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Planning Curriculum in Art and Design
Planning Curriculum in Art and Design Wisconsin Department of Public Instruction Planning Curriculum in Art and Design Melvin F. Pontious (retired) Fine Arts Consultant Wisconsin Department of Public Instruction Tony Evers, PhD, State Superintendent Madison, Wisconsin This publication is available from: Content and Learning Team Wisconsin Department of Public Instruction 125 South Webster Street Madison, WI 53703 608/261-7494 cal.dpi.wi.gov/files/cal/pdf/art.design.guide.pdf © December 2013 Wisconsin Department of Public Instruction The Wisconsin Department of Public Instruction does not discriminate on the basis of sex, race, color, religion, creed, age, national origin, ancestry, pregnancy, marital status or parental status, sexual orientation, or disability. Foreword Art and design education are part of a comprehensive Pre-K-12 education for all students. The Wisconsin Department of Public Instruction continues its efforts to support the skill and knowledge development for our students across the state in all content areas. This guide is meant to support this work as well as foster additional reflection on the instructional framework that will most effectively support students’ learning in art and design through creative practices. This document represents a new direction for art education, identifying a more in-depth review of art and design education. The most substantial change involves the definition of art and design education as the study of visual thinking – including design, visual communications, visual culture, and fine/studio art. The guide provides local, statewide, and national examples in each of these areas to the reader. The overall framework offered suggests practice beyond traditional modes and instead promotes a more constructivist approach to learning. -
Fractal 3D Magic Free
FREE FRACTAL 3D MAGIC PDF Clifford A. Pickover | 160 pages | 07 Sep 2014 | Sterling Publishing Co Inc | 9781454912637 | English | New York, United States Fractal 3D Magic | Banyen Books & Sound Option 1 Usually ships in business days. Option 2 - Most Popular! This groundbreaking 3D showcase offers a rare glimpse into the dazzling world of computer-generated fractal art. Prolific polymath Clifford Pickover introduces the collection, which provides background on everything from Fractal 3D Magic classic Mandelbrot set, to the infinitely porous Menger Sponge, to ethereal fractal flames. The following eye-popping gallery displays mathematical formulas transformed into stunning computer-generated 3D anaglyphs. More than intricate designs, visible in three dimensions thanks to Fractal 3D Magic enclosed 3D glasses, will engross math and optical illusions enthusiasts alike. If an item you have purchased from us is not working as expected, please visit one of our in-store Knowledge Experts for free help, where they can solve your problem or even exchange the item for a product that better suits your needs. If you need to return an item, simply bring it back to any Micro Center store for Fractal 3D Magic full refund or exchange. All other products may be returned within 30 days of purchase. Using the software may require the use of a computer or other device that must meet minimum system requirements. It is recommended that you familiarize Fractal 3D Magic with the system requirements before making your purchase. Software system requirements are typically found on the Product information specification page. Aerial Drones Micro Center is happy to honor its customary day return policy for Aerial Drone returns due to product defect or customer dissatisfaction. -
EDUCATOR GUIDE Story Theme: the Grey Eminences Subject: David Ireland Discipline: Visual Art (Conceptual)
EDUCATOR GUIDE Story Theme: The Grey Eminences Subject: David Ireland Discipline: Visual Art (Conceptual) SECTION I - OVERVIEW ......................................................................................................................2 EPISODE THEME SUBJECT CURRICULUM CONNECTIONS OBJECTIVE STORY SYNOPSIS INSTRUCTIONAL STRATEGIES INSTRUCTIONAL OBJECTIVES EQUIPMENT NEEDED MATERIALS NEEDED INTELLIGENCES ADDRESSED SECTION II – CONTENT/CONTEXT ..................................................................................................3 CONTENT OVERVIEW THE BIG PICTURE RESOURCES – TEXTS RESOURCES – WEBSITES RESOURCES – VIDEO BAY AREA FIELD TRIPS SELECTED CONCEPTUAL ARTISTS SECTION III – VOCABULARY.............................................................................................................9 SECTION IV – ENGAGING WITH SPARK ...................................................................................... 10 Artist David Ireland beside the entrance to his retrospective exhibition at the Berkeley Art Museum. Still image from SPARK story, 2004. SECTION I - OVERVIEW To learn to “read” Conceptual Artworks and EPISODE THEME understand how they communicate The Grey Eminences To help students think conceptually by looking at, talking about and making conceptual art SUBJECT To introduce students to creative ideation by David Ireland beginning instead of materials GRADE RANGES K-12 & Post-secondary EQUIPMENT NEEDED SPARK story about David Ireland on DVD or VHS CURRICULUM CONNECTIONS and related equipment Visual Art -
The Effective Application of Digital Printing Techniques for Fine Artists in the South African Context
The effective application of digital printing techniques for fine artists in the South African context. a Dissertation BY Susan Louise Giloi (NH Dip: Photography) Submitted in partial compliance with the requirements for the Degree Magister Technologiae in Photography in the Department of Photography, Faculty of Art and Design. PORT ELIZABETH TECHNIKON November 1999 PROMOTERS Prof. N.P.L. Allen M.F.A. D.Phil. Laur Tech Mr S.C. Strooh N Dip: Photography DEDICATION To my family who gave me the opportunity to do this. To Prof. Nicholas Allen and Mr. Steven Strooh for their help and inspiration. ii ACKNOWLEDGEMENTS My thanks to all the individuals and companies that helped me. Ashley Bowers, Tone Graphics Billy Whitehair, Printing Products Bonny Lhotka Bruce Cadle, Port Elizabeth Technikon Carol Van Zyl, Vaal Triangle Technikon Cleone Cull, Port Elizabeth Technikon Colleen Bate, Digital Imaging and Publishing Dean Johnstone, Square One Dianna Wall, Museum Africa Dorothy Krause Edwin Taylor, Beith Digital Eileen Fritsch, Big Picture Magazine Ethna Frankenfeld, Port Elizabeth Technikon Eugene Pienaar, Port Elizabeth Technikon Gavin Van Rensburg, Kemtek Geoff Black, Cyber Distributors Glen Meyer, Port Elizabeth Technikon Hank Van Der Water, Xerox E.C. Ian de Vega, Port Elizabeth Technikon Ian Marley, Vaal Triangle Technikon Ian White, John Cook University Inge Economou, Port Elizabeth Technikon Isabel Lubbe, Vaal Triangle Technikon Isabel Smit, Yeltech Jenny Ord, Port Elizabeth Technikon John Clarke, JFC Clarke Studio John Otsuki, Capitol Color Keith Solomon, First Graphics Laraine Bekker, Port Elizabteh Technikon Lisle Nel, Port Elizabeth Technikon Magda Bosch, Port Elizabteh Technikon Mary Duker, Port Elizabeth Technikon Mike Swanepoel, Port Elizabeth Technikon Nick Hand, Nexus Nolan Weight, Stonehouse Graphics Peter Thome, Agfa SA Robin Mowatt, QMS Ronald Henry, Omni Graphics Ros Streak, City Graphics Russell Williams, Teltron Steve Majewski Thinus Mathee, Vaal Triangle Technikon iii Tilla Jordaan, Xerox SA Tony Davidson, Outdoor Advertising Association of S.A. -
Flat-Panel Imaging Arrays for Digital Radiography
Outline Flat-Panel Imaging Arrays • Market and clinical challenges for digital radiography for Digital Radiography • Passive pixel amorphous silicon imaging arrays • Active pixel amorphous silicon imaging arrays Timothy Tredwell, Jeff Chang, Jackson Lai, Greg Heiler, Mark Shafer, John Yorkston Carestream Health, Inc., Rochester, NY 14615, USA • Active pixel LTPS imaging arrays Jin Jang, Jae Won Choi, Jae Ik Kim, Seung Hyun Park, Jun Hyuk Cheon, Sauabh Saxena, Won Kyu Lee • Silicon-on-glass circuits for future active pixel imaging Advanced Display Research Center, Kyung Hee University, Seoul, Korea arrays Arokia Nathan London Center for Nanotechnology, University College, London Eric Mozdy, Carlo Kosik Williams, Jeffery Cites, Chuan Che Wang Corning Incorporated, Sullivan Park, Corning, NY 14831, USA 2 DR: “Digital” Radiography DR: 1 step acquisition with electrical “scanning” “Flat panel” and CCD based technology (introduced ~1995) (Courtesy Imaging Dynamics Corp.) 3 4 Two-Dimensional Projection Radiography The Market Outlook for DR: Rapid Growth World’s Population is Aging • Still most common exam • >1.5 x 10 9 exams per year • Chest imaging most common 1999 2050 Procedural Volume Trends • An aging population: 2,500 • By 2050, over 25% of the population in North America, Europe, China 2,000 Nuc Med and Australia will be over 60 ULtrasound • For every 1 time a 20-year-old visits a doctor … 1,500 MR …a 60-year-old visits a doctor 26 times 1,000 CT Digital X-ray • Rising incomes in Asia and Latin America will accelerate demand Procedures (Ms) Procedures 500 Analog x-ray • Emerging economies could go direct to digital - • Cost must be low – significant market opportunity 2001 2002 2003 2004 2005 2006 2007 2008 5 Source: WHO, World Bank 6 Anatomical Noise Anatomical Noise in Projection Radiography 3-Dim 2-Dim &KHVW5DGLRJUDSK 0DPPRJUDSK\ • 3 dim. -
Transformations in Sirigu Wall Painting and Fractal Art
TRANSFORMATIONS IN SIRIGU WALL PAINTING AND FRACTAL ART SIMULATIONS By Michael Nyarkoh, BFA, MFA (Painting) A Thesis Submitted to the School of Graduate Studies, Kwame Nkrumah University of Science and Technology in partial fulfilment of the requirements for the degree of DOCTOR OF PHILOSOPHY Faculty of Fine Art, College of Art and Social Sciences © September 2009, Department of Painting and Sculpture DECLARATION I hereby declare that this submission is my own work towards the PhD and that, to the best of my knowledge, it contains no material previously published by another person nor material which has been accepted for the award of any other degree of the University, except where due acknowledgement has been made in the text. Michael Nyarkoh (PG9130006) .................................... .......................... (Student’s Name and ID Number) Signature Date Certified by: Dr. Prof. Richmond Teye Ackam ................................. .......................... (Supervisor’s Name) Signature Date Certified by: K. B. Kissiedu .............................. ........................ (Head of Department) Signature Date CHAPTER ONE INTRODUCTION Background to the study Traditional wall painting is an old art practiced in many different parts of the world. This art form has existed since pre-historic times according to (Skira, 1950) and (Kissick, 1993). In Africa, cave paintings exist in many countries such as “Egypt, Algeria, Libya, Zimbabwe and South Africa”, (Wilcox, 1984). Traditional wall painting mostly by women can be found in many parts of Africa including Ghana, Southern Africa and Nigeria. These paintings are done mostly to enhance the appearance of the buildings and also serve other purposes as well. “Wall painting has been practiced in Northern Ghana for centuries after the collapse of the Songhai Empire,” (Ross and Cole, 1977). -
Video Stylization: Painterly Rendering and Optimization with Content Extraction Liang Lin, Kun Zeng, Yizhou Wang, Ying-Qing Xu, Senior Member, IEEE, and Song-Chun Zhu
IEEE TRANSACTIONS ON CIRCUITS AND SYSTEMS FOR VIDEO TECHNOLOGY, VOL. 23, NO. 4, APRIL 2013 577 Video Stylization: Painterly Rendering and Optimization With Content Extraction Liang Lin, Kun Zeng, Yizhou Wang, Ying-Qing Xu, Senior Member, IEEE, and Song-Chun Zhu Abstract—We present an interactive video stylization system an example produced by our system. Although similar oil- for transforming an input video into a painterly animation. painting effects can be generated manually by the paint- The system consists of two phases: a content extraction phase on-glass technique, such animation production is not only to obtain semantic objects, i.e., recognized content, in a video and establish dense feature correspondences, and a painterly laborious but also requires considerable artistic skills. For rendering phase to select, place, and propagate brush strokes example, it took over two years for artists to manually produce for stylized animations based on the semantic content and object the 22-min Oscar-winning animation Old Man and the Sea.In motions derived from the first phase. Compared with the previous comparison, our interactive system allows an amateur player work, the proposed method has the following three advantages. to produce painterly animations from real-life video clips with First, we propose a two-pass rendering strategy and brush strokes with mixed colors in order to render expressive visual effects. far less time and effort. Second, the brush strokes are warped according to global object In the following, we review the related work for painterly deformations, so that the strokes appear to be naturally attached rendering and video stylization in the literature and provide to the object surfaces. -
Guide to Digital Art Specifications
Guide to Digital Art Specifications Version 12.05.11 Image File Types Digital image formats for both Mac and PC platforms are accepted. Preferred file types: These file types work best and typically encounter few problems. tif (TIFF) jpg (JPEG) psd (Adobe Photoshop document) eps (Encapsulated PostScript) ai (Adobe Illustrator) pdf (Portable Document Format) Accepted file types: These file types are acceptable, although application versions and operating systems can introduce problems. A hardcopy, for cross-referencing, will ensure a more accurate outcome. doc, docx (Word) xls, xlsx (Excel) ppt, pptx (PowerPoint) fh (Freehand) cdr (Corel Draw) cvs (Canvas) Image sizing specifications should be discussed with the Editorial Office prior to digital file submission. Digital images should be submitted in the final size desired. White space around the image should be removed. Image Resolution The minimum acceptable resolution is 200 dpi at the desired final size in the paged article. To ensure the highest-quality published image, follow these optimum resolutions: • Line = 1200 dpi. Contains only black and white; no shades of gray. These images are typically ink drawings or charts. Other common terms used are monochrome or 1-bit. • Grayscale or Color = 300 dpi. Contains no text. A photograph or a painting is an example of this type of image. • Combination = 600 dpi. Grayscale or color image combined with a line image. An example is a photograph with letter labels, arrows, or text added outside the image area. Anytime a picture is combined with type outside the image area, the resolution must be high enough to maintain smooth, readable text. -
David Rosenberg's July 2013 / 2018 Interview with Miguel Chevalier
David Rosenberg’s July 2013 / 2018 Interview with Miguel Chevalier Flows and Networks David Rosenberg: Can you tell me what led you, starting in the early 1980s, to use computer applications as a means of artistic expression? Miguel Chevalier: I was very much interested in the video work of the South Korean artist Nam June Paik and in Man Ray’s rayographs. And the work of Yves Klein and Lucio Fontana constituted at that time for me two forms of pictorial absolutism, but I did not yet clearly see how one could go beyond all those avant-garde movements. In the early 1980s, at the Fine Arts School in Paris, several of us young students asked ourselves what was to do done after all these “deconstructions” and negations of the field of art and painting. This was, need it be recalled, a time when, for example, Daniel Buren said he represented the “degree zero” of painting. For my part, I felt far removed from Graffiti Art, from Free Figuration, from the German Neo-Expressionists, and from the Italian painters who had gathered around the art critic Achille Bonito Oliva. I wanted to explore still-virgin territories and create a new form of composition with the help of computer applications. D.R.: You took a special set of courses in this area? M.C.: No, not at all. I really approached computers and programming as an artist and an autodidact. During this period, there was no instruction in these areas in art schools in France. D.R.: And how were your research efforts perceived? M.C.: With a lot of scepticism. -
Computer Based Art 2 Computer Based Art 3
1 Computer based art 2 Computer based art 3 Computer based art 4 Computer based art ??5 Buzzanca vs Buzzanca6 7 9 L’arte contemporanea (quale sia la data d’inizio che le volessimo attribuire) è stata caratterizzata, lo si è già accennato, dalla adozione di materiali di espressione artistica i più disparati possibili. La scelta di utilizzare il computer per esprimere il fare artistico, per sviluppare un linguaggio della manifestazione artistica diviene strettamente connesso • al sistema operativo, • all’applicazione, • alla pagina definita dal codice ed • alle teorie che del computer prendono in considerazione gli aspetti logici, simbolici; E’ possibile attivare sul computer, in maniera chiara e fortemente innovativa, una rappresentazione del proprio agire artistico. La vera innovazione, sappiamo bene, non consiste certo nella tastiera più o meno user friendly ma nella capacità di usare il mezzo informatico alla stessa stregua dei più disparati materiali presi a base nelle rappresentazioni dell’arte contemporanea. 13 14 15 16 17 Quali possono essere, allora, le strategie per l'archiviazione e, principalmente, per la conservazione delle arti digitali e di altre pratiche artistiche contemporanee di natura effimera o variabile e comunque strettamente dipendente da un medium la cui sopravvivenza è abbondantemente messa in crisi dagli stessi assunti metodologici della tecnologia adottata? Trovo in questo senso diagrammatica, esulando solo per un attimo dalle arti figurative (che includono figurazione e rappresentazione comunque iconica) la composizione musicale Helicopter String Quartet di Karlheinz Stockhausen che prevede che i quattro esecutori siano ciascuno su un differente elicottero ed eseguano sincronicamente l’esecuzione essendo tra loro collegati mediante apparecchi di registrazione e trasmissione coordinati da terra dal regista o meglio ancora dal direttore tecnologico dell’orchestra. -
Digital and Advanced Imaging Equipment
CHAPTER 9 Digital and Advanced Imaging Equipment KEY TERMS active matrix array direct-to-digital radiographic systems photostimulated luminescence amorphous dual-energy x-ray absorptiometry picture archiving and communication analog-to-digital converter F-center system aspect ratio fill factor preprocessing cinefluorography frame rate postprocessing computed radiography image contrast refresh rate detective quantum efficiency image enhancement special procedures laboratory Digital Imaging and Communications image management and specular reflection in Medicine group communication system teleradiology digital fluoroscopy image restoration thin-film transistor digital radiography interpolation window level digital subtraction angiography liquid crystal display window width digital x-ray radiogrammetry Nyquist frequency OBJECTIVES At the completion of this chapter the reader should be able to do the following: • Describe the basic methods of obtaining digital cathode-ray tube cameras, videotape and videodisc radiographs recorders, and cinefluorographic equipment and discuss • State the advantages and disadvantages of digital the quality control procedures for each radiography versus conventional film/screen • Describe the various types of electronic display devices radiography and discuss the applicable quality control procedures • Discuss the quality control procedures for evaluating • Explain the basic image archiving and management digital radiographic systems networks and discuss the applicable quality control • Describe the basic methods -
Overview of Digital Detector Technology
Overview of Digital Detector Technology J. Anthony Seibert, Ph.D. Department of Radiology University of California, Davis Disclosure • Member (uncompensated) – Barco-Voxar Medical Advisory Board – ALARA (CR manufacturer) Advisory Board Learning Objectives • Describe digital versus screen-film acquisition • Introduce digital detector technologies • Compare cassette and cassette-less operation in terms of resolution, efficiency, noise • Describe new acquisition & processing techniques • Discuss PACS/RIS interfaces and features 1 Conventional screen/film detector 1. Acquisition, Display, Archiving Transmitted x-rays through patient Exposed film Film processor Developer Fixer Wash Dry Gray Scale encoded on Film Intensifying Screens film x-rays → light Digital x-ray detector 2. Display Digital Pixel Digital to Analog 1. Acquisition Matrix Conversion Transmitted x-rays through patient Digital processing Analog to Digital Conversion Charge X-ray converter collection x-rays → electrons device 3. Archiving Analog versus Digital Spatial Resolution MTF of pixel aperture (DEL) 1 100 µm 0.8 0.6 200 µm 1000 µm 0.4 Modulation 0.2 0 01234567891011 Frequency (lp/mm) Sampling Detector Pitch Element, “DEL” 2 Characteristic Curve: Response of screen/film vs. digital detectors 5 Useless 4 10,000 Film-screen (400 speed) Digital 3 1,000 Overexposed Useless 2 100 Correctly exposed 1 10 intensity Relative Film Optical Density Film Optical Underexposed 0 1 0.01 0.1 1 10 100 Exposure, mR 20000 2000 200 20 2 Sensitivity (S) Analog versus digital detectors • Analog