Ambrose: Illustration # 4

- Piece submitted by Ambrose (3/10/17)

Annabel (& Ambrose): Lewis Carroll & Updates

"The Tumtum Tree," by Ambrose

We’re in the Edge room again. All the kids are at their typical spots for 4th period.  Maddie is on the couch, Ambrose, Nelson, and Annabel are at their individual desks, and Farrell, Ian, and Chris are at their respective individual bean bags.  Santiago is at the round table in the middle of the room.  Mrs. Charlap, Mr. Rivera, and Mr. Bisson are looking at what Ben and James are up to with the snow park project.  The Friend (from the last blog post) and Annabel come in.  Staring at her desk, The Friend sees “The Jabberwocky” and asks, “What does the Cheshire Cat in Alice in Wonderland symbolize?”

“In Lewis Carroll’s book, Through the Looking-Glass, the Cheshire Cat shows up in the fifth chapter called “The Pig and The Pepper.”  Alice finds the cat in the Dutchess’ house grinning from ear to ear.  Alice questions why it is doing that.  The author says that most cheshire cats grin in this world.  This means that there is more than one Cheshire Cat.  The famous Cheshire Cat that we know follows Alice and is famous.  It is the one that speaks to her in that same exact chapter.  The Cheshire Cat is just like regular cats in the world of Alice in Wonderland, but the most famous one guides her around.

“A cat is different from culture to culture, so you can’t really say that this cat (or any cat, for that matter) is good or bad.  In the Dictionary of Symbols, eight different societies have eight different beliefs on this creature.  In some cultures the cat is a sign of good luck, and it is a sin if you actually kill one.  To some, though, they have the common belief that if a black cat crosses in front of you, you have 7 years of bad luck.  So seeing if a cat is good or not depends upon the culture.”

“How does this relate to the Cheshire Cat in the story?”

“Well, a website says that is just a made up idea by Lewis Carroll.”

The Friend says, “Oh, that is cool.  I have a question:  while writing Alice in Wonderland, do you think Lewis Carroll was drunk or taking LSD?”

Annabel says, “Historians don’t really know if he was or not.  There are some articles that say that he was, some say that he was not...and others say that he was.  So, we may never know.”

“Ok, then.  So...it has been about four months. Have you done any work with the symbol essay? What have you been doing?” asks The Friend.

“I took a little break from the essay, and I have been working hard to put in portfolios to five colleges.  I also got into two.”

“Which ones did you get into?”

“I would like to keep those classified until I pick which one I want to go to officially.”

“Ok.  Cool.  How was FIT? What does FIT even stand for? Florida Institute of Technology?”

“Oh, my FIT classes were great,” Annabel explains. “I am now done with them.  I wish I got more time, though.  They were a lot of fun.  I got some high school credits from them, too, so I am pretty happy.  I made a lot of art and learned a lot.  No, FIT does not mean Florida Institute of Technology; that is down south.  I went to the Fashion Institute of Technology in New York City.”

“Is that where you live?”

“No, I live in the suburb outside of the city.  Where are you from, Anonymous?”

“I don’t know. I think I am from Algoe, NY.”

“Wait, is that a Paper Towns reference?”

“Yes, because it is fake like me.”

“Ok then...that’s...dark.  And...we went on a tendril.  Should we talk about the picture on the table?”

The Friend picks up the drawing and Annabel explains, “That drawing is a Tumtum Tree by Ambrose.  We both read 'The Jabberwocky,' by Lewis Carroll.  We were going into art, and we were wondering what a Vorpal Sword and a Tumtum Tree might look like in real life.  So Ambrose made the Tumtum Tree, and I made the Vorpal Sword.  I also looked at the meaning behind both.  My work is included in a PDF attached to this blog.”



“Isn’t that breaking the fourth wall...and unnecessary?”

“No, it is good to know.  Well...anyways...see you later.  I gotta get back to looking at this dictionary to help me finish writing my essay.”

Annabel then opens the 1168 page Dictionary of Symbols, and her mind starts to explode "through the words."

Ambrose: Illustration # 3

- Piece submitted by Ambrose (2/15/17)

Ambrose: Illustration # 2

- Piece submitted by Ambrose (2/15/17)

Ben & Ambrose: Collaborating on Jib Tubes

Ambrose preparing a jib tube (and surrounded by his finished pieces).
Photo taken by Ms. Charlap.

Below two Edge Makers - Ben and Ambrose - discuss their partnership in preparing features for Ben's project:  a terrain park.  Their words are a testament to their robust collaboration skills and effective work processes.

Ben:
Finding parts for the wind chime, I came across some really strong cardboard tubes.  My original plan was to use it as a tail tap even though it wasn't going to last long.  It wasn't going to last because the weather would get to it.  Talking with Ms. Charlap, she said we could have a student paint the tubes and then use the leftover NOVA Gel (from the pictures hanging on the side of the schoolhouse building) to cover the tubes.  That way they wouldn't weather.  We chose Ambrose, a fellow EDGE student, to paint the tubes.  By now, I had two long tubes, so I decided to cut them into five sections with a saw.  Then, I needed to seal the tops so that water couldn't get in and ruin it from the inside.  So, I took a plastic garbage bag, cut it to the size, then duct-taped it on.  Next, I took a piece of sheet metal and cut it a little bit bigger than the hole, drilled holes in the metal and tube, screwed it down, and hammered the metal so it was beveled along the edge.  Then, I gave it to Ambrose.

Ambrose:
As this was going on I would paint large sheets of rag paper with different designs, shapes, and images.  After the paintings were done, I covered them with NOVA Gel, a waterproof acrylic medium, and attached them to the cardboard tubes and finished them with two more layers of that substance.  I made five paintings.  The images are all different, but a lot of the paint colors are the same.  I only had a couple colors at hand, but I managed to figure out how to mix some of them to get the colors I was looking for.

Ben:
Now we just need to wait for the right weather to try them out!

Have a suggestion on materials for Ben and Ambrose? Want to know more about the project and/or these students' work? Drop us a comment in the section below!

Ambrose: Illustration # 1

Original piece by Ambrose.

This was my first one page drawing.  I made this after I studied the story arc.  The story arc is the beginning, middle, and end in a story, which you can see in a normal comic book with the sections divided by the panels in the comic.  But in a one panel comic you see in the newspaper, they don't have panels, so I believe that the story arc is in their speech that is separated by the bubbles.  So I made my own.

I will now be submitting a piece of art once every two weeks for the public to see.

Michaela on Art and Process

During the college application process, I wrote pieces that allowed me to discover my unique way of writing.  My tutor Sandy Charlap gave me words including "process," "time," "unbroken," "control," "tendrilling," and "memory" to describe freely. She also gave me questions, but once I felt comfortable I took control and continued this process on my own by asking myself questions. That’s where I found my voice with words and that voice interconnected with art. 

I’ve always had a feeling for art, but I never really experienced it. In the tenth grade, I learned art can be something bigger than what I expected.  I started by drawing boxes, learning about line, proportion, and value structure. I shifted from just making art to having an immense understanding and desire to be an artist. Exploring different ways of working, collaging, stamping, incorporating wallpaper, paint, pastel, and charcoal in unfamiliar ways.  I always ask myself, "What happens if I try this?" I am not afraid of the unknown. I actually think those moments of not knowing are the best ones. Not knowing where an unbreakable work of art will take me is fascinating. Some art work effects me and my passion for creating by transforming into the unknown. The experience of not knowing is awakening, an adventure I am willing to take. Every day is a process of transformation. I am becoming a strong artist by taking what I have learned into my voyage.  For me that evolution is tendriling. The light ahead of the tendril, uncoiling. I am the tendril, uncoiling into existence. My tendril is moving toward abstraction.

I have been forming a collective of artists who I am influenced by like Henri Matisse, Cy Twombly, Joan Mitchell, Brice Marden, Bonnard, and Judy Pfaff.  I have learned how to “steal like an artist” by taking ideas and making them part of my work. Judy Pfaff, as an artist, influenced my determination to move in new directions. Last year, I developed an installation called “Deep Space.” My interpretation of the universe. Having the freedom and space to create is meaningful.

I have the ability to want, have, or leave it.

And the last ingredient is time……
I process slowly, and it is not always easy to express myself in words. My art is my voice. I am quiet but my mind isn’t. My art speaks in ways my voice cannot. Being in the studio at my school and creating is my sanctuary. It is a place where I find my true self. Escaping in a world where I have power.

One piece of work for an eternity.
giving me the time and freedom to explore.
but my most precise and powerful work is shown when I am given time.

I take my time and present with my best effort. 
When I am creating, I am not worrying about time.
It flies by like a streak of wonder.
The urge and motivation to not stop creating.

I suffer displeasure leaving my work in a rush of swirling ideas. 

I have become independent, by making my own decisions in art by allowing my strength to come forward. I create my own choices with out having a specific ending in mind. My process reveals what comes next.

I applied to seven schools and got into every one of them with scholarships!

 

All photos (and the artwork presented therein) created and shared by Michaela.

Michaela Dives into Dream Theory

Michaela's mind-map on memory.  Picture taken by the Edge Team.

A two-year veteran of the Edge / IP program, Michaela did not take long to identify her focus for the year.  Having researched artists such as Henri Matisse, Joan Mitchell, Cy Twombly, and Judy Pfaff from 2014 to 2015, she entered September by pausing to consider her relationship to her influences.  Michaela concluded that those artists form a sort of artistic "collective consciousness," or memory, that she can tap into in order to inform her future work.  Inspired by this revelation, she embarked to trace the mechanics of memory by researching notable researchers including Franz Joseph Gall, Herman Ebbinghaus, and Karl Lashley (as well as their theories concerning phrenology, the spacing effect, and engrams, respectively).  She has compiled her inquiry using a mind-map (presented at right).

A metaphorical representation of Freud’s
conceptualization of the conscious and
unconscious mind.  Image located at
www.simplypsychology.com.

Most recently, Michaela has begun to explore the theories of Austrian neurologist and father of psychoanalysis Sigmund Freud.  During a recent meeting in Edge, she explained to the faculty that she was interested in Freud's theories concerning the conscious and unconscious mind.  She pulled up a web page via Simply Psychology that she was using to analyze the two parts of mind; she also highlighted a visual metaphor from the site that allowed her to better process the two (presented at left).  The Edge faculty then pushed her concern further by asking about her dreams.  This question prompted a discussion in which Michaela recalled her own recurring dreams, elaborated upon her process of lucid dreaming, and began to interpret not only her own reveries but also those of the Edge Team.

Moving forward, Michaela has declared that she wishes to explore Freud's thoughts on dream theory more deliberately.  Who knows? Perhaps dreams will form the basis for her third and final exhibition at Kildonan...?

Stay tuned for more on Michaela's journey!

(If you have a thought or resource for Michaela, please post in the comments section below.  We would love to hear from you. Also, for more on Henri Matisse, check out his Artsy page here! )

Marcus, Tim, Winston: Collaborating on Japan

A map of Japan, pictured above.  Image taken from
 topics-on-japan.blogspot.com.

It all began with Marcus.  After spending a year examining game design, and in anticipation of a journey to Spain with a group of peers, he elected to study multiculturalism as his topic.  He declared a plan to examine Japan, Germany, Italy, Brazil, India, and China.  He chose Japan as his first area of focus, and very quickly he learned that he could direct all of his attention towards that one country.  Namely, he wished to learn why anime stems from the country.  He also desired to research Japan's role during World War I and World War II as well as the ideology guiding an emperor's perceived immortality ("Mandate of Heaven").  Feeling motiviated to answer these questions, he was off.

Enter Tim.  He began the year interested in artificial intelligence (A.I.) and quantum computing.  After studying graphene as a sophomore and drones as a junior, he devised a dual topic that could help him answer questions that he has been considering for the past two years:

• What is the difference between a human and a machine? 
• How do "smart" machines (drones, A.I.) think and learn relative to humans? 
• If machines can streamline work and production, can they also manipulate physical reality at the atomic level? 

In order to pursue these inquiries, Tim began watching various science fiction movies such as Ex Machina and Transcendence.  He explored those films as springboards into more complex theories such as machine learning.  Noting that Japan played a role within the world of each movie, intrigued by Japanese roboticist Masahiro Moto's "uncanny valley" theory, and inspired by Haruki Murakami (@harukimurakami_)'s Hard-Boiled Wonderland and The End of the World, Tim came to focus his attention on Japan.  The answers to his questions must lie with that country, he postulated, so he set off to learn the Japanese language.

Then came Winston.  Winston began the year by committing himself to the psychology of horror.  Fascinated by the mechanics of the genre, he labored to differentiate the terms "horror" and "terror."  After listening to 911 calls on YouTube and looking into the synopses of movies such as Tale of Two Sisters, however, Winston came to a realization:  he had progressed down a rabbit hole that no longer accorded to his interests.  A longtime fan and amateur critic of manga, he chose instead to devote himself to anime and Japanese culture.

He did not take long to recognize that Tim and Marcus were pursuing a similar interest.  And so the partnership was born.

A screenshot of a Japanese lesson for English speakers via duolingo.  Image
taken from www.japantimes.co.jp.

Tim and Marcus started to spend significant portions of their time together.  The former created flashcards of Japanese characters and their English definitions, and the latter listened to Japanese language CDs.  They shared their resources so that both could study the language through multiple modalities.  Over time, Tim began to research language acquisition programs such as duolingo as well as tutors that could benefit all three students.  He continued to create flashcards, but his administrative role left Marcus to find a new partner in Winston.  Marcus soon abandoned his CD in order to probe Winston's vast knowledge of Japanese honorifics.  Indeed, having acquired a substantial vocabulary through his reading, Winston frequently tutored Marcus in proper addresses.  In turn, because Marcus often disagreed with Winston's translations, the two conducted spirited debates in which they argued the meaning of certain words.  They then researched one another's arguments, hoping to catch one another in the act of a misinterpretation.

A dramatization of a hikikomori.  Image taken from www.dailymail.co.uk.

The three boys also conducted (and gradually pooled their resources from) independent explorations.  Marcus, for instance, shared preliminary insights gleaned from painting a flag bearing "The Rising Sun."  He also skimmed the surface of various cultural "artifacts," honing his attention toward The Rape of Nanking and the 100,000 trees planted at the Meiji Shrine. Winston, on the other hand, felt fascinated by the Japanese practice of adult adoptions.  During a particular morning with the Edge faculty, he spent close to an hour situating the disgrace experienced by biological sons relative to the cultural phenomenon of hikikomori (young Japanese men who spend months to years in social isolation within their bedrooms).  Marcus then turned his attention to Japanese pop music, thereby inspiring Winston to explore game shows and commercials that he in turn shared with Tim during a raucous few afternoons.

Truth be told, this partnership will not last forever.  Two of the students are already considering switching their topics away from Japan, so the three spend less and less time together these days.  However, partnerships ebb and flow within the world beyond high school.  By coming together briefly for a time, Marcus, Tim, and Winston experienced the joy, the stagnation, and the bittersweet loss that comes from collaborating successfully.  Indeed, partnerships need not last in order to prove meaningful.  By building a stockpile of resources all their own, the three students developed inquiries par excellence.  They generated understandings of Japanese culture that proved - and continue to prove - far more comprehensive than those that they could have created were they working alone.

- & -

As we wrote within our "Our New Name" post (June 1, 2015), we chose to abandon the name "Independent Project" in favor of Edge for a number of reasons.  One of our more significant motives concerned the nature of "independence" within the program:

As one student pointed out, the IPians do not work "independently."  Yes, they launch individual pursuits that take them in directions that are, in a sense, theirs and theirs alone.  That said, this student went on, the IPians are always collaborating with one another, always learning from and supporting each other as they move forward.  In this way, the community members are very much "dependent."

We in the program could not in good faith maintain our previous name because it would preserve a false philosophy.  It would send a message to those students involved that they must erect silos to keep themselves "independent."  Therefore, we switched names.

Perhaps responding to our decision, Marcus, Tim, and Winston students spent the beginning of this year methodically demolishing their silos.

FINAL: Jonathan - Geometric Designs, Exhibit, and Portfolio

Jonathan did not relent in the final months of school.  By systematizing those conditions that allowed him to develop his artistic eye and organizational system, he assured himself a strong end to an already productive year.  

After attending One Spark and co-writing a blog post with the IP faculty, he began to conclude two of his pursuits:  his geometric drawings and his photography.  Regarding the former, he produced such designs by secluding himself within "The Makers' Space" for hours on end.  As his art teacher and IP advisor Ms. Charlap remarks:

It was fascinating to watch him engage in his process of activating a picture plane with thoughtfully chosen geometric forms created along a horizontal grid.  His approach was organized and systematic, yet he managed to produce images that felt intuitive and organic. Each drawing became the catalyst for the one that followed. He sought out and was open to critiques of his work, taking in outside opinions while ultimately trusting his judgment.

Jonathan produced this series deliberately and precisely, and we hope that he will continue to expore his geometric sensibilities - as well as his need for precision - as he enters college.

On his own initiative, Jonathan also spent significant portions of time cataloguing and organizing his photographs.  He demonstrated his interest in that process throughout the year, tirelessly combing through - and editing, where appropriate - shots that he had taken the previous day or week.  Now, however, he found additional reasons to conduct such work.  First, he organized photographs for a one-man exhibit in "The Makers' Space" during Founders' Day.  Although he was unable to attend the event, students, family, friends, and faculty responded to his work positively.  In addition, he selected and sequenced photos to create an online portfolio via Blogger.com (@Blogger).  This portal will allow future peers, employers, and any interested individuals to appreciate some of his most representative work without the restrictions of location or time.  To check out these pieces for yourself, please click here.  Be sure to check back, as Jonathan will doubtless expand the page in the months ahead!

The Edge /​ IP faculty are proud of Jonathan for his gains in organization and maturity, and we are inspired by the effort he exerted - and continues to exert - in preparation for his freshman year at Columbia College Chicago (@ColumbiaChi).  We invite you to celebrate his work with us by posting in the comments section below.

Description of image:  Top left, a photo of one of Jonathan's geometric drawings.  Middle right, a screenshot of Jonathan's online portfolio (jonathanevansphotography.blogspot.com).  Kildonan and its Edge /​ IP program claim no ownership over the graphics above.

FINAL: Piterson Completes a Half-Skeleton

Piterson began to feel the effects of senioritis as winter gave way to spring.  He was visiting his skeleton less frequently, so he saw his sculpting progress begin to slow.  He was cognizant of this change, too, for he spoke of it during one of his many check-ins with the IP faculty.  "OK," the team responded.  "What do you feel like you still need to accomplish while here? How do you want to leave?"

This moment of guided self-reflection proved the necessary component to spur Piterson.  Immediately following this conversation, he renegotiated his IP work schedule in order to grant himself time to visit his skeleton every day.  Soon we saw very little of him at all, for he began to spend several hours of the morning as well as the entire afternoon in "The Makers' Space."

Piterson made tremendous strides with his newfound discipline.  At one point during the spring, he approached the IP team because he was having difficulties with the smoothness of a portion of the pelvis (although he did not know the name of the bone, he was referring to the lilac fossa).  We suggested posterboard material, but Piterson configured an inventive (and more aesthetic) workaround using a variety of materials.  He bent supple twigs gradually in order to form a curved frame; using this piece as an outline, he then mapped and cut plywood to form the lilac fossa.  He glued this to the outline and repeated the process for the second half of the pelvis.

Throughout his process, Piterson launched intensive research with a heightened sense of precision. He evinced exemplary visual acuity and engineering by translating a 2D image into a 3D piece.  Perhaps he best applied these skills while wrestling with the textures of the spine.  Using various computer programs to project and rotate images on a large flatscreen TV, he noticed that the posterior view revealed two different shapes.  Although he did not know the names "cervical vertebrae" and "thoracic vertebrae," he concluded that the top bones (the former) were flatter and more rectangular while the bottom bones (the latter) were shaped almost like "W's" or teeth.  The top bones, too, appeared darker for their close approximity to one another.  Piterson therefore went about creating these two bones, using a dull cardboard for the top bones and a lighter plywood for the bottom.  He produced and connected his spine to the pelvis, creating a piece that startled the IP team for its beauty.


Piterson strove to complete the skeleton before he left.  The year ran out before he could target the skull, however, so he was only able to complete half of the skeleton.  True, he did not finish the project that he set for himself.  However, that fact does not, of course, invalidate the project that he did create or the process in which he engaged.  As the IP faculty and students cleaned up "The Makers' Space" at year-end, we happened to put together the parts of Piterson's skeleton in order to approximate its shape.  The finished piece was even more awe-inspiring than we had anticipated.  In that moment, as this humanoid figure taller than 6 feet was erected before us, faculty and students alike grasped Piterson's true progress.  These products transcended the definition of the "models" as which they were originally conceived; they now constituted true works of art. No less importantly, although Piterson did not know the names of every bone he handled, he nevertheless came to understand them - their shape, their relationship to the bones around them - for having fashioned them himself.

Piterson created a multi-faceted sculpture, but he also laid the groundwork for an anatomical knowledge that he will inevitably call upon as he pursues personal training in the future.  We are proud of his progress and maturation this year, and we invite you to celebrate his work with us by posting in the comments section below.

Description of images:  All photos taken by the IP faculty.

Jonathan Attends One Spark

IP has seen no shortage of students attending conferences.  Indeed, inspired by Trey's travels to the National Association of Music Merchants (NAMM) 2015 Show and Max's visit to the New England Magic Conference (NEMCON), Jonathan recently decided that his turn had come.  Determined to learn about crowdfunding and large-scale artistic projects, he drew up a proposal - entirely on his own initiative - to travel to Jacksonville, FL for One Spark (@BeOneSpark).  He consulted various vendors in search of employment too, securing a volunteer photography position with One Spark itself.

Due to his careful deliberation while securing permissions, Jonathan received the total support of the IP faculty.  For the rest of the story, we invite you to consult Jonathan's own words below:

One Spark is an event for artists, entrepreneurs and innovators in art, education, health &​ science, social good, music, and technology to get their ideas and projects funded by everyday people. It gave me a chance to learn about the projects in each of the categories and what good that each creator had to offer and the difference they are trying to make in the world. I went down to One Spark to photograph the event directly and to get experience in photographing an event. For the time that I was working, I was learning a lot about what the vendors had to go through while working at the event. I also learned that working at an event like this can be a lot of fun and a lot of photography experience.

I didn’t have a specific assignment; I took pictures of vendors, people, and the Food Village on certain streets. The event was spread out over a lot of streets, and I had to do Food Village (a center with restaurants and food trucks). I gave many of my photos to One Spark, which is going to use them for future advertising. I hope that mine are going to be used in the social media and promotional advertising. I was taking pictures for One Spark (with them in mind) and for the fun of it. This isn’t a different venue than others I’ve done before, but there were a lot more people there.

What do you think of One Spark and Jonathan's experience? Please post in the comments section below.

Description of images:  Shots of the One Spark convention.  All photos taken by Jonathan on-site.

Micki's Growing Installation

Since securing her installation space, Michaela has spent little time in the IP building.  Instead, she has frequented her studio.  She has repurposed existing pieces, explored artists such as Henri Matisse, Joan Mitchell, Cy Twombly, and Judy Pfaff, and experimented with motifs and styles.

Michaela has produced truly thoughtful work, and it is to protect her process and build suspense that we refrain from saying more.  Kildonan community members - and otherwise interesed readers - may view her exhibition during its May unveiling.  In the meantime, please enjoy the indistinct snapshots and the "cryptic" updates that follow this post.  We hope that we have whet your appetite.

Description of 1st, 2nd, and 3rd images:  ?.  Photos taken by Michaela.

P.S. For more on Henri Matisse, check out his Artsy page here!

Bull's "Cacophony"

Inspired by his tentacle piece, Bull decided not too long ago that he was ready for another project.  It would need to extend his whimsical streak, certainly, but it would also have to prove more rigorous in prompt.

Ms. Charlap hit upon a suitable option in no time.  Having advised Kildonan alumnus August Hunt through a successful application to The Cooper Union for the Advancement of Science and Art (@cooperunion), she proposed a simulation of the Cooper Union home test.  This evaluation is an integral part of the application to Cooper Union's School of Art.  As described on the Frequently Asked Questions (FAQ) section of Cooper Union's website, the home test "consists of a number of visual projects to be completed in approximately 3-4 weeks and returned to The Cooper Union for review."  Interested students choose from a number of prompts, respond to one directive through a multimedia project, and submit their work for consideration.

Ms. Charlap offered this undertaking to Bull, who - after examining several prompts - chose to represent the word "cacophony."  To flesh out his project, he worked with a limited number of resources under a strict deadline.  At week's end, he submitted a quirky yet heady project.  Sound waves, graphed and visually represented, played across the various surfaces of a box.  Random resources - cardboard feet and plastic tubing, for instance - were re-appropriated for anthropomorphic effect.  Overall, the piece was an eclectic, humorous, and interdisciplinary hodgepodge of math and art.

To share your thoughts on Bull's piece, please post in the comments section below.

Descriptions of four images:  A front view of "cacophony," pictured top right.  Top left shows the project's top view (note the sound wave graphed with pins).  Bottom right reveals the Newton-Laplace Equation, a calculation used by Bull to graph the speed of sound.  Finally, bottom left pictures a rear view (note the tubed tail).

Brad: Business Update &​ Lure Construction

Brad was suffering a bit of a slump when the IP team met with him in mid-February.  He had already been accepted to several colleges, so he felt eager to leave Kildonan and embark upon the next stage of his educational career.  But he was - and is - not yet done.  The IP team and his tutor joined forces to ask, "What do you feel like you still need to accomplish while here? How do you want to leave?"

Since this conversation, Brad has refined his plan and his business proposal.  He desires to improve his academic research skills as he writes a book review on bass fishing and a paper examining the history of charter fishing.  Using the ecological and economic factors affecting the fishing industry, he also hopes to plan a three-day fishing trip during which he studies the striped bass more closely.  Finally, he wishes to learn more about surfcasting, and he hopes to solidify a T-shirt design as well as a logo for his company.

Brad is impressing the IP team with his initiative and multi-tasking.  He has ordered and already completed half of Striper Pursuit:  Surf Fishing Beyond the Basics, by John Skinner, a work that he will examine for his book review.  He has also approached academic writing with gusto, for he is steadily examining citations and footnoting with his tutor.  He will soon be subscribing to Surfcaster's Journal (@SurfcastersJRNL) in order to learn about the process from a distance.  In addition to drafting more logo and design possibilities, Brad has also decided that he would like to explore lure construction.  He would like to create his own plugs and sell them at local tackleshops.  He has begun this work by forming collaborative relationships with his peers and inquiring after Maintenance's lathe, but he has also been experimenting with colors and otherwise designing the plugs throughout spring break.

Moving forward, Brad has many promising projects to follow.  His challenge will be not so much finding something that inspires him but sticking to his resolve.  Indeed, he will need to sort through his exciting prospects and choose those he would like to achieve in the two months remaining this year.

What do you think of Brad's work? Do you have a question or recommendation? Please post in the comments section below.

Description of 1st image:  A smorgasbord of fishing lures.  Picture located at www.mikejacksonoutdoors.net.  Kildonan and its IP program claim no ownership over the photo above.

Rachel Smith: "Drawing in class" @ TEDxUFM (2012)

Senior Consultant and the Director of Digital Facilitation Services for The Grove Consultants Internationa in San Francisco," Rachel Smith is a visual facilitator, has led her own graphic design company, and continues to explore the intersection of education and technology (passages taken from the description of Smith's TEDx Talk).  As such, she proposes that visual note-taking - a record system consisting of pictures in addition to words - is an important learning tool...not for dyslexic students but for all children.  Smith elaborates upon her thoughts in a talk given at TEDxUFM (@TEDxUFM) called "Drawing in class":

Visual note-taking opens the door for more playful connections between information, for students to use their imaginations in an activity that can often be very passive (note-taking).  It also helps students to create a personal visual memory aid that they can study from later, that they can look at and [use to] tell themselves the story again.  When a teacher is teaching, what they're doing, really, is telling a story about something they're passionate about.  And when a student takes visual notes, what they're doing is making that story visible.

We're going to go over three simple steps that will get you set on this road, get you started.  And the first one is to choose a tool that works for you.  The second one is to start building up that mental library of images (that I talked about).  And the third one is to really practice listening and capturing the key points.

When you've done visual notes, the way that you tell if you did it right is if you can look at your notes and tell back the story that you heard from that speaker.  Then you did it right.  There's all there is to it.  There's no more than that.  Can you look at it and recall the story?

What do you think? Do you employ visual note-taking? Please post in the comments section below.

Description of 1st image:  A sample of Rachel Smith's visual note-taking strategies.  Photo located at nsanc.org.  Kildonan and its IP program claim no ownership over this picture.

Austin Kleon: "Steal Like an Artist" @ TEDxKC (2012)

During a windy snow day this past week, the IP faculty asked the iPeople (a term synonymous with "IPians," introduced by Khaled A.) to watch a video on "stealing" and art.  We, the IP team, hope that this talk will inspire our learners to not only form collaborative partnerships with one another but also to re-evaluate the notions of influence, plagiarism, and originality as they move forward in life.

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Writer, author, and New York Times bestselling author of Show Your Work! and Newspaper Blackout, Austin Kleon (@austinkleon) has spoken to young artists and at organizations such as Pixar (@DisneyPixar) and Google (@google).  In 2012, he delivered a talk at @TEDxKC, "Steal Like An Artist," after releasing a book of the same name earlier that year.  During his presentation, Kleon offers a list of ten ideas that all beginning artists should consider.  His talk amounts to a radical yet timely reinterpretation of creativity for the 21st century.

So not only was my idea idea completely unoriginal.  It turns out there was a 250 year-old history of finding poetry in the newspaper.  So what am I supposed to do? Instead of getting discouraged, I kept on.  Because I know something that a lot of artists know but few will admit to.  And that is:  nothing is completely original.  All creative work builds on what came before.  Every new idea is just a remix, or a mash-up, of one or two previous ideas.
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How does an artist look at the world? Well, first, she asks herself, 'What's worth stealing?' And second, she moves onto the next thing.  That's about all there is to it.  When you look at the world this way, there is no longer good art and bad art.  There's just art worth stealing and art that isn't.  And everything in the world is up for grabs.  If you don't find something worth stealing today, you might find it worth stealing tomorrow, or the month after that, or years later.

What did you think? Have you "stolen" anything notable lately? Please post in the comments section below.

Description of 1st image:  Kleon's visual representation of how artists see the world.  Photo located at sharingisliberty.wordpress.com.  Kildonan and its IP program claim no ownership over this picture.

Piterson: Personal Training

Micki: Cosmology & Art

Micki: An Installation Space Emerges

Micki is increasingly exploring the universe and cosmological entities (such as supernovae and black holes) according to her strengths:  visual art and poetry.  Her inquiries have provided her - and the IP community - with profound artistic representations of the unimaginable. Now she wishes to capture the same experience for Kildonan students, faculty, and community members.

Micki quickly realized that she needed a small room, a studio with which she could realize her vision of three-dimensional experiences.  After some initial inquiries, the IP faculty are happy to report that a space has been located!

Kildonan's administration has proven gracious by granting Micki exclusive access to a room that the IP community has affectionately termed "Room 9 3/​4" (a sly reference to Harry Potter).  This area is located next to Ms. Gross's Spanish class (Room 10) on the second floor of the Schoolhouse.  The pictures accompanying this post were taken during a recent exploration of the room by Micki, Ms. Charlap, and Mr. Bisson.

Do you have thoughts on Micki's space or research? Please post in the comments section below.