer graphics and fields of computer graphics, the explosive nature of the elec- interactive techniques to gain user interfaces, image process- tronic environment and the insight and to communicate ing, computer vision, signal image revolution occurring those insights to others (Brown, processing, and computer within it. In order to negotiate J.R., 1993). It employs compu- aided design to help people its landscape competently, inter graphics to visualize events develop effective imaging sys- habitants of this environment

31 must be able to respond to an tion and consumption as le- other essential communication entire new world of visual ex- gitimate forms of visual activ- media (Allan, 1993). pectations and demands. In the ity. Image production and con- same way that our culture has sumption is no longer the do- Third, the artistic, commu- required that individuals know main of a few select individu- nicative, and informational how to read and write with als. It is the focus of the entire functions of the visual image in fluency, itis now becoming electronic environment. the electronic environment apparent that individuals must must be explicated. Curricula also know how to use and cre- Second, the contexts and must focus on the new learn- ate visual images with accu- technologies that comprise the ing, languages and skills in- racy and comprehension. This new electronic environment volved in these. Various edu- is certainly a logical role for art must become an educational cators have already stressed the education. In order that this priority. These are already part value of art training for those role may be fulfilled, however, of youth culture and students helping scientists visualize their certain traditional are interested in exploring them data (Hays, 1993). This has re- understandings must be ex- at school. Art-related activi- sulted in attempts at relevant panded to include views of a ties, discussions, and issues can contemporary curricula which more comprehensive nature. be generated from the vast focus on visualization educa- This expansion recognizes four amount of electronic and visual tion at the K-12 level. In work considerations. information being produced in with scientists at EPA, for ex- popular magazines, TV shows, ample, Theresa Marie Rhyne First, a viewpoint must be computer programs, and mul- discovered that they have to generated that embraces im- timedia products. Art programs rethink many visualization age production and consump- must also begin to integrate paradigms when asked to ex- tion in its broadest social and traditional practices with cur- amine isosurfaces, cutting cultural sense. Humans spend rent technologies and tools by planes, rubber sheets, and vol- more time producing and con- establishing workspaces which ume renderings. Rhyne has de- suming visual images than any duplicate those used in the veloped ideas about how these other activity. Each person in electronic environment. Exam- concepts can be translated into our society appreciates, as- ples of this are already occur- basic science and art educa- sesses, critiques, composes, ring in schools such as River tion programs at the K-12 creates, consumes, rejects, Oaks Elementary School in level(Hays, 1993). New skills embraces, and designs thou- Halton where administrators involved in visual information, sands of visual images a day. have designed a school envi- imaging, and visualization are Although this has always been ronment which reflects the being addressed in various a predominant activity, image "real" world. The school is elec- ways. Books such asMind over production and consumption tronically focused and interac- Media: Creative thinking skills are becoming far more pro- tion occurs through various for electronic media (von nounced and pervasive as we forms of networking. Students Wodtke, 1993), provide de- develop an environment spe- are expected to become con- tailed curriculum structures cifically designed to highlight versant with multi-media tools wherein visualization tech- the visual process. All aspects and communicate, create, and niques and skills such as ge- of human visual experience learn through electronic stalts, pattern seeking, levels of must be recognized as impor- means, CD-Rom, and the detail, cognitive mapping, tant. Consequently, content ho- Internet. Visual image produc- hierarchial ordering, param- rizons must be broadened to tion is taught using contempo- eters, visual metaphors, and includefine, popular, commer- rary software programs and is visualizing information flows, cial, and industrial art produc- integrated with audio, text, and are explained for new media

32 34 environments. In terms of de- a multitude of career direc- field of art education. Given veloping new vocabularies and tions for those wishing to make both the artistic expansiveness languages, manuals accompa- image production their future. and the soaring economics of nying graphics software pack- One of the feature items at the the current image revolution, ages contain new image pro- 1993 Siggraph conference, for it is now entirely possible to duction concepts and ideas that example, was a large four sided develop impressive and prac- teachers can use in expanding cubical structure listing art jobs. tical rationales for establishing visual production and criticism Every inch of space was filled visual education as a priority studies in the classroom. This with postings for graphic art- in our school system. What is already being attempted by ists, designers, and program- this will require is the expan- different educators who are try- mers who had graphic experi- sion of current educational ing to expand both traditional ence. The revenue, income, models to embrace the dynam- art vocabularies and the ele- and opportunities for artists in ics of the new technologies ments and principles of design the field of graphics produc- and their graphic applications. to include new electronic con- tion, virtual reality, and multi- It is with those who understand cepts (Wong, 1993). media field will be unprec- the dimensions of the visual edented and will certainly per- image within the electronic en- Fourth, the fact that image mit an added emphasis and vironment that the future will production is now big business encouragement for art educa- lie. should be exploited and en- tion in public school settings. joyed in as many ways as pos- References sible! Visual image production The Challenge has been historically consid- Abernethy, K., Nanney, T.R. & Por- ered peripheral to "real" activ- ter, H. (1989) Exploringltlacintosh: ity. This is no longer true. It is The electronic environment Concepts in visually- oriented com- now the dominant activity and image revolution provide puting New York: John Wiley & within the current envi ronment a unique historical situation Son. and the world of the future will for the visual arts. At no other time have visual products, Allan, E. (1993). Computers create a continue to use images in yet new primary school paradigm The unimagined ways. This should knowledge, and skills been so Computer Paper, 6(9), pp. 59-60. provide interesting social and widely demanded and utilized economic focuses for art edu- by industry, business, science, Brown, J.R. (1993). Looking toward cation rationales and support. technology, the arts, and edu- the year 2000 Communications of the ACM, 36(7), pp. 13-15. The revenue generated by im- cation. Major commercial and age production in our culture industrial revenues are directly Brown, D.J. (1992). Forging a career is vast. New roles and opportu- affected by the quality and as a sculptor from a career as a nities exist for those who want quantity of visual images pro- computer programmer. In C.A. to focus on a future in visual duced for their use. The devel- Pickover (Ed ), Vision of the future. opment of aesthetic styles, tech- Art, technology, and computing in production. Commercial in- the twenty-first century (pp 29-42). dustries are demanding that niques, and purposes in the New York: St. Martin's Press. artists be computer literate and arts has exploded. Artists as able to create and process im- well as non-artists are now Earnshaw, R., & Vince, J. (1994, ages on the computer. Industry being asked to produce visual July). Conference addresses state of VR in medicineJEFF Computer is currently so short of appro- images for a variety of pur- GraphicsandApplicationst pp. 87- poses. There are only positive priately trained artists that in 88. many cases they are forced to indications that this situation employ non-artists to design will tend to increase. This poses Godwin, M. (1994, June). Nine prin- and execute artwork. There are an exciting challenge for the ciples for making virtual communi- ties work. Wired 7 Oh, pp. 72-74. Rogowitz, B.E.. Brill, M.H., & Vizard, F. (1994). Building the infor- Hays, N. (1993, November). Art & Alleback, J.P. (1991). Human vision, mation superhighway Popular Me- Science converage IFFE Computer visual processing, and digital dis- rhanirc, 171(1), pp. 29-33. GraphicsandApplicatinns, pp. 9- play.Proceedings of the Staff 12. Bellingham, Washington: The Inter- von Wodtke, M. (1993) Mind over national Society for Optical Engi- media. Creative thinking skills for Leibs, S. (1994). it's virtually educa- neering. electronic media_ New York: tional; researcher Bill Winn envi- McGraw Hill, Inc. sions VR as a teaching tool. nforma- Sims, D. (1994a, July). The future of firm Week, pp.36-37. VR: Surgery, Art, ...and whiskey? Williams, A., Evans, R., & Shirley, IFFE Computer Graphics and Appli- P.D. (1989) Imaging of sports inju- Machover, C., & Tice, S.E. (1994, cation% pp. 86-87. ries. London: Bailliere Tindall. January). Virtual reality IFEF Com- puler GraphicsanriApplicatinns, pp. Sims, D. (1994b, July). Wong, W. (1993) Principles of form 15-16. Decriminalizing the fingerprint. IEEE And design New York: Van Nostrand Computer Graphics and Applica- Reinhold. Mahoney, D. (1994a). Medical art. tions, pp. 15-16. Computer Graphics World, 17(3) pp. Don Bergland is an Art Educa- 58-61. Staten, J. (1993). Viacom links artists for live cross-network concerts. tor in the Faculty of Edcation at Mahoney, D. (1994b, June). Archi- MacWFFK, 7(46), pp. 35-36. the University of Victoria tect as animator Computer Graph- ics world, pp. 36-38.

Metcalfe, R.M. (1994a) There were four kinds of people in cyberspace. Infoworld, 111 (17), pp. 63-64.

Metcalfe, R.M. (1994b) Maybe we shouldn't be calling it cyberspace. Infoworld, 16(17), pp. 63-64.

Nelson, R. (1993, November). Swept away by the digital age.Popular Science, pp. 92-107.

O'Connell, B. (1993). Multimedia lives! DR- Professional, 17(9), pp. 26-31.

Porter, S.M. (1994, June). The computer graphics marketComputer Graphics World, p 5

Rebello, K. (1994). Digital pioneers; blazing a trail on the interactive frontier. Business Week, 3169, pp. 96- 101.

Rhodes, M.L. (1993, November). Computer graphics in medicine IEEE Computer Graphics &Application% p. 49.

Robertson, B. (1994, June). Digital toms. Computer Graphics World, pp. 40-46.

34 BEST COPYAVAILABLE 1 Diamondsare Forever: The Use of Metpahorical Art to Help Students Develop an Envioronmental Ethic. By: Gloria Snively Corsiglia

edge-creationis now very We have become accus- Metaphoric thinking is eve- strong. (Black, 1962; Lakoff and tomed to thinking of metaphors rywhere: it can be found in the Johnson, 1980; Munby, 1986; as poetic figures used to deco- language of our workaday Muscari, 1988; Ortony, 1979; rate language and make it seem world as well as the language Sutton, 1978,1980,1981). It is more attractive. Such insub- of our dreams. It is the stuff of found at several points in the stantial devices belonged our apprehensions and the intellectual development of in- vaguely with "the arts" and wings of our inspiration. Just as dividuals and societies. For were properly checked at the previous generations discov- example, metaphorical think- door before one took up seri- ered the suspension bridge and ing is fundamental to: scien- ous business of scientific in- Velcro by observing spider tific theorizing, the evolution quiry. Increasingly, however, webs and the tenacious bracts of language, children's spon- scientists, philosophers, lin- of burdock; young students of taneous attempts to generate guists and educators have been aeronautics, bionics, and hy- meaning from experiences, re-discovering what artists have droponics try to imitate nature teachers' attempts to help chil- long understood: metaphoric when they invent "new" ma- dren make sense of the world, thinking lies at the heart of chines and technological proc- textbooks, magazines, and human thought and endeav- esses. This paper describes how news media, sculptures, paint- our. It now appears to many teachers can use visual meta- ings, and drawings, the speech researchers that all past and phors as powerful instructional of preachers, lawyers, and poli- present human achievement - tools to help students in class- ticians. including all of modern tech- rooms understand abstract en- nology, is rooted in metaphoric vironmental issues and to con- In each case a first step in thinking. It is difficult to know struct solutions. the interpretation or reinter- which came first -the meta- pretation of natural phenom- phor, art, the tool, or the hu- Indeed, the case for exam- ena is to carry over into that man being. ining the role of metaphor in discussion a way of speaking problem solving and in knowl- previously used elsewhere.

35 37 What is a Visual Metaphors The Greenhouse Metaphore? When artists use metaphors Metaphor The word metaphor comes they are frequently searching Successful metaphors are from a Greek word that means for ways to explain complex or often achieved through struc- to transfer. A metaphor trans- abstract ideas, or to help the turing imagery generated by fers meaning; it bridges, ex- viewer visualize it in such a scientists. For example, scien- tends, stretches, twists the way that they can examine the tists are concerned about the meaning of words so that they implications for themselves. danger of ozone depletion and apply to other objects, phe- Similarly, teachers can selec- the "greenhouse effect", a long- nomena, or situations than tively usethe metaphorical art- term warming of the planet those to which they originally work of painters, sculptors, caused in large part by in- applied. In its broadest, most cartoonists, and film-makers to creased levels of carbon diox- inclusive sense, metaphorical help their own students ex- ide in the atmosphere. One understanding includes simile, plore environmental issues, reason that the greenhouse allegory, analogy, parable, and construct solutions. metaphor works is because symbol, song, and works of art. there are obvious connections It includes anything that trans- For example, the covers of between the environmental fers and translates the abstract magazines such as Time, concepts of interest and the into the concrete, thus making Newsweek, Harpers, Research way a greenhouse functions. the abstract more accessible and MacLeans frequently use Carbon dioxide in the atmos- and memorable (Best, 1985). visual metaphors to convey phere acts like the glass of a environmental issues of global greenhouse by letting the Who has ever heard of proportions, the earth as a gre- warming rays of the sun in, but Rachel Carson's metaphor of nade, garbage dump, the earth keeping excess heat from radi- the seaweed nurseries and for- balancing on a scale, the earth ating into space. Another rea- gotten it? Who has ever read baking. son that the metaphor works is Gregory Bateson's "Mind and because the process of com- Nature" and forgotten the les- paring a greenhouse to such son of the crab, the orchid and complex abstract phenomena the primrose" A metaphor al- helps us to make sense of our lows us to see the unusual in experience by giving it con- the particular. It pulls us in by crete form. drawing on our own experience, our own knowledge and emotions. In involves us because it takes something that we know and feel and uses it in an entirely different way. Thus, metaphor seems to be a re- markably efficient means of both integrating experience and representing it for reflection (Stanley-Muchow, 1985).

36 P8 Visual Metaphors in the Classroom 20 Discoveries That Shaped Teachers can use metaphorical thinking activities to The 20th encourage students to explore Century artwork depicting environmen- talissues. For example, the 1988 cover for Clearing: The Northwest Energy News depicts the earth as cookies baking in an oven. The visual image of cookies baking appeals to the child in all of us, and Laura Corsiglia enables the communication of concepts with a richness of vember, 1984 issue of Science Virtually Unused detail because the sensory as- Magazine portrays hands Words and pects are more highlighted. sculpturing or shaping the earth. If we cannot reprint the Phrases in 1971 For a challenging classroom 1983 Science cover depicting hands molding an earthen activity, have students search acid rain planet, we can at least provide for examples of environmen- biodegradable an example of visual metaphor tally relevant magazine covers styrofoam by showing a Victoria student's and posters and ask them to PCBs artist version of the concept. examine the implications of driftnets the imagery for themselves. clearcuts Students could discuss the Start a file folder of environ- meltdown visual image of hands shaping mentally related visual meta- greenhouse effect the earth and brainstorm 20 phors and use your own crea- ozone layer technologies that shaped the tive imagination to incorpo- dioxin 20th century. Depending on rate this rich source of imagery sorties the grade level and socio-eco- into the classroom. aids nomic background, students supertanker will list such technologies as If we swim in a sea of visual recycling the car, telephone, atom bomb, metaphor we should be cer- nintendo plastics, penicillin, computers, tain that we can locate the patriot missiles describe the beasts. One of the robotics, hydroponics, satel- lites, nuclearreactors, most convenient sources of Students need to under- submersibles and telecommu- visual metaphors that can both stand that with all technolo- nications. stimulate imagination and gies, there are tradeoffs. New clarify our environmental chal- technologies frequently bring So rapid has the informa- lenges may be the "cover art" on the cultural blues, just as tion explosion been that many commissioned for news and the old ones evoke migrating of the by-products of our tech- specialty magazines. But the pains when they disappear. art that catches our eye and nological age were virtually non-existent only 20 years ago: challenges our thinking is very One of the many implica- expensive and jealously pro- tions of this type of classroom tected. For example, the No- activity is that students come

3739 to understand that the infor- The Mother Earth strategy of teaching the meta- mation environment and ef- Metaphor phor emphasizes the processes fects created by these new tech- of comparison because stu- nologies are "live environ- Perhaps the oldest meta- dents need to hear the proc- ments" in that they alter our phor for the planet earth is that esses in detail (Thompson, feelings, sensitivities, and even of a Goddess as the creator 1986; Lucas, 1991; Snively, our values. (Campbell, 1988). The human 1992). The teacher might be- woman gives birth, just as the gin by using a chant° illustrate The computer is to many earth gives birth to the plants both the similarities and differ- observers the most extraordi- and animals. A mother gives ences between the planet earth nary of all technologies ever nourishment, as the plar4ts give and mother or motherhood. In devised by humans, since ac- nourishment to the chain of one column, the students could cording to McLuhan (1968) it life. And when a Goddess is list important aspects of moth- is "the extension of our central the creator that gives birth and ers or motherhood; for exam- nervous system." The compu- nourishes life itself,itis her ple, gives birth, nourishes, is a ter has made possible our sat- own body that is the universe. parent, and so on. The teacher ellites and spaceships which There we come to appreciate could then say, How can the have put man-made environ- the real sanctity of the earth planet earth be viewed as a ments around the planet, end- itself, because it is the body of mother?" The students would ing "nature" in the old sense. the Goddess. We talk of Mother be asked to examine the asso- The information explosion and Earth, the prime parent; the ciations listed in the opposite the effects created by the com- source. column and see if they are puter are a form of evolution, associated with the planet eart since they have a profound A direct method of teach- as well. effect to our human condition, ing metaphors in the classroom just as the natural environment could be used in which the The EarthMother effects evolution itself. ** gives birth ** nourishes ** is a parent ** beautiful * kind * disciplines * forgives has feelings

* indicates similarity, ** indicates much similarity, --indicates no similarity

Campbell (1988) goes on to say that we go right back to the Indians, who believe that the informing life and energy of all things is the earth. Like the Mother Earth, the idea is that we and the earth are the same. 38 40 Symbolism in the Don't just explore teacher Classroom selected metaphors, let students search for metaphors and sym- What is important for teach- bols in the various types of ers to realize is that symbols, a media, and share them during type of metaphor or sign, allow class discussions. It helps de- young people of different cul- velop critical judgement in the tures and different languages use of literary and artistic meta- to communicate with one an- phor; and a chance to analyze other. An excellent classroom the pungency of metaphor. activity is to introduce global From their discussions students peace symbols, the dove, the The logo works because the can design their own symbols olive branch, the rose, lily, in- wide-ranging dove is recog- of global connections and ternational children holding nised the world over as a sym- peace, such as these created hands. Discuss the meaning of bol of peace, and the maple by a high school art student in the symbols and relate them to leaf which adorns the Cana- Victoria. the students' own descriptions dian flag, was chosen because of peaceful feelings, their con- of its aesthetic and peaceful cerns about environmental qualities and because the ma- degradation, and to global con- ple tree occurs from coast to nections. Locate and critically coast. analyze symbols which represent power and domination over nature, and over nations. Evaluate the symbolic imagery of national flags, bank logos, corporate trademarks, university crests, sports emblems, etc. Discuss the positives and nega- tives of regional, national, and international symbols.

Extend this activity by having the students analyze symbols which persuade the viewer to consider global environmental issues and the connections among peoples everywhere. The Canadian Ecologo, an image consisting of three doves intertwined to form a maple leaf, was adopted in 1990 by the Environmental Standards Association to help consumers identify products and services that minimize the burden on the environment.

Laura Corsiglia

39 41 Pre-Service Teachers Deb Mossey'sposter Jennifer Stefani's "Rubix "Searching for Balance" sym- Earth" highlights how we as Design Metaphorical bolizes the connection be- humans are changing or im- Lessons tween the human or built en- pacting the Earth through our vironment and the natural eco- actions. Jennifer's grade five Student teachers in the En- system. The symbolism con- students would first explore the vironmental Education course tained in the poster seeks to metaphor of "Earth as a beau- at the University of Victoria emphasize that the modern tiful piece of music", recalling designed metaphorical posters human-constructed environ- pristine images and sounds. to depict an environmental is- ment must exist in a state of Students would then be intro- sue of local or global concern. balance with the natural world. duced to the Rubix Earth poster, The purpose of the assignment The Yin/Yang symbolism sum- and asked to write down their was two-fold, 1. to design a marized the cyclical and inter- personal interpretations. Stu- poster concerning an environ- related mature of polar oppo- dents share their ideas about mental problem or issue of sites and suggests critical inter- the poster, stressing that there concern to students at the grade action between expansion/ is no set correct interpretation. level they wished to teach, and contraction; creation/destruc- To stimulate thinking, Jennifer 2. write lesson plans to en- tion; make/female; and light/ would ask leading and extend- courage their students to ex- dark. Deb plans to have her ing questions, such as: plore the metaphorical image. grade 12 students view a slide identify their own beliefs and presentation that contrasts pris- .What is being compared? opinion toward the issue, and tine ecosystems with images of Why? How? develop their own environ- human exploitation. They mental ethic. would eventually construct a .What is implied by the Rubix model of an ecologically be- cube? The background? The nign community which would colour intensity of the cube? be built upon a fundamental understanding of nature and .Why is the Rubix cube not in processes. the beginning state?

.How might the Rubix cube puzzle be solved?

.Why is the word SOLUTION important? What solutions might solve the Rubix Cube puzzle so the earth can re- gain a state of wholeness? The teacher encourages the ideas that there is no one solution, but that there is a starting point -education.

SEARCHING FOR BALANCE 42

40 that we think about the fu- would like to get across using a ture and the resources avail- similar technique of visual able for future generations? metaphors? Students brain- Why? storm messages and metaphorical images, then design their Finally, students are asked own metaphorical posters. if they have a message they

elayoquot Cream Pie

Helen Reddin's poster uses the image of a diamond en- gagement ring with the diamond as an image of the world. Students explore the success and failure of the famous slogan, "Diamonds are Forever". as introduced by DeBeers jewelers. Helen's poster modi- fies the slogan to transfer the slice of life! idea of "forever" to the world. In developing the concepts of Randy 011ech used the resources, and consumer(s). resource, renewable and non- metaphor of a cream pie to Finally, students develop a renewable resource, manage- spark students at the grade 5 valuepositiononthe ment, and environmentally level to think about a local Clayoquot Sound controversy friendly, Helen encourages her logging issue that has become and present their position in a students to explore the follow- an issue of global concern. The small personal mural or one ing questions: Clayoquot Cream Pie metaphor created with other students. .Why do you think the artist encourages the viewer to com- designed the poster this way? pare the similarities, differences Although a few student What did she want you to and attributes between a pie teachers expressed some ini- think about? with Clayoquot Sound. The stu- tial anxiety at being asked to .Can anyone think of some- dents' ideas are written on the create an artistic poster, all of thing in the world that would blackboard, to show that not the students appeared to enjoy last forever? all students derive the same sharingtheir finished products. . Isthere anything in this world meaning. By comparing and They were surprised at how we thought would last for- contrasting the humorous much they enjoyed the assign- ever, but it didn't? metaphorical image of a cream ment and reported they had to . Do youthink a metaphorical pie, and by researching and do a great deal of creative as poster is a good way to get debating the issue, students well as conceptual thinking across your ideas to people? explore the concepts of forest, about an environmental issue, Why? renewable and non-renewable and about teaching in general. .Do you think it is important

4143 Conclusion At the same time, students bot or Nintendo game won't should be provided opportu- work for a child who has sel- The visibi lity of visual meta- nities to create with their vivid dom if ever watched I.V. or phors is greater today than in imaginations exciting new read comic books. However, that of the previous genera- metaphors. Such a process everyone hooks into some tion. Part of that access is in the develops the students' identity metaphor or other, and thus creating of art forms in maga- and openness to experience. the teacher has to have a bag of zines, cartoons, T.V. commer- Hence, personal development metaphors and a bag of meta- cials, sculptures, films, dance, through metaphor is as impor- phorical thinking activities and drama. Unfortunately, the tant as learning about meta- ready to reach for the appro- views of influential-groups fre- phor. In this way, teachers can priate one. The real test of any quently dictate the formation utilize the metaphorical art- technique is whether it works. When students use metaphor, of public information systems work that is personal to students and to their own com- they ask questions, demand to and educational curricula. As munities in helping them to participate, smile a lot and Ron McGregor (1990) states, answer the questions, "Who become alittle bit "lion we are in an age of survival of am I, and how am I connected?" hearted". the economically fit in which the needs of the economic How does a teacher, a teen- stakeholders and the interest of ager, a pre-schooler influence business and industry are in- adults, governments, or neigh- creasingly represented. There- bouring nations who are deni- fore, educators need to equip grating the planet? What can students with the tools suitable they do to make a difference? for a technological based soci- Through metaphor, the answer ety. This means that students is "lots". As the greenhouse need to inquire critically into effect causes concern all over global problems; they need to the world, students at Quadra analyze, assess, formulate and Island Elementary School discussed a range of environmen- speculate and develop ques- tal problems and drew posters tions around these issues. Such to raisethe environmental con- investigation serves as a basis sciousness of the community. on which to study the tech- At Southpart ELernentary nologies and the metaphors of School in Victoria, one grade 3 humanity. It is a model which student drew her concerns encourages students to reflect about the extinction of ani- on the subculture. Students mals, and at Spectrum High should be provided with a ba- School in Victoria, one grade sic understanding of how and 12 student drew her interpre- why artists use metaphor to tation of the "Mother Earth" generate meaning, and what metaphor. influences the creation of specific metaphorical art. By com- A few words of advice for paring the metaphorical art teachers who may be inter- work of various societies ested in using this technique: select your metaphors care- through time, students are able fully. A metaphor won't work to explore the evolution of if it is based on something the political and environmental student doesn't know or hasn't thought. experienced. A spaceship, ro-

42 44 One of the most important References Marschark, M. & Hunt, R. (1983). One memory for metaphor. (Research problems related to environ- Beck, B. (1978). The metaphor as Bulletin No. 3). University of North mental education today is the mediator between semantic and ana- Carolina, Department of Psychol- logic modes of thought, Current An- ogy. feeling of alienation and pow- thropology. 19 (1) erlessness that comes from de- McGregor, R. (1990). Towards 2020: pressing news media. For many Beck. B. (1981) The use of a meta- Future directions in art education. phor interview in ethnic research: Canadian Review_ _of ArL Education, students, the urge to "drop out" Variations in the concept of ethnic- 17 (1). offers more attractions than the ity_ Paper presented at the Canadian urge to shape the future of our Ethnic Studies Association Confer- McLughan, M., & Fiore, Q. (1968). ence. Warand42eaceintheg,lobaLvillage. planet. Students need to be New York: McGraw-Hill Book Com- convinced that the planet is Best, (1985). Teaching political pany. theory: Meaning through metaphor. worth saving and that prob- - ImprovingCollege and University Munby, H. (1986). Metaphor in the lems between .individuals, Teaching, 32 (4), 105-168. thinking of teachers: An exploratory groups and nations are possi- study. Journal of Curriculum Studies, Black, (1962). Models and Meta- 18 (2) 197-209. ble to solve. They need to ex- phors. Ithaca: New York. perience success in the study Muscari, J. (1988) The metaphor in and resolution of problems re- Campbell, J. (1988) The Power of science and in the science class- Myth. New York: Doubleday. room. Science. Education, 72 (4) 423- lated to environmental degra- 431. dation. Johnson, M. & Malagady, R. (1980). Towards a perceptual theory of meta- Ortoouny, A. (1979) Metaphor and phoric comprehension. In R. Honeck thought Cambridge: Cambridge Through metaphor, stu- and R. Hoffman, (Eds.), cognition University Press. dents are provided a powerful and Figurative Language. 259-282. tool for creating new meaning Hilldale, New York: Lawrence Snively, G. (1991). Spaceship earth: Erlbaum Associates. Exploring global issues through meta- and for persuasion. To the ex- phor. Current, 10 (3) 22-28. tent that students understand Lakoff, G. & Johnson, M. (1980) the value of metaphor, they Metaphors we live by Chicago: Snively, G. (1992), The use of visual University of Chicago Press. metaphors to explore science-tech- will be better equipped to help nolo&y, society issues, and construct the peoples of the world en- Lucas, J. (1991) The metaphor probe. solutions. Current, 2(3), 11-17. large their own spheres of co- A discussion stimulus An unpub- lished M.A. Dissertation, University Stanley-Muchow, J.L. (1985) Meta- operation, and wonder about of Victoria, Victoria, B.C. phoric self-expression in human de- their relationship to the life of velopment. Journal of Counselling the planet. Herein lies our apd Development 64, 198-201. hope. Sutton, C.R. (1978) Metaphorically Speaking. The role of Metaphor in Teaching and I earningScience ,Oc- casional paper, science education series, University of Leicester. Sutton, C.R. (1980). Science, Ian- meaning School Science revageeandi 47-56. Sutton, C.R. (1981). Metaphorical imagery: A means of coping with complex and unfamiliar information in science Durham and Newcastle Research Review, 9 (46), 216-222. Thompson, S.J. (1986). Teaching metaphoric language: An instructional strategy. Journal of_Reading.

Wendy Stephenson teaches in the Faculty of Educaiton at the Laura Corsiglia UBC.

43 45 (BOOK REVIEW)

TELL THE WORLD SE/ERN CULLIS-SUZUKI A Young Environmentalist Speaks Out TELL1111E A Young Environmentalist Speaks Out... by Severn Cullis-Suzuki

Severn Cullis-Suzuki is a high school student in Vancouver and the daughter of David Suzuki. Inspired by the time spent with her family in the rainforests of Bra- zil, Severn returned to Canada with a desire to help save the environment. Along with young friends she formed a group called the Environmental Chil- dren's Organization.

Severn's book, Tell The World, relates her experiences as a young environmentalist culminating in the participation of her children's group at the United Nations Conference on Environment and Development or Earth Summit, which took place in Rio de Janeiro in June 1992. The text of her moving speech at the summit is included in the book which is wonderfully illustrated by the work of Canadian high school students.

Some may argue, as my nine year old daughter attempted tom that Severn Cullis-Suzuki has had opportunities opened for her that may not be there for the average young environmentalist. She herself addresses this issue by discussing activities that children in amy classroom can do to make a difference in saving the environment.

This book is an inspiration to those who hope their children are developing a belief that they can make a difference in, and to, the future. It is an excellent resource for a unit on environmental concerns, combining text and art works of students in a compelling manner.

Published by Doubeday Canada Ltd. 1993 ISBN 0-385-25422-9 paperback

Reviewed by Margaret Scarr. 46

44 (BOOKREVIEW THE ELDERS ARE WATCHING by Dave Bouchard and Roy Henry Vickers

The Elders Are Watching is written by storyteller Dave Bouchard and illustrated with the dramatic work of B.C. artist Henry Roy Vickers. The text, presented in a narrative style, speaks to the reader of our responsibility to our environment, of past promises broken, of neglect in caring for the land, and of hope for the future. It is a powerful message which speaks to children and adults alike.

In the work of Henry Roy Vickers we see the beauty and power of our West Coast and feel the presence of the Elders. If you look carefully into his images you will find the elders watching over the landscape with sadness, fear and hope. Vickers' images connect past, present and future and cause us to think of the relationships between culture and the environment.

This book is rich in possibilities for the classroom. A beautifully illustrated story book with a powerful message in and of itself, The Elders Are Watching is also a link to discussions of First Nations culture and relationships with the environment. Its strong linking of past, present and future might invite student research into historical background of environmental issues in B.C., investigation into current environmental concerns and debates, and reflection about personal beliefs regarding our responsibilities towards protecting the environment for future generations.

The Elders Are Watching is also a wonderful collection of the work of a re- nowned B.C. Artist. The extensive collection of Vicker's work in this book provides an excellent opportunity for investigation of the relationships between his life experience, beliefs, and cultural heritage and his art work.

Published by Eagle Dancer Enterprises Ltd. c 1990 ISBN 0-9693485-3-3 paperback

Reviewed by Margaret Scarr.

45 CONA DIFFERENTTOPIC) Drawing Against the Odds by Mia Johnson

Laurel is seven years old. on the carpet much more in- decided she wanted to draw She attends elementary teresting than another person, a house. Although at school school with the help of a full- and respond inappropriately to she had previously drawn a time SEA, and is currently in social and educational situa- "shoe" shape with several Grade 1. She is visually im- tions. figures in it to represent the paired after bilateral cataract Little Old Lady Who Lived in surgery at the age of four, For the past two years Lau- a Shoe, her drawing reper- and wears thick, aphakic rel has been following Heidi's toire has mainly been lim- lenses with two fixed focal drawing development in ited to figures or animal lengths. One focal length is "Heidi's Horse" (Fein, 1976). shapes composed of ovals set at reading distance, and She often chooses it as her bed- and lines. the other at 8 feet. Laurel has time book. However, she does to adjust her own physical not tend to acquire drawing Laurel wanted her draw- distance in order to bring an schemata as readily as most ing of a house to have a large object into focus. Any kind children. She treats her draw- exterior shape, a door with a of diagonal tilt in her view ings as puzzles to be solved, doorknob, and a window. will distortthe image further, and has developed many However, these proved to so that some parts may be in unique approaches to "build- be tricky to organize on the focus while others are out. ing" different structures. Fre- paper. She started with a Since she has no peripheral quently she shows unexpected large vertical rectangle and vision, she swivels her head resourcefulness. Given the placed a doorknob high up to scan images. She is left- visual and processing difficul- on the left side (figure 1). handed. ties that Laurel experiences After some thought, she real- while drawing the simplest ized this looked like a door, Laurelis further chal- objects, her pictures are often not a house with a door. She lenged by an attention defi- remarkable feats. tried to salvage her original cit, and she has processing intention with a small win- difficulties as well. As a high- Laurel demonstrates great dow in the upper right. This functioning autistic child, she persistence in drawing. She wi II was still not satisfactory, and often has difficulty determin- draw a subject over and over she added seven more win- ing what is important in any until she "gets" it, and attacks dows to the first one before particular context. Although problems in different ways. She giving up. As a final hopeful she takes Ritalin, a prescrip- generally rejects any guidance thought, she drew a window tion drug that helps her glo- or suggestions. Nevertheless, around the doorknob. bal concentration, she is visu- she is developing a good sense ally distracted by small nu- of the kinds of things that go Laurel's second drawing ances of glitter or colour. For together to make up a drawing began very confidently with example, she may find a run- subject or a constructed object a large exterior shape, to ning tap or a pattern of light like a puppet. Recently, she which she added a separate 46 48 door and doorknob which she said were "upstairs" (figure 2). But after placing the five win- dows, she decided this was not working out either. She expressed her annoyance with the door, which would not "do" what she wanted it to do. The third drawing began with a ground line, on which she firmly anchored the door lest it "go up" again into the top of her picture (figure 3). She spent several minutes colouring the door solidly to make sure it stayed put on the ground line. She then completed the house shape. She added the four win- dows and happily announced, "Aha, NOW I got it." She was very pleased with herself and spent several minutes adding on a roof and colouring it.

Laurel benefits from opportunities to draw several times a day at home and school. Most of all, she benefits from the belief of her parents and teachers that she is a good artist. While she is learning to question the appearance of her drawings, her self-esteem and confidence have stayed re- markably intact, allowing her to persevere.

Mia Johnson is an art educator at the University of Brit- ish Columbia, and is currently working on her Ph.D. in computer graphics for art education. She isLaurel's mother and the author of "Understand- ing and Appreciating Your Child's Art" (1993) Lowell House.

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