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In times of fast paced technology, the ability to differentiate quality differences between a reproduction and an original work of art has new urgency. The use of digital reproductions in the classroom is a useful and convenient teaching tool, but can convey visual distortions specifically in regards to texture,

In times of fast paced technology, the ability to differentiate quality differences between a reproduction and an original work of art has new urgency. The use of digital reproductions in the classroom is a useful and convenient teaching tool, but can convey visual distortions specifically in regards to texture, size, and color. Art educators often struggle to achieve a balance between incorporating the use of digital technology and fostering an appreciation for experiences with original artworks. The purpose of this study was to examine the ways in which Dewey's theory of experiential learning explains how thoroughly high school students differentiate between a reproduction and original artwork. This study also explored the influences of painting style (realistic or semi-abstract) and sequence on a student's ability to identify the differences and select a preference between the reproduction and original artwork. To obtain insight into how a student is able to differentiate between a reproduction and an original artwork, this study engaged 27 high school student participants in viewing a digital reproduction and the respective original artwork of one realistic and one semi-abstract painting at the ASU Art Museum. Analysis of qualitative and quantitative data suggests that sequence influences a student's ability to differentiate between a reproduction and original artwork. Students who saw reproductions before viewing the originals, demonstrated a more comprehensive understanding of the differences between the two presentation formats. Implications of this study include the recommendation that art educators address definitional issues surrounding the terms original and reproduction in their teaching, and consider collaborative ways to prepare students for meaningful experiences with original artworks.
ContributorsUscher, Dawn (Author) / Erickson, Mary (Thesis advisor) / Stokrocki, Mary (Committee member) / Young, Bernard (Committee member) / Arizona State University (Publisher)
Created2011
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Human team members show a remarkable ability to infer the state of their partners and anticipate their needs and actions. Prior research demonstrates that an artificial system can make some predictions accurately concerning artificial agents. This study investigated whether an artificial system could generate a robust Theory of Mind of

Human team members show a remarkable ability to infer the state of their partners and anticipate their needs and actions. Prior research demonstrates that an artificial system can make some predictions accurately concerning artificial agents. This study investigated whether an artificial system could generate a robust Theory of Mind of human teammates. An urban search and rescue (USAR) task environment was developed to elicit human teamwork and evaluate inference and prediction about team members by software agents and humans. The task varied team members’ roles and skills, types of task synchronization and interdependence, task risk and reward, completeness of mission planning, and information asymmetry. The task was implemented in MinecraftTM and applied in a study of 64 teams, each with three remotely distributed members. An evaluation of six Artificial Social Intelligences (ASI) and several human observers addressed the accuracy with which each predicted team performance, inferred experimentally manipulated knowledge of team members, and predicted member actions. All agents performed above chance; humans slightly outperformed ASI agents on some tasks and significantly outperformed ASI agents on others; no one ASI agent reliably outperformed the others; and the accuracy of ASI agents and human observers improved rapidly though modestly during the brief trials.

ContributorsFreeman, Jared T. (Author) / Huang, Lixiao (Author) / Woods, Matt (Author) / Cauffman, Stephen J. (Author)
Created2021-11-04
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The following study is about the importance of including global art and art history in a bilingual/bicultural art classroom. The study was performed with twelve Navajo art students in a predominately Navajo high school located in a small urban town off the Navajo Reservation. Navajo students selected traditional and contemporary

The following study is about the importance of including global art and art history in a bilingual/bicultural art classroom. The study was performed with twelve Navajo art students in a predominately Navajo high school located in a small urban town off the Navajo Reservation. Navajo students selected traditional and contemporary artworks they were curious to learn more about from four global cultures, familiar (Navajo and European) and unfamiliar (Maori and Benin). They also responded to art criticism questions and identified reasons they were curious about the artworks they selected. Students were curious about familiar (Navajo and European) artworks more than unfamiliar artworks (Maori and Benin). Of all student responses, 69% focused on the artwork selected; 16% focused on meaning and expression, and 15% focused on the artist. This study concludes by suggesting that there should be a middle ground about what to teach to Navajo children. I suggest that art education should include other cultural information within the Navajo philosophy of education.
ContributorsBegody, Chrystalee (Author) / Erickson, Mary (Thesis advisor) / Young, Bernard (Committee member) / Stokrocki, Mary (Committee member) / Arizona State University (Publisher)
Created2015