More about the diplomas- OUTRAGE from graduates?

As our graduating group has discussions on the outrage of the design change of the diplomas those that graduated are weighing in on it. Nancy has given me permission to print her letter and photographs that she sent me. Any other graduates or students want to express their opinion?

"The Diploma dilemma: I am not letting this go until the class of 2011 gets the right of passage diploma that we deserve. I have taken photos of my children's diplomas. Interesting, my son just graduated from eight grade to high school, my daughter just graduated from high school entering college and myself MFA entering society with a new voice.

My Diploma looks so cheap and unprofessional. I did not show my children. If our voice is not heard and the situation out of respect for us not changed, I will be going to Grand Central and taking the three diplomas and getting the peoples opinions and voice on this social issue. I do believe this mis-representation is a social issue. Below are the photos. I hope you show them at your G meeting today and speak that the recent graduates need to be part of the change if and I hope there is a change from cheap diploma to traditional diploma or a diploma that has all the right legal embossing.

As it stands it is my impression that my son's diploma and my diploma can be reprinted with no problem."

Sincerely,

Nancy

Bert's Piece For the Art crawl. How did I miss this?

Title of the piece "700 Year Plastic Composter."

Check it out! Follow the plastic bottles near the cafeteria, down the steps, through the exercise room. Turn left.

Art Crawl at Goddard is open to the public.

Today from 4:30- there will be an art Crawl open to the public on the Goddard College Campus. Perhaps you already heard about it on the public service announcmenet on WGDR . The community radio station from Goddard.

What is an artcrawl?

Performers, artists, musicians, and basically lots of art happenings will be had at the Goddard campus from 4:30-? Come to the campus, pick up a map and begin to crawl around campus. Great fun!

Goddard College

123 Pitkin Road

Palinfield Vermont

05667

(800) 906-8312

G4's PAY ATTENTION

One of the best things that happened to me was that Erica my G4 advisor suggested I dialogue in my last packet of G4 , or through the semester with both myself and her about anything I felt stuck on as far as having to discuss in my portfolio. I sent some things in to Erica in my last G4 packet. This helped a lot.

Frankly, I wish Goddard would change their rules and ask students to have an outline by their G4 5th packet for their portfolio. Just finding out that I have exactly one month to get my first draft of my entire portfolio done, is pretty overwhelming. It would not be if my work schedule didn't all of a sudden become filled to the brim.

The race begins.

Did you know?

That there is a vote by all of the faculty about if a student should graduate? I am told it is just a formality.

Outrage! This is what our diploma will look like?

It was brought to my attention at lunch today, that many of the graduates were very surprised to see what was actually handed to them at graduation. A lingering graduate offered to let us take pictures of this new diploma. Please note-

• It is presented in a paper binder that looks like something that comes from Kinko's
• Is not a very good paper stock
• Does not have an embossed seal.

Who do you think sat down at our table while the next to graduate G5's were in an uproar over this diploma business —the president of the college, Barbara Vaccarr. We were told to talk to Julie.Martin@goddard.edu Dean of Institutional Advancement

802-322-1622 to discuss our opinions on this new design.

Our thoughts are:

• It is not really something that we would want to hang on our wall.
• We paid a lot of money, it would be nice to get something that looked like our education was worth it.
• The diploma reflects on the school, it is not good "branding" to be handing these things out.

In defense of the new diploma

( journalist in me is forced to do this)

• It is recycled paper and therefore reflects the nature of Goddard.
• A lot of time and possibly money went into this investment of the new look.

Robin, a G5, has agreed, I hope it was not in jest, to take our thoughts to the appropriate person. So, we would love to hear what you think? Graduates weigh in, either on this blog post or the facebook post. G5's, G4's, what do you think? Others?

Because this is a personal blog I'll start.

I appreciate recycling, but not sure I want it to apply to my degree. Personally, give me some fake leather binder and the usual diploma. I do, after all, have to present this to the rest of the world, and I might not have time, or want to put a disclaimer on my wall, should I chose to hang it up.

And because a picture is worth a thousand words, though this paper might not be worth the thousands of dollars that each of us spent on our degree, here are some photographs of the diploma.

G2 study plan

New students may find it interesting to see another person's study plan. I have posted 4 on this blog, My overall study plan , My G1 study plan, My G2 study plan and my practicum study plan. PLEASE NOTE: your study plan may be very different. I am not an academic writer so my study plans are in plain English.

Guidelines: The study plan for one semester describes, specifically and in detail, what you will accomplish this semester. Refer to your STUDY PLAN AS A WHOLE as well as the MFAIA Degree Criteria, and as thoroughly and concretely as possible elaborate on this semester's plan of study activity.

Areas of Inquiry that provide the academic and artistic context of your studies.
sculpture
writing
technology

1. What are your overall learning goals for the semester? Describe the areas of inquiry, central themes, concerns and/or questions that your learning activities will address. How do you envision your creative and intellectual work evolving? How do you anticipate this work will move your practice forward?
There continues to be two areas of focus in this study plan. The first is bridging the gap between digital and traditional sculpture, where I further explore the incorporation of digital technology into my own creative process. The second area is writing, both creative writing, exploring other styles of writers, and an inner exploration of self and nonfiction writing.

Part 1. Digital/Traditional Sculpting
This semester in many ways is a continuation of last semester as the research and the digital processes are much more extensive than I expected and need further exploration. I will be focusing on the process of what I call tra-digi art, a mixture of traditional and digital practices as well as the technology that is incorporated in creating tra-digi art. I feel it is necessary to continue the research that began in last semester and compile information about the process. This will help me to utilize this technology in the future in my own work. I will however, be taking one of my own pieces of art working through the process of digital scanning, molding in the computer and output and I will be documenting that process. As I put my own work through this technology I will be able to know exactly what to expect from the new mediums and the difficulties and pitfalls that come with this technology. It is essential for me to document this process to be able to define it for myself and to help other artists know how to affectively integrate these technologies into their own art. I look forward to sharing this through my nonfiction writing and descriptive and evaluation essay.

The study also consists of becoming familiar with the contemporary artists and researchers who are also investigating this new technology. I would like to do this through personal one on one interviews. I will also be interviewing the resources, vendors, and university research laboratories that provide this type of technology. This research helps to move my work forward because as I gather this information for my own process, I would like to write instructional essays on how other artists can use it. A collaboration with Ed Tacket of Saddleback College, Rapditech National Center for Rapid Technologies will be proofreading this essay to be sure that the technology is correct and to help me anticipate and interpret what other information is necessary to smoothly incorporate these techniques into my own practice.

Part 2. Writing
As a writer passing on information and knowledge is as important to me as creating and learning the process myself. This is one of the reasons why I love nonfiction writing. Besides the nonfiction writing I’m also interested in continuing a personal dialogue with my creative writing. After the loss of my mother last semester I have found that reflective writing is helping me to both process her death and work through my own creative process. I will also be exploring the work of other writers who are writing memoir or narrative essays.

2. What creative projects will you undertake and what products do you envision emerging from your creative work this semester? Describe how this work will be documented and how it may contribute to the development and rigorous exploration of your interdisciplinary practice.
Part 1. Digital/Traditional Sculpting
Most of this semester I will be continuing my research. I am very excited about not just researching papers, but actually meeting and talking to those who are using the technology, as well as those universities, professors and individuals who are working on the advancements.

I will be doing this through podcast interviews - Art and Technology. As I started, with this research last semester I was thrilled to find that many of those who I have spoken with were delighted with my goal of bridging the gap between technology and the traditional studio. This exploration helped me to become known in the fields of rapid prototyping, additive and subtractive manufacturing and laser scanning research. That notoriety assisted in the research itself. The element of putting my name out there with others who are doing the same research is essential because much of the technology is cutting edge, and the researchers encourage open source and sharing. They pass on my name to others or other new technology on to me. Also, with some of the steps that I have been trying to take in using this process there have been technological obstacles. It has been important to push past these obstacles and find further resources to make this tra-digi art a realization. Having my hand on the pulse of the technology and pulling other resources to add to my process have done this. I must consider approaches that may not fit within traditional definitions of art. Much of this work is not only interdisciplinary it is cross-disciplinary moving into manufacturing, engineering, architecture and math and science. As a traditional artist I am trying to not just bridge the gap between the traditional and digital studio but anticipate the problems, by examining my own resistance, both psychological and technological that keep me from realizing the final creation. My goal is to process the information, find the best way to utilize it or how others are utilizing it, and then disseminate it. If the semester and interviews lend themselves to the topics I may also reference some of the difficulties with the technology, from copyright infingement to the psychological aspect of the artists and their transition to the digital processes.

Part 2. Reading other people’s work, and regular writing- whether fiction or nonfiction helps me to become a better writer. Researching writing styles and absorbing those styles trying to make them a part of my own writing style is a goal. I loved doing this with Ann Lamotte and Donald Miller last year, I just kept reading their work until it morphed into my own. There was freedom in exploring an alternative Christian writer. I look forward to reading others works and further exploring narrative essays through my creative writing.

3. What critical discourses and theoretical concepts will you engage with this semester? Identify the artists; theorists; movements; fields of study; cultural, social and political frameworks; or other areas of knowledge that you plan to explore and describe how you see this work in conversation with your creative projects and/or contributing to your overall creative development. How will you document this activity; what written or other products-such as critical writing, essays, annotations, etc.-will emerge?
Part 1. Digital/Traditional Sculpting
The discourse incorporated will be essay writing and interview. Seeking out artists who are using technology in creating fine art as well as those utilizing data, science or math to create 3d artwork. The first semester at Goddard has been rewarding and fulfilling. It stretched my own personal interaction with contemporary art and techniques that I would not normally consider in my own practice. This interaction and dissemination of my own research will continue on that journey.

My questions for interviews are based on my own questions that I have asked myself. As I interview others I am sure more questions will arise.
1. How has digital technology and sculpture changed in the last 10 years?
2. Is it the work or the process that excites those interested in this technology?
3. Can digital sculpture be accepted as a fine art medium?
4. Will these digital process take over the traditional process of the lost wax method of bronze casting? If so, what is needed for that to happen and what are the advances in this technology.
5. Who are some artists, vendors, or universities that are using the technology or contributing to their advancements?
6. What are the limitations of the process? How can these either be worked through or used to the artist’s advantage?
7. For artists - How has this technology changed the way that you create?
8. For service providers - What are things that artists need to know to help them get the best end product in their creations?

4. What specific resources do you plan to use? Include a Bibliography, as well as other resources you plan to use. In addition, please describe how you envision co-learning with peers this semester.

My resources for my first semester were extensive covering 12 lectures and workshops, 13 gallery shows, museums or designs exhibits and relying heavily on online research incorporating 47 sources, along with reading 13 books.

I would like to continue to depend on the online resources of which I cannot identify in this bibliography as many of the discoveries in research are cutting edge technology and are being made or happening from moment to moment. The bib will grow with the research. Also I have found that one paper and question builds upon the next.

The resources will also build as I conduct the interviews.

As part of this semester I do plan on creating an open dialogue with those who are creating and researching this new technology. This dialogue itself will lead to further resources. Many of those that I want to interview are people that I found from my previous research and who are listed in last semesters bibliography. A sample of those possible interviews are:

Sculptor - Barry X Ball
Vendor - Ex one digital printing and those using this resource
Research University - Solhiem Rapid Manufacturing Laboratory University of Washington
Vendor- Next Engine and those using this resource
Sculptor - Robert Lazarrini
Weaver - Nathalie Miebach
Research University - Ron Beal, UC Berkeley concerning printing in porcelain
History of 3d printing and fine art- Robert Michael Smith NY IT Fine art
Research University - Keith Brown Manchester Professor of Sculpture and Digital Technologies Manchester Metropolitan Museum
Curator of Design and the Elastic Mind MOMA Paola Antonelli

Part 2. For the personal reflective writing in this semester I will be focusing on reading memoirs, or literature that can inspire me in the direction of reflective essays, and narratives.

Potential Bib for Writing

Claxton, Eve. “The world's best memoir writing: the literature of life from St. Augustine to Gandhi, and from Pablo Picasso to Nelson Mandela / edited by Eve Claxton.” Napperville, Ill.: 2007.

Couser, Thomas. Vulnerable Subject Ethics and Life Writing. Ithaca, NY: Cornell University Press, 2004. Print.

Hayes, Bill. Five Quarts : A Personal and natural history of blood. Ny: Balentine Books, 2005.

Hayes, Bill. Sleep Demons : An insomniac's memoir / Bill Hayes. New York: Washington Square Press/Pocket Books, 2001.

Hayes, Bill. The Anatomist : a true story of Gray's anatomy. New York. Ballantine Books: 2008.

Kvale, Steinar, and Svend Brinkmann. InterViews. Sage Publications, Inc, 2008.

Welch, Dennis. Rich People Shop Here. Intermedia Publishing Group, 2009.

5. If you are planning a practicum for this semester, include the complete Practicum Proposal (as outlined in the MFAIA Handbook Addendum) here, describing the project's aim in relationship to your learning goals and how you plan to document it.
Though a practicum does not apply for this semester I have spoken with Jackie Hayes about creating a semester of art and writing that is totally reflective and somehow connected- art to writing. I envision this study as having the component of total solitary creation. This is a stretch for me because with my sculpture work I only work in collaborations- myself with the client, to complete a commission of a child, husband, wife etc. This practicum is different as it is working in the studio to create without having any outside influence or direction. I know that sounds strange to some artists as many do this all of the time, but for me I do not. I always create with the goal of serving a client in mind. I weave my own creativity into it but I’m guided by a clients needs. It will be interesting to see how I approach this process and perhaps even that journal of the approach of doing art for art’s sake. Creating Portraits- or images of others is important to me, as is exploration of the deep emotion. However instead of creating figurative detailed sculpture I will instead stretch once again to create either art nouveau or sculpture of found objects, abstracts- a portrait of the person or feeling without actually a portrait of the person.

6. How will the work you are planning for this semester advance you toward fulfillment of the MFAIA degree criteria?
Ability to Conduct Rigorous Exploration within the Context of an Art Practice
Sculpture
• The exploration of the artists and process along with the technology is extremely rigorous. My interview and investigation of the technology and its possibilities and well as the boundaries, and of the artist that are using this technology helps me to explore creative possibilities that I might not have ever considered in my work.

• Being able to disseminate this knowledge opens up a possible future rapport between myself vendors, artists, and research universities and will transform my own work.

Understanding of the Nature of Art and Articulation of a Personal Theory of Art. Ability to Develop a Critical Discourse on One own and Other’s Practices. Understnading of the Cultural, social an Political Context of One’s Art.

Sculpture

• Exploring the nuances of incorporating tra-digi art, the history of it and how artist are taking these processes that were originally created for manufacturing or industry and pushing the boundaries of that technology to create what is not an object but becomes art, helps me to develop my own art philosophies.

• Conducting interview with other artists who are interested in the same research and art as I am assists in helping to develop a critical dicourse.

Writing

• The factual precision and exploration of the interview, journalism, essay of creative nonfiction, and the intellectual rigor of academic discourse that I inititate with those who are studying these works of art are perspectives from which I can critique and rethink the conventional boundaries of each form of writing and creation of art. I will also work to gain a new perspective on my experiences with language.

• Through the listening of other artist’s voices and through essay I will be developing a critical discourse. I have found Social issues within the context of rapid prototyping and additive and subtractive manufacturing, both in the possibilities that they hold and the problems with the waste that they can generate. It is my deep desire to find alternative methods to the lost wax method of bronze casting that has been around for thousands of years and in itself has waste material.

• I am also very intrigued with the idea of how we can now see data as art. It is already being shown that this is having huge implications in the areas of science, which in turn affects our world as a whole. I’m drawn to the idea of incorporating that data/art/science into my own work. In hopes of creating work that can enlightening on more than just a creative standpoint but might reveal some hidden secret to affect the world on a broader scale. I will continue to evaluate and develop discourse on this both in an inner dialogue and within interview and essay.

Understanding of the Concept of Interdisciplinary Art

• This semester as was last semester is not only interdisciplinary working with different forms of art and writing, but also is cross disciplinary as the exploration of art in additive and subtractive manufacturing also brings me into such areas as architecture, manufacturing science and math.

Keep in mind, as you plan your study, the ways in which you will move towards meeting the MFA in Interdisciplinary Arts Program's Degree Criteria. Please refer to these criteria.

At the end of the semester you will write an evaluation report. Then you will need to look at this plan and ask yourself how well you followed it. The more specific it is now, the easier to compare it with what you actually do during the semester. The clearer your goals, your plans for learning activities and resources, the schedule you laid out for yourself, and your description of the products you hoped to make, the easier it should be for you to assign values to or find value in ('evaluation') these aspects of your ongoing study.

Study plan G1

New students may find it interesting to see another person's study plan. I have posted 4 on this blog, My overall study plan , My G1 study plan, My G2 study plan and my practicum study plan. PLEASE NOTE: your study plan may be very different. I don't do academic writing so my study plans are in plain English. This study plan has been approved by your advisor
Guidelines: The study plan for one semester describes, specifically and in detail, what you will accomplish this semester. Refer to your STUDY PLAN AS A WHOLE as well as the MFAIA Degree Criteria, and as thoroughly and concretely as possible elaborate on this semester's plan of study activity.

Areas of Inquiry that provide the academic and artistic context of your studies.
Sculpture
Digital media
Writing
Exploration of creativity, expression, faith, emotion and process

1. What are your overall learning goals for the semester? Describe the areas of inquiry, central themes, concerns and/or questions that your learning activities will address. How do you envision your creative and intellectual work evolving? How do you anticipate this work will move your practice forward?
Part 1. Digital/Traditional Sculpting
There are two areas of focus in this study plan. The first is bridging the gap between digital and traditional sculpture. Through the semester I will explore working with Mudbox as a sculpting tool as well as using other digital technologies to aid in my creations. How is Mudbox used, what are the difficulties that a traditional sculptor will have entering the digital world? Are there alternative methods of workflow that might make that transition easier? It will be important to document my own frustration with the process from a traditional sculptors point of view.

The use of digital technology in my studio is very recent. Embracing the technology increases my productivity, saves times and offers me more time for creativity. It also gives me tools to expand upon. Along with the creative process I’m also interested in exploring the ramification this new technology will have concerning copyright as it pertains to 3D scanning and creating.

Part 2. Creative Christian
In addition I have a strong desire to research my own creative process as it pertains to my faith, business and person. And would like to journal these thoughts.



2. What creative projects will you undertake and what products do you envision emerging from your creative work this semester? Describe how this work will be documented and how it may contribute to the development and rigorous exploration of your interdisciplinary practice.
Part 1. Digital/Traditional Sculpting
With the digital art, as it pertains to the traditional studio, I am in the process of collaborating on a book with artist Mike de la Flor. My collaboration on the book is to translate the traditional process of sculpting to digital. The exploration brings frustrations, concerns and more questions that I need to resolve. Once resolved, those discoveries need to be formatted to educate others. My packets will consist of my own writing and research for the book as well as notes/journal about my personal experiences and frustrations.

Part 2. Creative Christian
Within our inspirations podcast we have decided to interview one creative Christian a month. The interview questions that are asked are burning questions of my own. I’m interested to hear how others are interacting with their creativity when it is melded with their faith and often with their livelihood. I know the interview will also bring up further questions and emotional responses, which I would like to journal about.


3. What critical discourses and theoretical concepts will you engage with this semester? Identify the artists; theorists; movements; fields of study; cultural, social and political frameworks; or other areas of knowledge that you plan to explore and describe how you see this work in conversation with your creative projects and/or contributing to your overall creative development. How will you document this activity; what written or other products-such as critical writing, essays, annotations, etc.-will emerge?
Part 1. Digital/Traditional Sculpting
Working through the process of using digital technology helps me to bridge that gap between traditional studio and the digital tools. Because of my own exploration and incorporation of these tools, I feel that I can better educate others. I can identify with the affects of using them in the creative process. It will however be interesting to see how other traditional artists come to terms with technology and if they will embrace it or shun it.

Because technology is changing and growing it will be necessary to keep engaged with the advances. Just as digital photography and printing has changed the photography, new advancements in digital technology will be changing the field of sculpting. It will even change the way that bronze casting has been done for centuries. With such changes come a great deal of uncertainty and psychological barriers between the creator and the tools. It will be interesting to explore these barriers.

Part 2. Creative Christian
Through the writing and exploration of creativity it is important to allow myself to become vulnerable to others in order to assist them with their process of growth and healing. In turn, the sharing affects my own growth as well.


4. What specific resources do you plan to use? Include a Bibliography, as well as other resources you plan to use. In addition, please describe how you envision co-learning with peers this semester.
Part 1. Digital/Traditional Sculpting
I will rely heavily on the information that comes from the computer graphics convention SIGGRAPH, which I am attending in August. I will also draw from the research gathered from those I have already been in contact with. Because this study and the new technology is really groundbreaking work there is very little written about it. I will however, be reading books that I can find that are on similar topics such as the competing software—Zbrush. Online discourse with modelers and Mudbox users will be of great assistance combined with the tech department of the software company. Books on polygonal modeling are available and may or may not apply.

Part 2. Creative Christian
The interviews of the individuals that I feel inspired by, whose work I will have to research prior to interviewing will be my resources for this portion of my study. I look forward to talking about t


5. If you are planning a practicum for this semester, include the complete Practicum Proposal (as outlined in the MFAIA Handbook Addendum) here, describing the project's aim in relationship to your learning goals and how you plan to document it.
This does not apply at this time.

6. How will the work you are planning for this semester advance you toward fulfillment of the MFAIA degree criteria?
I believe this study plan for this semester expands on six of the seven Degree criteria, the only one it does cover is of course the practicum. It is transforming both personally and creatively and it will take vigorous research to achieve this goal. Part 1 – traditional to digital sculpting is all about contextualizing my research and comparing it to what has been done in history as well as contemporary. Because of the somewhat controversial, old way verses new technology, and my documentation of not only what is available but the affects and relation that others have to it, I believe that the criteria of “ability to develop critical discourse on one’s own practice” and “understand of cultural social and political context of ones practice” is also met.

Keep in mind, as you plan your study, the ways in which you will move towards meeting the MFA in Interdisciplinary Arts Program's Degree Criteria. Please refer to these criteria.

At the end of the semester you will write an evaluation report. Then you will need to look at this plan and ask yourself how well you followed it. The more specific it is now, the easier to compare it with what you actually do during the semester. The clearer your goals, your plans for learning activities and resources, the schedule you laid out for yourself, and your description of the products you hoped to make, the easier it should be for you to assign values to or find value in ('evaluation') these aspects of your ongoing study.

Study plan as a whole.

New students may find it interesting to see another person's study plan. I have posted 4 on this blog, My overall study plan , My G1 study plan, My G2 study plan and my practicum study plan. PLEASE NOTE: your study plan may be very different. I don't do academic writing so my study plans are in plain English.

Guidelines: You develop this detailed plan in conferences with your faculty advisor and perhaps with other students with similar interests. The plan is a study contract that states specifically what your goals are, what you want to learn and why, and how you will go about achieving these goals in the context of the MFAIA program and its degree criteria. You and your advisor must agree upon the plan. THIS STUDY PLAN MAY BE USED AS PART OF AN INTERIM TRANSCRIPT. Please take care in its preparation.

Briefly identify the Areas of Inquiry that will provide the academic and artistic context of your overall studies.

Sculpture

Digital media

Writing

Exploration of creativity, expression, faith, emotion and process

Overall Goals: Broadly, what do you hope to achieve by the time you are ready to graduate? What themes, metaphors, life interests or fields are prominent in your practice or that you wish to explore? We suggest that you start with assessing the current state of your artistic practice. Then describe the direction in which you would like your art work to evolve. What skills and knowledge will you need to gain to support that growth?

I do recognize that Goddard provides narrative transcripts but as part of my goal for studying at Goddard I am trying to obtain 18 hours of course equivalent transcripts in each of the following areas— sculpture, digital media and writing. Therefore it is important for me to look at my study with that outcome. Though I have no immediate goal to teach, it is important for me to plan my study in preparation of what I think might happen in my future. Having these transcripts along with my narrative transcripts offers me the opportunity of teaching these disciplines at a college level.

Exploration of the nuances of sculpting, both of my own personal process and that of others will be part of my graduate study while at Goddard. In addition to that, as new technology is created and infiltrates the studio an examination of the processes and how it can relate to traditional sculpture is necessary. Using the innovative technology, as a tool and exploring the affect they have on the traditional artists will also be reviewed. It is my desire to use the research and the processes in my own creations and then bridge the gap between traditional and digital through my writing, and tutorials.

I’d also like to explore my own expression, Focusing and honing my abilities as a writer. Possibly also incorporating other means of sharing that expression through other media.

I have a yearning and desire to educate and help others explore themselves and will do so with a variety of media. Education can be as simple as how to, or as (deep) as introspection of my self and encouragement to others.

Critical Development, Theory and Context: What critical discourses and theoretical concepts will you engage with over the course of your graduate studies? Identify the central fields of study; cultural, social, artistic and political frameworks; or other areas of knowledge that you plan to explore and describe how you see this contributing to your overall creative development.

Working through the process of using digital technology myself helps me to bridge that gap between traditional studio and the digital tools. Because of my own exploration and incorporation of these tools I feel that I can better educate others, as well as identify with the affects of using them in my creative process. It will however be interesting to see how other traditional artists come to terms with technology and if they will embrace it or shun it.

Because technology is changing and growing it will be necessary to keep engaged with the advances. Just as digital photography and printing has changed the photography, new advancements in digital technology will be changing the field of sculpting. It will even change the way that bronze casting has been done for centuries. With such changes come a great deal of uncertainty and psychological barriers between the creator and the tools. It will be interesting to explore these barriers.

On a more personal note—through writing and exploration of creativity it is important to allow myself to become vulnerable to others in order to assist them with their process of growth and healing. In turn, the sharing affects my own growth as well.

Resources: What resources will you use to enhance your artistic and critical development? Mention reading and writing; library, gallery or museum research; workshops, classes and conferences you may wish to attend; persons you hope to interview or consult, and agencies or organizations with which you might do practicum work. Include a preliminary Bibliography and a list of your other key resources here.

While studying and working through the four areas — sculpture, digital technology writing and expression I would expect to use a wide variety of resources including not only reading books, but because of the advances in the areas that I am interested in papers and journal articles are more timely as they introduce the newest concepts. Along with attending the computer graphics conference SIGGRAPH I plan on creating a contact list of sources from this conference that also have their hands on the pulse of this new technology and are willing to share.

Reading is an integral part of my creative process not only for the technology aspect of this study, but also for my desire to becoming a better writer by exploring the writing styles and voices of other writers.

It will also be important that I expose myself to my own creative process and the creative process and life of those that I am interested in interviewing. With the subjects of Creativity, expression, emotion I’ll continue to expand my research and resources through self-exploration, reading and interviews of others.

RESOURCES
SIGGRAPH conference

BIBLIOGRAPHY

Addison, Martin. Corel Painter X for Photographers. Focal Press, 2007.

Atkinson, Brent J. Emotional Intelligence in Couples Therapy, Advanced in Neurobiology and the Science of Intimate Relationships. W.W. Norton& Co, 2005.

Bacchi, Andrea, Catherine Hess, Julie brooks, Anne-Lise Desmas, DAvid Franklin, and Jennifer Montague Bernini and the Birth of Baroque Portrait Sculpture. Getty Publications, 2008.

Committee on Integrating the Science of Early Childhood Development, Youth, and Families Board on Children, Shonkoff, Jack P, Deborah A Phillips, Committee on Integrating the Science of Early Childhood Development, National Research Council. From Neurons to Neighborhoods : The Science of Early Childhood Development. National Academies Press, 2000.

Caselman, Tonia. Teaching Children Empathy, The Social Emotion: Lessons, Activities and Reproducible Worksheets. YouthLight, 2007.

Darwin, Charles. The Expression of the Emotions in Man and Animals. Oxford University Press, 1998.

Dayton, Linnea, and Cristen Gillespie. Photoshop CS / CS2 Wow! Book. Peach Pit Press, 2006.

Elaine, Marie Alphin. Creating Characters Kids Will Love. F& W Publications, 2000.

Ekman, Paul. Emotions Revealed, Second Edition: Recognizing Faces and Feelings to Improve Communication and Emotional Life. Holt, 2007.

Evans, Dilys. Show and Tell: Exploring the Fine Art of Children's Book Illustration. Chronicle Books, 2008.

Goleman, Daniel. Emotional Intelligence: 10th Anniversary Edition; Why It Can Matter More Than IQ. Bantam Books, 2005.

Gottman, John. Raising an Emotionally Intelligent Child. Simon & Schuster, 1998.

Grossman, Rhoda. Digital Painting Fundamentals with Corel Painter x. Course Technology PTR, 2007.

Grossman, Rhoda Digital Painting Fundamentals with Painter. X Course Technology PTR, 2007.

Guth, Hans P. and Gabriele L Rico, Discovering Poetry. Prentice Hall, 1993.

Guth, Hans P. and Gabriele L Rico, Discovering Fiction. Prentice Hall College Div, 1992.

Hauer, Erwin. Architectural Screens and Walls. Princeton Architectural Press, 2007.

Hyson, Marion The Emotional Development of Young Children: Building an Emotion-Centered Curriculum. Teachers College Press 2003.

Keller, Eric Introducing ZBrush. by Eric Keller John Wiley & Sons, 2008.

Kershaw , Carol, and William Wade. Brain Change Therapy: Clinical Interventions for Self Transformation. WW Norton, 2009.

Malchiodi, Cathy Art Therapy Sourcebook. McGraw-Hill, 1998.

Miller, Donald. Blue Like Jazz. Anchor Books, 2000.

McCannon, Desdemona, Sue Thornton, and Yadzia Williams.

The Encyclopedia of Writing and Illustrating Children's Books: From Creating Characters to Developing Stories, a Step-by-step Guide to Making Magical Picture Books. Running Press ,2008.

Osipa, Jason. Stop Staring: Facial Modeling and Animation Done Right. John Wiley & Sons, 2007.

Plummer, Deborah M. Anger Management Games For Children, Jessica Kingsley Publishers, 2008.

Rico, Gabriele Creating Re-creations: Inspiration From the Source, Second Edition. Absey & Co, 2000.

Russell, James A. and José Miguel Fernández-Dols, and George Mandler, The Psychology of Facial Expression (Studies in Emotion and Social Interaction. Cambridge University Press, 1997.

Robinson, Jenefer Deeper than Reason: Emotion and its Role in Literature, Music, and Art. Oxford University Press, 2005.

Schirado, William C. Creatures : A Book of Rhymes About Emotions and Experience for Children and Parents to Read, Talk About and Enjoy Together. Tw Publishing, 1998.

Spencer, Scott. ZBrush Digital Sculpting Human Anatomy. R John Wiley & Sons, 2009.

Thornton Jones, Marcia, and Debbie Dadey, Story Sparker: A Creative Guide for Children’s Writers. Writers Digest Books, 2000.

Threinen-Pendarvis, Cher. The Painter X wow ! Book. Peachpit Press, 2007.

Wuthnow, Robert. Creative Spirituality. University California Press, 2003.

Young, William P. The Shack. Windblown Media, 2008.

Practicum: What are your preliminary plans for your practicum? How do you envision the practicum project helping you to explore a variety of ways in which artists might live and work in the world?

Practicum does not apply at this time.

More on course equivalents

Someone said to me today that they heard that more colleges, and not just those in the south may adopt what the Southern Board of Colleges is doing.You have to have 18 hours of credit, and prove it for each area that you want to teach.

I have a lot on this blog about course equivalents. And if you search it you will find the reasons why I must have them as well as the process and difficulties I had in getting them.

Someone asked me if they could see my course equivalents. I realized I have never posted them. They might be totally different for someone else or done differently by someone else, but here they are.

As further note: I have requested course equivalents from Goddard because I live in Texas. The Southern Board of Colleges requires 18 hours of credit in a discipline for me to be able to teach.

I am not sure how I will be handling my last semester at Goddard. I have had two direction— writing and sculpture/digital sculpture. In hindsight I should have organized them to have 3 directions and qualified in 3 different areas.

G4- Course Equivalents

Course Description-Illustration for children's literature Credits 3

Illustration for children's literature explores literature for children, the art of the picture books, and story telling. The student surveys traditional and contemporary illustrators and writers and experiments creating a story with pictures. Accompanying this course are workshops and a conference for the Society of Children's Book Writers and Illustrators.

Course Description-Novel revision Credits 3

In this course student works through the process of revision focusing on crucial concepts of craft such as, character, symbolism, connections, plot, show don't tell, rhythm and voice. The student will revise a 60,000 word young adult novel.

Course Description-The craft and business of fiction writing Credits 3

As an extension of the Novel Revision class, the student works through the process of creating a scene by scene synopsis, chapter by chapter synopsis, a one-page synopsis, writing the back of the book, and a query letter. The student examines the work of other authors and their process, as well as changes in the publishing industry as it pertains to e-books. Focuses on the changes within the Christian publishing industry (CBA) as compared to the secular industry (ABA) are also explored. The semester culminates with an introduction to publishing agents through the Society of Children's Writer's and Illustrators regional conference.

Course Description-Exploration of literature-reading as a writer Credits 3

This is an examination of literature-young adult, middle grade and children's literature in the context of reading as a writer. In this course, the student participates in reading a variety of award winning authors working in children, middle grade and young adult literature. The student reads and examines the literature with a focus on voice, organization, word choice, ideas, rhythm, and conventions. There is also a focus on cultural and historical influences, as well as faith and the discovery of self in youth.

G3- Course Equivalents

Course Description-Studio Art-Exploration of the Self and Sacred. Credits 6

This is a practicum semester. The practicum is titled Exploration of the Self and Sacred. The work is a personal, reflective study creating representational art works exploring a combination of medium and materials. The focus is on gesture, small, digital sculpting and contemporary art, as well as creations using nature, found objects and cast pieces. The artist works at finding an artistic voice different than the one she has expressed up to this point.

Course Description-Writing for Children and Young Adults Credits 3

This course explores writing fiction and nonfiction for children and young adults. The student reviews different narrative forms and techniques such as, the use of voice, humor and character development. The semester focuses on the development of craft and the exploration of children's literature. The student undertakes exploration in writing of a young-adult novel. The students is mentored and critiqued through the Society of Children's Book Writers and Illustrators organization, which assists in immersing the writer into their field.

Course Description-Creative Writing-Nonfiction Credits 3

This course focuses on nonfiction writing using the exploration of the creative self. Along with nonfiction, there are explorations invoking sacred attention through poetry. The semester also focuses on exploring and finding a writer's voice. Attendance and mentoring at the C. S. Lewis Writer's conference concludes this semester. The conference and mentoring encourages the writer in her craft, through the development and the combining of thought, word and spirit.

G2- Course Equivalents

Course Description- Studio Art and Technology- continued Credits 3

Studio Art and Technology: Interdisciplinary art practice was undertaken to explore concepts and processes that examine digital technology in comparison to traditional or manual sculpture techniques. Projects were designed to integrate or discover intersections between digital and manual tools, a process I came to call “tra-digi” art

Course Description-History of Digital Technology in the Traditional Studio- Continued Credits 3

This program of study focused on a critical evaluation of the history of Digital art in the Traditional Studio. Philosophical discussions compared new technology with the “old” methods with regards to the values that shape the development and application of technologies as well as the critical discourses that separate art and technology and those that bridge those terrains. An exploration of contemporary artists who employ digital technologies and whose work raises questions about the politics, ethics and cultural value of technologies was central to this inquiry.

Course Description-Non Fiction Writing Credits 3

This study focused on writing as a form of documentation of creative process

and research as well as on memoir writing. In terms of documentation, my
practice developed around bridging the gap between the traditional studio
and digital technology. I explored writing in the form of interview, honed
my skills in technical writing, and critical essay writing. Memoir writing
was another modality I explored. In addition to refining the craft of
writing memoir, I also began the exploration of the ethical dilemmas
involved in telling the stories of others in my life.

G5- Course Equivalents

Course Description-Studio Art and Technology Credits 3

Variable topics course designed to explore concepts and processes in art-making that go beyond the normal curricular parameters of traditional studio disciplines.

Course Description-History of Digital Technology in the Traditional Studio Credits 3

In this course there is an Evaluation of the History of Digital art in the Traditional Studio and philosophical discussions comparing new technology with the “old” way. Evaluating the “Value” set upon the work and also the acceptance of technology and the process in fine art. An exploration of contemporary artists who have paved the way for the acceptances of this technology is also explored.


Course Description-Traditional Sculpting/Digital Sculpting Credits 3
Comparing the process of sculpting digitally and traditionally.
A study and experiment with creating digital sculpture in the traditional sculpting style. Searching the psychological aspects and barriers of traditional artists who are beginning to use digital technology in the traditional studio.


Course Description-Memoir Writing Credits 3

Study memoirs by contemporary authors to become more familiar with the many possibilities available to writers working in this form. Focus is on issues relevant to the writing of memoir, including craft and techniques, memory and truth-telling, and interior and exterior significance.

Weather in Plainfield- heading to residency- bring an umbrella!

If you are like me and headed to residency in Plainfield Vermont you may be wondering what the weather is like.

Looks like we may need an umbrella. For those coming from the south take note: there is no AC anywhere but in the computer room. Every room has a fan. Safe travels to all.

Oh yes, if you need a ride from the airport

Once again, here is the taxi information

HEY EVERYWHERE CHANGED THEIR RATES! Looks like Everywhere Taxi has put up a page for us on their website. If you fill out the form at Everywhere they will try to group us together to save money on the transport to Goddard. It can be quite expensive. Here is a link to their form.

Here are the rates as they are listed on their site, as of this date.

BETWEEN PLAINFIELD AND BURLINGTON:

THIS IS WHAT IT WAS LAST SEMESTER

For five passengers: $18.00 per person

For four passengers: $23.00 per person

For three passengers: $30.00 per person

For two passengers: $45.00 per person

Private car/single passenger: $89.00

THIS IS WHAT IT IS THIS SEMESTER

One person: $75 (plus tip)

Two people: $40 per person (plus tip)

Three people: $30 per person (plus tip)

Four or five people: $20 per person (plus tip)

Booking a photographer at residency

If you are interested in taking part in our new website -- our digital database of artists at Goddard, and you need a headshot or a promo photograph to put into your page, we have volunteer photographers that will be scheduling shoots at residency.

There will be sign up sheets that each photographer will post on the bulletin board at residency. Look for a vacant spot on their sheet and sign up. I'll also be sending an em ail out at residency to talk about this.

RESIDENCY PHOTOGRAPHER #1- HEATHER MCFADDEN

G3 Student Heather McFadden has graciously decided to head up the committee of photographers at residency. If you are a photographer and want to help, please e-mail me or facebook me and I'll put you in contact with Heather. Please also send me a sample of your photography so others can see it. I'll post it here, and it will be posted on the bulletin board at residency. To see more of Heather's work http://www.heathermcfadden.webs.com/

Head shots at residency

I have two photographers who have volunteered to take head shots for fellow classmates at residency. We are initiating this in light of our up and coming new searchable website database of students that we are trying to put together.

If you need a head shot for this project or for your brochure, website etc. Please look at the bulletin board and watch your e-mail for further information concerning securing a sitting with one of these very talented professionals. Please remember that these photographers are students who have a schedule to keep at residency as well. I am glad that two photographers have volunteered as I feel this will be less pressure on one photographer alone. I'll post links to the photographers website so that you can take a look as soon as I have confirmed them.

Update- Goddard searchable database -

I am happy to report that we are well on our way to creating our very own student and alumni searchable database networking/collaboration site as was suggested at last  residency.  Many students have donated funds and we expect to be up and running in the next couple of months.  We have purchased the web address www.goddardnetwork.com and the site will reside there once it is up.

If you are interested in being included in this public networking site, which will be a great place to find other Goddard students and alumni to collaborate with, then start to get your copy ready as well as any photographs you may need.

PHOTOGRAPHS AT RESIDENCY

I had someone approach me about volunteering to take photographs of individuals at residency, should they need a good bio head shot or if you need your artwork photographed for the site. If that person would please

contact me, we will begin to set this up for residency. Everyone should watch the bulletin board or their e mail for further information on this.

PROGRAMMER

If anyone knows a programmer that might be able to help me tweak some code in the Wordpress site to better fit our needs, please let me know asap. It would be preferred if this person could volunteer their services.

If you are unfamiliar with this project, further details can be found at these links.

http://perpetuallearner.blogspot.com/2011/02/searchable-database-of-all-goddard-mfa.html

The format is very similar to the graduation book created by Connie Porter but is online and will include all students and alumni you can see a copy of that graduation book by following this link.

http://www.lulu.com/browse/search.php?fListingClass=0&fSearch=goddard