Dr. Andrea Kantrowitz, EdD<\/strong>., is an artist, researcher, and educator who has lectured and given workshops internationally on art and cognition. She is the graduate program coordinator and assistant professor in Art Education at the State University of New York @ New Paltz.<\/p>\n Dr. Kathryn Ricketts<\/strong> Assistant Professor Arts Education at the University of Regina work explores spectatorship and the culturally-inscripted body within our ever-growing world of fluid borders and hybrid identities with a focus on inclusive education.<\/p>\n Session title: <\/strong>Marks, Movement and Meaning (moment by moment)<\/p>\n Session information:<\/strong><\/p>\n This interactive presentation explores the capture of spontaneous impulses in drawing, voicing and performing. Accessing the classic framework of call and response<\/em> in storying, the presenters are interested in the fusion of impulses in collaboration whereby the leader and follower become indeterminable.<\/p>\n The presentation is set into 3 modules allowing for the participants to witness the concepts in performance, to understand the ancestry and theoretical and methodological contexts of the work and then to build capacities through doing and making and finally to explore a collaborative structure enabling an experiential understanding of these capacities and concepts applied within a collective of impulses.<\/p>\n Session title:\u00a0<\/strong>“Empower YOUth” (a creative engagement and an interdisciplinary approach)<\/p>\n Session information: <\/strong><\/p>\n The Empower YOUth closing plenary at SKiP 2018 will include an overview of specialized programming, a discussion of outcomes and success stories, a drawing session in which participants experience the power of creative engagement followed by a viewing of powerful short animations created by vulnerable youth entitled \u201cMessage to Younger Self.\u201d The presentation will end with a surprise for SKiP participants.<\/p>\n Session title:\u00a0<\/strong>\u201cIt\u2019s Good to Be Seen: Taking stick figures on a journey to the heart.\u201d<\/p>\n Session information: <\/strong><\/p>\n Simple stick figures can provide us with an easy literacy tool \u2014 visual alphabet \u2014 that can help us better see and tell stories about our own and others\u2019 truth. Once we hop over the \u201cI can\u2019t draw!\u201d barrier, we can use these comics to deepen our analysis of personal and social dynamics, visualize how we might create change, and upstand (rather than bystand) to social injustices.<\/p>\n In this workshop we will create stick figure comics in various styles and with different media to achieve a range of outcomes that could be used by educators, counsellors, and social activist. We also will take a peek at some brain science and psychology that is relevant to the success of the humble stick figure comic. To finish, we will highlight media that encourage storytelling about People of Colour as central characters.<\/p>\n Our journey begins with fun warm ups and proceeds along a path that circles in closer to our truth, our heart and the ability to tell stories that help us we can truly be seen.<\/p>\n Come be surprise by the super powers of humble stick figures.<\/p>\n <\/p>\n Session title: <\/strong>Making a Mark! Drawing as a Form of Thinking for Non-Artists<\/p>\n Session information: <\/strong>The presentation will include a short twenty minute introduction explaining how I came to this research and why I incorporate drawing in some of my classes. It will outline the benefits of drawing for non-artists utilizing current neuroscience as well as more popular accounts of how drawing facilitates problem solving. The benefits are not contingent on being good at drawing, but rather derive from the unfolding process of mark-making itself. The audience will participate in two to three drawing exercises.<\/p>\n Session title:\u00a0 <\/strong>Stories That Draw Themselves: Using Narrative Maps To Overcome The Blank Page<\/p>\n Session information: <\/strong>This workshop combines drawing and reflection to examine how images can accrue an associative momentum that invents narrative.<\/p>\n The process starts with quick drawing exercises, with participants making three 3-minute sketches on specific prompts, such as: draw an object that was very important to you in your childhood \u2013 or, draw a picture of something that made you sad in the last six months.<\/p>\n These drawings are taped to the wall in clusters, with participants grouping them into several \u201cimage constellations,\u201d placing images near other images that share some quality \u2013 visual similarities, thematic or symbolic commonalities, sharp juxtapositions. We discuss both the intended meanings of the images, and the kinds of typologies images can suggest.<\/p>\n Each participant then connects five images on the wall with lines of tape. They can only include one drawing that they themselves made, and they must connect images across at least two \u201cimage constellations.\u201d The five connected images are then used as the basis for a one-page comic.<\/p>\n We discuss the human mind’s impulse to make connections between disconnected images or moments \u2013 the way dreams or memories are made into \u201cstories\u201d \u2013 and review how this tendency can be turned into a game, or a narrative engine.<\/p>\n Erin Fields<\/strong> is a Liaison Librarian in the humanities and social sciences and the Flexible Learning Coordinator at the University of British Columbia. Her research interests include the impact of open learning on learning pathways; community building in open education environments; the intersection of information literacies and digital literacies; emerging roles and library transformation<\/p>\n Heather O’Brien<\/strong> is Associate Professor at the iSchool, University of British Columbia. Her research focuses on user engagement with digital media. She has co-authored two books, Why Engagement Matters and Measuring User Engagement, and numerous articles, and developed a widely used questionnaire, the User Engagement Scale, for evaluating user experience.<\/p>\n Session information:<\/strong><\/p>\n Arts-based methods use creative approaches (e.g., photography, sketching) to engage research participants, and are widely used in health, education, and anthropology to explore and understand human experience in non-verbal ways. These methods provide rich data about lived experiences, support open and creative expression, and may be useful when working with vulnerable groups.<\/p>\n Information World Mapping (IWM), developed by Dr. Devon Greyson, is a drawing activity embedded in an interview study. IWM asks people to map their \u201cinformation worlds,\u201d or the people, places and things that facilitate acquiring and using (health, academic, etc.) information. IWM shows how our information worlds are shaped by social relationships (e.g. friends, family, etc.) and larger social influences (e.g., technology, media, etc.).<\/p>\n Recently we adopted IWM to understand the information-related needs and preferences of student refugees during resettlement, with the goal of modifying university services and print\/digital information. IWM may be of interest to attendees seeking to understand and improve information access for specific groups.<\/p>\n The interactive workshop will: Session information 01:\u00a0<\/strong>Art Teacher in Process<\/b><\/span><\/p>\n <\/p>\n Session title: <\/strong>Sketchbook as backbone<\/p>\n Session information: <\/strong>Drawing, my primary practice, is supported by an equally important (but rarely shown) sketchbook practice. Sketchbooks form a flexible, reliable backbone. They naturally hold together sketches, found objects, notes, and photos as a collection for review and reflection. Juxtaposition of various elements often brings together the seemingly unrelated and makes visible connections previously unconsidered. Just as the human brain is in many ways an accumulated collage, so too are sketchbooks. From sketchbooks have come greater projects. Sketchbooks are a backbone to art practice.<\/p>\n To illustrate the importance of sketchbooks within a drawing practice, the presentation will include both sketchbooks and related projects.![\"\"](\"https:\/\/sketchpractice.ca\/blog\/wp-content\/uploads\/2018\/09\/Parker-150x150.jpg\")
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\nFeatured Presenter:\u00a0 Dr. Andrea Kantrowitz & Dr. Kathryn Ricketts<\/h3>\n
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\nFeatured Presenter:\u00a0 Fredrik (Fred) Thorsen & Katarina (Kat) Thorsen<\/h3>\n
<\/a>Brother-sister team\u2014Fred Thorsen,<\/strong> filmmaker, and Kat Thorsen<\/strong>, artist\u2014use simple visual and digital media projects to engage their students through unique, experience-based activities such as storytelling, screenwriting, videography, photography, and editing.<\/p>\n
\nJessica Motherwell McFarlane Ph.D.<\/h3>\n
<\/a>Jessica Motherwell McFarlane, Ph.D.<\/strong>
\nResearch Associate, Justice Institute of British Columbia Director, Life Outside the Box: A graphic narrative project, Education consultant in private practice. dr.jessica.motherwell.phd@gmail.com
\nOffice: 604-980-0160<\/p>\n
\nSandra Seekins<\/h3>\n
<\/a>Sandra Seekins<\/strong> has been a faculty member at Capilano University since 2001, teaching Art History and Women\u2019s and Gender Studies courses. Her research areas of interest include art and trauma, art and activism, and the art of graphic novels and memoirs. In her spare time she walks her two greyhounds or plays and sings with a local ukulele club.<\/p>\n
\nChris Lanier<\/h3>\n
<\/a>Chris Lanier<\/strong> is an artist with a background in both traditional and digital media, and a demonstrated interest in hybrid forms, having worked in multimedia performance, digital animation, web production, and comics. His animation has screened at Sundance and won awards at several international festivals, including the Grand Prize for Internet Animation at the Ottawa International Animation Festival. He is currently the Associate Professor of Digital Art at Sierra Nevada College.<\/p>\n
\nErin Fields & Dr. Heather O’Brien<\/h3>\n
<\/a><\/a>Session title:\u00a0<\/strong>\u00a0Information World Mapping: Arts-Based Methods for Understanding Information Behaviour<\/p>\n
\n1)Introduce IWM through a participatory activity
\n2)Share examples to highlight the benefits and limitations of IWM
\n3)Explore how IWM may be used by workshop attendees
\n4)Provide further information about IWM in a handout.<\/p>\n
\nFeatured Presenter:\u00a0Meghan Parker<\/h3>\n
<\/a>Meghan Parker<\/strong>, a North Vancouver secondary school art teacher, is the first Canadian to complete a thesis of an autobiographical nature in comic book form.<\/p>\n
\nLouise Phillips<\/h3>\n
<\/a>Louise Phillips<\/strong>, a Vancouver artist who draws, teaches drawing, and keeps an ongoing sketchbook practice.<\/p>\n
\nPlease note: Everyone attending SKiP is invited to bring their sketchbooks for sharing and conversation after the presentation.<\/p>\n
\nDoug Cooper<\/h3>\n
Andrew Mellon Professor of Architecture<\/h3>\n