Organizing Concepts! in ! Introduction to Humanities! ! Think of a conceptual framework as the “Big Picture� ! around which all facts and details relate.
The goal of teaching is learning.! The goal of education is transfer learning.
Why Organize Information When Learning?
! “A key finding in the learning and transfer literature is that organizing information into a conceptual framework allows for greater “transfer”; that is, it allows the student to apply what was learned in new situations and to learn related information more quickly” (John Bransford). ! A conceptual framework is a group of concepts that are broadly defined and systematically organized to provide a focus, a rationale, and a tool for integrating and interpretation of information. This provides the big picture for learning, making associations, and making interconnections between new information and prior knowledge, which is the foundation of constructing meaning. ! “Within the brain, knowledge is organized and structured in networks of related concepts. Accordingly, new knowledge must connect to, or build upon a framework of existing knowledge. Put simply, learning involves building mental models (schema) consisting of new and existing information. The richer the links between new and existing information, the deeper the knowledge and the more readily it can be retrieved and applied in new situations. Building rich links involves an interactive process of building, testing, and refining schema that organizes knowledge into conceptual frameworks. (Zull, 2001)
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PART ONE: Chapter 1! Expanding the Conceptual Framework
add black
tint
shade relationship:! blacks to whites to grays
value
The Media ! of the Arts
physical volume! and density
shape of object
form mass hue
elements roughness or! smoothness
Two-Dimensional Art
color
texture
value
intensity purity go hue linear form
Media drawing! painting! printmaking
line
color edge
implication for! continued ! direction
Composition
Formal &! Technical Qualities !
rhythm greatest! visual! appeal
Other Factors perspective! chiaroscuro contrasts dynamics
focus Sense! Stimuli!
juxtaposition
focal! areas
equilibrium
closed composition
unity
harmony
variation
principles
open composition trompe l’oeil
repetition
balance symmetry
asymetrical
Mind Mapping - Mind Mapping is a very powerful visual graphic way of organizing information. ! Chunking - The brain learns complex routines by automatically grouping information into chunks. Chunking enables learners to compare two chunks easily instead of having to compare dozens items. “Becoming an expert in any field seems to involve creating large numbers of chunks, which enables you to make faster and better decisions. “Having an explicit understanding of this process rather than just doing it implicitly will help you chunk more often and more efficiently” (Rock).
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Mind mapping is a visual thinking tool that helps the learner organize information within the context of a conceptual framework. Mind mapping uses almost everything we know about how the brain learns, stores and retrieves information. Mind mapping is a powerful tool for preparing the learner for analyzing, comprehending, synthesizing, recalling and generating new ideas. Mind maps literally reflect how the brain organizes new information. When the reader uses the “rules of consolidation” for converting working memory into longterm memory, and the core cognitive strategies for understanding and retention of information in conjunction with mind mapping to visually represent relationships among concepts, thoughts, and ideas, information becomes much more useful in future applications. Using the internal dialogue inquiry questions along with mind mapping enables the reader clarify their understanding and move beyond surface learning to deep learn.
PART ONE: Chapter 1! Expanding the Conceptual Framework
The Media ! of the Arts
Does this painting have any of the characteristics of line?
elements Composition
Two-Dimensional Art Media
drawing! painting! printmaking
linear form
line
length dominates over width implication for! continued ! direction
Formal &! Technical Qualities !
Other Factors perspective! chiaroscuro contrasts dynamics
focus Sense! Stimuli!
juxtaposition
trompe l’oeil
color edge
! Why Mind Mapping over Outlining for Understanding Within A Conceptual Framework: !
1. The learner is not trapped by the limited linear format of 1, 2, and 3. ! 2. A mind-map is open-ended and open-minded, so mistakes are accommodated easily. ! 3. When you get new "ahas" or ideas, you can just add a new branch with new key words. ! 4.Make abstract ideas visible and concrete ! 5. Connect prior knowledge and new concepts
Mind Mapping’s Big Dos and Don’ts! ! DO: If something is important enough to learn, learn it immediately – always before mapping it.! ! DO NOT: Never put anything on a mind map until you can explain the concept being learned in your own words (reciting).! ! Note: One of the biggest mistakes students make while mind mapping text selections is identifying what is important to learn and then copying it to their maps before they have used the learning strategies to learn the information. Understanding is not learning.! ! Do: Always, before moving on to construct the next major branch off the center of the mind map, make sure you can:! 1.See the mind map you have constructed in your mind’s eye without looking at the map, and! 2.Can explain in your own words what the information on the mind map means.
A mind map has a number of advantages over the linear form of note-taking.! ! •The main idea in the centre is more clearly defined !! ! •The relative importance of all ideas is easily understood. More important ideas are nearer the center! ! • The links between key concepts are clearly visible ! ! • Recall and review is more effective and faster ! ! • Addition of new information is easy ! ! • Each map look is individual and different from other maps, aiding recall (Creative Industries Research Institute)
To make a mind map more effective follow these 10 basic components: 1 .A map will begin with a subject at its center.
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2. The use of color(s) is very helpful.
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3. Branch off the center with key words or images
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4.Use lower case print key word, and to make an idea stand out, use UPPER CASE PRINT
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5. Important: each key word should have its own branch (line).
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6. All branches must be connected.
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7. The length of a branch should be the same length as the key word.
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8. The use of color for different branches is very helpful to recall of the information.
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9. Use a visualization, such as a picture or drawing.
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10. Map is neat. All printing right side up.
PART ONE: Chapter 1! Expanding the Conceptual Framework
Two-Dimensional Art Media drawing! painting! printmaking
Dance
Formal &! TechnicalQualities !
Composition
Cinema
Other Factors
elements! principles
perspective! chiaroscuro
contrasts
Theatre
The Media ! of the Arts
Literature
dynamics
focus Sense! Stimuli!
juxtaposition
Music Architecture
Sculpture
trompe l’oeil
PART ONE: Chapter 1 & ! PART TWO: Chapter 9! Expanding the Conceptual Framework
Two-Dimensional Art Media drawing! painting! printmaking Formal &! TechnicalQualities !
The Media ! of the Arts
Composition Other Factors
elements! principles
perspective! chiaroscuro
contrasts dynamics
focus
Application
Sense! Stimuli!
Two-Dimensional Art juxtaposition
trompe l’oeil
The Styles ! of the Arts Ancient Approaches! p. 194, Fig. 9.2
The third phase of the development of early art consists of exciting multicolored paintings in impressive realistic style. In this category fall the well-known paintings at Altamira in Spain. Here the artists captured detail, essence, mass, and a remarkable sense of movement, using only earth colors and charcoal.
PART ONE: Chapter 2! Expanding the Conceptual Framework
Composition
elements
principles
Methods of ! Execution
Dance
contraction constriction
Sculpture
Formal &! Technical! Qualities
Cinema
substitution manipulation
Other Factors Dimenionality
articulation
full-round
Theatre
The Media ! of the Arts
Literature
temperature & age
relief linear
touch Sense! Stimuli!
lighting
Music Architecture
Two Dimensional Art
dynamics
size
PART ONE: Chapter 3! Expanding the Conceptual Framework
steel
skeleton frame bearing well
wood
cantilever
concrete
arch
stone
post & lintel
Building Materials
Structure Line, Repitition, Balance
Dance
Formal &
Formal &! Technical Technical! Qualities Qualities
Architecture
Scale and Proportion
Cinema
Content Climate
Theatre
Literature
The Media ! of the Arts
Space style
controlled vision & symbolism Sense! Stimuli! scale
Music Sculpture Two Dimensional Art
apparent ! function
dynamics &! interactivity
concerto groove
symphony
PART ONE: Chapter 4! Expanding the Conceptual Framework
fusion free jazz
fugue art song
ragtime
oration
New Orleans style
cantata
blues
mass
Classical Forms
Dance
Formal &! & Formal Technical! Technical Qualities Qualities
Music
Jazz Forms
Pop Music Forms rock and roll
Cinema
rap
Composition sound rhythm
Theatre
The Media ! of the Arts
Literature
melody harmony
Architecture Sculpture Two Dimensional Art
our primal responses Sense! Stimuli! musical performance
drama nonfiction poetry fiction
nonfiction poetry
Formal Divisions
fiction
Dance
Literature
Formal & Formal &! Technical Technical! Qualities
Technical Devices
Qualities
Cinema
Music
The Media ! of the Arts
Literature
Architecture Two Dimensional Art
Sculpture
hurly burly
Sense! Stimuli!
PART ONE: Chapter 8! Expanding the Conceptual Framework jazz dance folk dance world concert/ritual dance mine and pantomime
modern dance ballet
rhythm line, form, repetition
Forms
formalized movement
Literature
Dance
Choreography
Formal & Formal &! Technical Technical! Qualities
Qualities
Cinema
moving images
Music
The Media ! of the Arts
Literature
Architecture Two Dimensional Art
Sculpture
force
Sense! Stimuli! color
sign language