PPDP


 * Personal Professional Development Plan (PPDP) **

This PPDP is an agreement between Randi Knizner and Arts Educator 2.0. The purpose of this Personal Professional Development Plan is to construct professional development goals for the Arts Educator 2.0 Project participants in a collaborative and meaningful way. Progress towards the following goals is the responsibility of the participant, with assistance provided by (mentor's name). The successful completion of the goals outlined below will result in 5 CPE credits awarded by the PA Department of Education. A final evaluation of progress will be conducted by the grant co-directors, grant partners, and the grant evaluator in consultation with the participant's mentor.

In order to meet this goal, the following steps will be taken: • I will participate in 7 webinars that deliver content related to writing the unit of study; • I will participate in 5 face-to-face meetings at IU1 where I will have time to interact and collaborate with other teachers about the content and technologies relevant to unit writing; • I will work with my mentor and collaborate with other grant participants to draft the unit in stages as content is delivered and discussed. Upon completion of the unit, I will submit the unit for review; • I will complete any necessary revisions of the unit and resubmit by June 30, 2009.
 * Goal #1: Develop a standards-aligned unit of study with rich, compelling content for future implementation in your classroom (Provided by ArtsEducator2.0). **

Progress will be documented in the following ways: • I will draft the unit using google docs that will be shared among participants with which I am collaborating as well as my mentor; • I will be accountable to deadlines that coincide with the face-to-face meetings at IU1; • I will save/record necessary communication between me and my mentor or other grant personnel regarding my unit writing progress.

Goal #1 will be assessed in the following ways: • My unit of study will be reviewed by a team of grant personnel including the co-directors, evaluator, and representatives from grant partners; • The team will assess the proficiency of my unit using a rubric that was explained to me at the beginning of the AE2.0 Project. The rubric will be used to determine if my unit is Advanced, Proficient, Basic, or Below Basic.


 * Goal #2: Increase student knowledge of Aesthetics by supporting the National/State Visual Arts Standards as outlined in my district's visual arts curriculum (Identified through collaboration between teacher and coach).**

In order to meet this goal the following steps will be taken: • Familiarize /review the National/State Standards on Aesthetics. • Read Thinking Through Aesthetics by Marilyn Stewart. • Find other sources on aesthetics. • Find ways to use technology to bring in outside recourses for aesthetics into the class room • Discuss with mentor and other participants possible methods of teaching aesthetics in the art classroom • Try out aesthetics activities in the class room.

Progress will be documented in the following ways: • Notes from reading.

· Document technology brought into the class room. · Keep a log of items discussed with participants in the group. · Write a summary/reflection of aesthetic activies or/and video tape class(es) doing activites. · Will up load documentation to my wiki.

Goal #2 will be assessed in the following ways: • My progress will be consistently observed by my mentor via on-site visits, virtual visits, various forms of communication, and via my wikispace. • The ArtsEducator2.0 steering committee will deem my progress adequate after consultation with my mentor.

Reading:** Article://Using Role Play to Teach and Learn Aesthetics// by Bradford B. Venable Art Education January 2001 Notes documented directly from author:
 * PPDP Book Evidence:

Book 1: //Thinking through Aesthetics// by Marilyn G. Stewart Notes documented directly from text: Introduction and Chapter 1 Philosophy, Aesthetics, and Children Chapter 2 Aesthetic Theories and Philosophical Questions
 * 1) After studying works of by "their" artist, students wrote a letter to a museum or art gallery describing the importance of the work.pg.48
 * 2) Other articles recommended //Puzzles about Art:An Aesthetics Casebook// (Battin, Fisher, Moore, & Silvers, 1989) pg. 49
 * 3) Aesthetics issues can increase their awareness of the world. pg. 49
 * 4) Students also wrestled with the concept of free expression and where it should take place. pg. 50
 * 1) What makes art important enough to be shown at the Museum of Modern Art? pg.xi
 * 2) There is a widespread assumption that when attempting to judge the merit of artworks, one person's opinions is as good as another's; these are matters of taste, and there is no disputing matters of taste pg. xii
 * 3) aesthetics deals with our experience of beauty and ugliness outside of art. pg. 2
 * 4) Aesthetics as a branch of philosophy is a Western construction. pg. 3
 * 5) philosophers have pondered whether an artist must intend to create a work of art in order for the work to be the art, thus focusing on mental state of the artist as an important consideration. pg.4
 * 6) To what extent does the socio-historical context affect the way in which a perceiver responds to an artwork?, "what is or should be the role of the artwork in culture?" pg.6
 * 7) We engage in art criticism when we focus our attention on the meaning and significance of a particular work of art of body of work. pg. 7
 * 8) Show them artworks that fall outside their conceptions of art, or by exposing them to thinking that does not correspond to their ow. pg. 10
 * 9) If the rules of discussion include listening carefully without judgement, children can seriously consider other views; they can "try on" and weigh the merits of the competing view. pg.11
 * 10) Learn to respect the alternative view. pg.11
 * 11) Aesthetics is the branch of philosophical inquiry in which we address questions about beauty, art, our experiences with art and beauty, and what we can legitimately say about the meaning or signigicance of artwors. pg.15
 * 1) An artwork is relational: it always exists in relation to other things, people, or events. pg. 18
 * 2) FORMALIST THEORY is formal qualities, such as texture, line space, and form. pg. 20
 * 3) For the Formalist, things such as subject matter, moods or feelings, social issues, and artists' intentions are external to the artwork and do not have aesthetic significance. pg. 21
 * 4) EXPRESSIONIST THEORIES of art have focused on and explored the potential of artworks to express feelings. pg. 22
 * 5) Expressionist theories often will attribute the expressive character of an artwork to the formal elements-such as color, line, texture, and of space-which, with subject matter, help create the feelings expressed or evoked by the artwork. pg. 22
 * 6) CONTEXTUALIST THEORIES focused on the social, political, and historical contects in which artworks are made and encountered. Three general types: Instrumentalist theories, Institutinalist theories, and Linguistic theories. pg. 23
 * 7) INSTRUMRNTALIST view is one that sees the message of an artwork as its most significant aspect, and the value of art as its capacity to change the way people think ,believe, or behave. pg. 23
 * 8) INSTITUTIONALIST theories hold that appreciation and iterpretation of objects deemed art members of the artword is different from appreciation and interpretation of objects that have not been seen. Do not provide standards for judging; rather, they attempt to explain how it is that certain objects come to be called art. pg. 24
 * 9) LINGUISTIC theories link art to language do not provide standards for judging the merits of artworks. The focus, again, is upon understanding how it is that we can express and interpret meaning in art. pg.25
 * 10) IMITATION THEORIES (Realism) One of the oldes theories about art is one that assumes that art is a kind of imitation of the world. Art work can mirror reality, and have included the terms such as "representaion" to explain the phenomenon, clainin thath artists "represent" reality through a variety of media, selecting certain aspects of the world to emphasize and hold our attention

Book 2: //Puzzles about Art// Notes: Notes documented directly from text: Professional aestheticians would assent to both a principle of authenticity and a principle of aestheticism. p. vii Expression-based theories will give higher priority to authenticity, while formalist theories will give greater importance to perceptual properties of the work. p. viii Should it matter whether its creator intended to be received or understood as art? p. 1 When we say that something is art, or a work of art, so we mean to say at the same time that it should be understood or appreciated in a certain way, or taken seriously in a particular fashion? p. 2 Dickie's point; Art is what the artworld takes to be art. p. 8 Whom to ask-the members of the artworld. If they take these things to be art, then they are; if they do not, they are not. p. 9 Activities to discuss with class 1-2 Pile of Bricks p.13 Wladyslaw Tatarkiewicz defines a work of art as follows: "A work of art is either a reproduction of things, or a construction of forms, or an expression of experiences such that it is capable of evoking delight, or emotion, or shock. p.17 Discuss 1-10 Bad Art or Not Art At All Could it be that Adorno did not change his mind(about art)but that the world changed between 1943 and 1969? p. 19
 * Preface**
 * Chapter 1**

> media type="youtube" key="OzxzGYanLY4" height="344" width="425" media type="youtube" key="vFXjjl2e3pw" height="344" width="425" 2. My Reflection on lesson taught:**Effectiveness and Impact**
 * PPDP Class Refleciton Evidence:**
 * 1) 1. A clip of a class taught on aesthetics:
 * Students are becoming aware of aesthetics in the art room.
 * Students seem to be enjoying learning about aesthetics.
 * Students assessment for this assignment is based on participation.
 * The lesson was effective. The students understood the concepts of aesthetics I was teaching and asking them to learn. They could explain just what Picasso was trying to convey.
 * The impact of the lesson was surprising. The students truly surpassed my expectations on how enthusiastic they were learning the aesthetic concepts of art. I could see that all the students learned something new about Picasso and his style of art.

3. How I plan on **expanding** on/and my **continuation** of aesthetics:
 * Include aesthetics into more lesson plans.
 * Expand on the Artists I teach using Aesthetics.
 * Include aesthetics lessons with every grade kdg. through sixth.
 * Include video on aesthetics in the future.
 * Participate in some distance learning programs with museums. (Write grants to afford the distant learning programs)
 * Each year I will build on prior issue discussed.
 * Attend workshops or conferences on aesthetics.
 * Continues with Arts 2.0 in the 2009-2010 school year
 * Continue with personal enrichment on aesthetics. My mentor's knowledge of aesthetics was more help them I could ever verbalize. With her guidance I was able to grow as an educator.
 * Find and contact colleges who also teach aesthetics. Set up possible skype lessons with them or institutes who teach aesthetics.