Take the Money and Run? Can Political and Socio-critical Art “Survive”?

Take the Money and Run? Can Political and Socio-critical Art “Survive”?

Martha Rosler

"Categories of criticality have evolved over time, but their taxonomic history is short. The naming process is itself frequently a method of recuperation, importing expressions of critique into the system being criticized, freezing into academic formulas things that were put together off the cuff. In considering the long history of artistic production in human societies, the question of “political” or “critical” art seems almost bizarre; how shall we characterize the ancient Greek plays, for example? Why did Plato wish to ban music and poetry from his Republic? What was to be understood from English nursery rhymes, which we now see as benign jingles? A strange look in the eye of a character in a Renaissance scene? A portrait of a duke with a vacant expression? A popular print with a caricature of the king? The buzz around works of art is surely less now than when art was not competing with other forms of representation and with a wide array of public narratives; calling some art “political” reveals the role of particular forms of thematic enunciation.1 Art, we may now hear, is meant to speak past particular understandings or narratives, and all the more so across national borders or creedal lines. Criticality that manifests as a subtle thread in iconographic details is unlikely to be apprehended by wide audiences across national borders. The veiled criticality of art under repressive regimes, generally manifesting as allegory or symbolism, needs no explanation for those who share that repression, but audiences outside that policed universe will need a study guide. In either case, it is not the general audience but the educated castes and professional artists or writers who are most attuned to such hermeneutics. I expand a bit on this below. But attending to the present moment, the following question from an intelligent young scenester may be taken as a tongue-in-cheek provocation rooted in the zeitgeist, reminding us that political and socio-critical art is at best a niche production:

We were talking about whether choosing to be an artist means aspiring to serve the rich. . . . that seems to be the dominating economic model for artists in this country. The most visible artists are very good at serving the rich. . . . the ones who go to Cologne to do business seem to do the best. . . . She told me this is where Europe’s richest people go . . . ."

full text:
http://www.e-flux.com/

Curs :UTILIZAREA PROGRAMELOR DE EDITARE FOTO ŞI VIDEO PENTRU A CREA MATERIALE SI ACTIVITATI DIDACTICE

Casa Corpului Didactic „Alexandru Gavra” Arad, în parteneriat cu colaboratori externi, vă propune şi pentru anul şcolar 2011-2012 o serie de programe şi activităţi de formare prin care sperăm să răspundem afirmativ cererilor dumneavoastră. În acest an înscrierea la programele de formare din oferta CCD Arad se face on-line. Dacă doriţi să participaţi la unul sau mai multe programe de formare continuă oferite de noi, vă rugăm să completaţi şi să trimiteţi, până în data de 4 noiembrie 2011, formularul de înscriere on-line de pe pagina web a CCD Arad (www.ccdar.ro). În cazul în care doriţi să vă înscrieţi la mai multe programe de formare din ofertă, vă rugăm să completaţi un formular de înscriere pentru fiecare program.

UTILIZAREA PROGRAMELOR DE EDITARE FOTO ŞI VIDEO PENTRU A CREA MATERIALE DIDACTICE

Grupul-ţintă vizat – Cadrele didactice din învăţământul preuniversitar (programul necesită cunoştinţe de bază în utilizarea calculatorului)

Scopul programului – însuşirea unor cunoştinţe de bază în utilizarea programului de editare imagine Gimp, a programului de editare video Windows Movie Maker şi folosirea lor pentru realizarea unor materiale didactice sugestive pe diferite teme specifice curriculumului şcolar

Tematica
M1. Programul Gimp – procesare computerizata imagine
M2. Programul Windows Movie Maker – productie video
Forma de certificare – Adeverinţă, eliberată de CCD Arad
Durata programului – 20 ore de formare
Calendarul programului: trimestrele I şi II ale anului 2012
Locul de desfăşurare: – Casa Corpului Didactic Arad
Formator – prof. Stoica Nicoleta, Liceul cu Program Sportiv, Arad

Webminar Linux

Laboratoare de GNU/Linux in scoli pe Moodle Romania

Webminarul I din seria Linux in scoli:

Web 2.0 - tutoriale video pentru profesori

The Web 2.0ERC European Union funded project is designed to help educators who find ICT confusing to have a simple and secure environment to use ICT in their work and in their classes.

Web 2.0ERC este un proiect finantat de Uniunea Europeana. Este creat pentru a ajuta profesorii/educatorii, care gasesc tehnologia informationala (ICT) derutanta, sa aibe un mediu simplu si sigur pentru a folosii la clasa aceste tehnologii.



Youtube channel/ canal youtube :

www.youtube.com/user/Web20ERC

Visual Culture Art Education: Critical Pedagogy, Identity Formation and Generative Studio Practices in Art

Barker, Kim, "Visual Culture Art Education: Critical Pedagogy, Identity Formation and Generative Studio Practices in Art" (2010). Art Graduate Theses and Projects. Paper 1.
http://scholarworks.boisestate.edu/art_gradproj/1/

Abstract

This paper explores visual culture and its emergence as a (inter-) disciplinary field of study and practice within art education. Visual Culture Art Education (VCAE), while still in the process of defining itself, inserts itself among myriad academic disciplines as well as our everyday living experiences outside the classroom. Due to its discursive nature, VCAE draws extensively on contemporary pedagogical praxis.

I advocate for the integration of visual culture, with an emphasis on popular culture, into art curricula as a means to increase the relevancy of art instruction for students. The inclusion of (popular) visual culture in the art classroom also serves as a means to facilitate the development of higher order thinking skills that can assist students in their ability to navigate the seemingly infinite clusters of signs aimed at shaping them (inside and) outside the art classroom.

I advocate for inquiry-based educational methods within the framework of constructivist theory with an emphasis on critical pedagogy and psychoanalytic pedagogy. These contemporary pedagogical models position the learner as a key agent in meaning making. By modeling questioning strategies and facilitating critical connections to course materials and student interests, art educators share the responsibility of learning with the students thereby creating a democratic community within the classroom. Connections to democratic principles are made throughout this paper as a means to communicate the several opportunities art educators have in the classroom to foster student questioning, student-initiated research, and student constructed meanings that are independent of authority and distinct from dominant ideologies.

My research focuses first on the scope of visual culture, then on contemporary constructivist pedagogies that reveal multiple access points for art educators to begin to integrate VCAE. This research becomes the foundation for several instructional resource guides written for art educators in K–16 classrooms. These guides present research on several contemporary fine artists whose work collectively makes use of (popular) visual culture and (popular) media to communicate meaning and affect social change. A focus on contemporary fine art demonstrates the applicability of a visual culture art education while at once elucidating the importance of empowering students to critically engage their visual worlds whatever they might be. Questioning strategies are provided to encourage student construction of meaning in a manner that informs student-initiated research and art making.

full text on: http://scholarworks.boisestate.edu/art_gradproj/1/

Harta conceptuala realizata cu programul FreeMind

Ce este o harta conceptuala?

”Hartile conceptuale (conceptual maps) sau harti cognitive (cognitive maps) pot fi definite drept oglinzi ale modului de gandire, simtire si intelegere ale celui/celor care le elaboreaza. Reprezinta un mod diagramatic de expresie, constituindu-se ca un important instrument pentru predare, invatare, cercetare si evaluare la toate nivele si la toate disciplinele”. Crenguta-Lacrimioara Oprea ”Strategii didactice interactive ”

Hartile conceptuale sunt un mod de a reprezenta vizual structuri informationale si relatiile dintre conceptele, notiunile, ideile, informatiile din sistem. Rezultatul este un sistem de retele interconectate, ierahizate, conform modului de gandire a persoanei care realizeaza schema.

Un exemplu de harta conceptuala cu tema ”Elementele limbajului plastic” foarte util in Educatia Vizuala, este realizat sub forma de desen :

img. ”Elements of art mind-map” Michael Petiford

FreeMind - un software special facut pentru a creea harti conceptuale
FreeMind este un program sub licenta GNU General Public License, adica liber, dezvoltat in Java. Functioneaza pe sistemele de operare Microsoft Windows, Linux si Mac OS X.
Programul permite utilizatorilor sa organizeze un set de idei ierarhic in jurul unui concept central.
Mai multe informatii se gasesc AICI

Asa arata programul :



Un tutorial video pentru incepatori:

Tim Brown on creativity and play

Death, Terror and Addiction in Motivation Theory by David M. Boje & Grace Ann Rosile

http://cbae.nmsu.edu/~dboje/papers/deathANDmotivationTHEORY.htm

quotes:
Addiction is a slow death. Schaef and Fassel (1988: 5) observe that the study of organizations is in denial when it comes to addiction, not just to drug use, but to processes of work that are addictive. "An addiction is any substance or process that has taken over our lives and over which we are powerless" (p. 57). I think motivation theory leads us into addiction, making work our increasingly a compulsion, manipulating the situation to make us powerless to resist work addiction. Within organizations, addiction to work or workaholism is an untold ramification of motivation theory. Since the addiction to consumption is the norm of a capitalist society, we all participate addictively at some level.

The more stuff we have, the more we become slaves to our stuff. We need bigger house to store stuff, more energy to preserve stuff, more security to guard stuff, and more help to dust stuff. Stuff rules our lives. Our hierarchy of needs begins and ends with a need for more. Motivation theory feeds an addicted society. Motivation theory, be it need theory (McClelland, Maslow, Alderfer, or Herzberg) or process theory (Skinner's reinforcement theory, Vroom's expectancy theory and House's path-goal theory) is blindly embedded in a world addicted by spectacle to work and consumption. Debord's (1967) spectacle convinces us work is our identity and consumption our happiness, and so we eagerly ignore how work life is erected as a performativity experience (work till you drop dead), a flat,dull homogeneous existence that we embrace until we die. Spectacle, portrayed in the media in 6,000 ad-bites a day, presents work and accumulation as our ultimate desires, more powerful than death or sex as a motivator. Stuff rules our lives. This stuff is part of the games of death, terror and addiction. If there is a hierarchy of needs, then Maslow can be de-coded, new words substituted, greed, jealousy, envy, gluttony, hoarding, and addiction. This is the deconstructed hierarchy of Maslow needs.

What is self-actualization? It is an illusion, a fantasy that we are more than animals, that our culture makes us different. We are part of the war machine that Deleuze and Guattari write about in A Thousand Plateaus. It is a war machine fed by desire and will to power, not by need.

We do not need more of what we consume. We don't need most of what we eat, wear, and store. Did Emelda Marcos need 400 pairs of shoes? Did Michael Eisner need a 210 million dollar bonus. Does Tiger Woods need another endorsement contract? Addicts need more and more...

The desire for work is overwhelming, a compulsion to write more, publish more, present more, to go berserk with words. It is a need to work boje to death. I work at home. I work at work. I work on the plane. I work in the hotel room. I am addicted to work. I am a good citizen. I am a good work. I am self-actualized in my work. I have converted my private world into a world of work. I dream of work, I wake up working. I go to bed working.

Beneath this theatrical mask, is a speculation that my needs are addictions, my needs are desires gone haywire, and my accumulation is out of control. I need to motivation theorist to convince me I am empowered, I am growing, I am a high need achiever. I pretend to be motivated, but my need is a desire for death, a working to death.

Video: Education evolution

Un proiect realizat de elevii de la gimnaziu din Dallas-Fort Worth USA despre cum ar trebui sa fie educatia.
http://edevolution.wordpress.com

Can We Teach Creative and Critical Thinking?

original text: http://www.good.is/post/can-we-teach-creative-and-critical-thinking/

When a teacher gives a test, he or she is trying to measure students' ability to recall and apply information learned over a particular period of time. The exams make it relatively straightforward: Did the student get an answer right or wrong? Was mastery of skills demonstrated?

But how is creative or critical thought defined and taught? And by what assessment can we measure it, if at all?

Critical thinking is, among many things, the ability to understand and apply the abstract, the ability to infer and to meaningfully investigate. It’s the skills needed to see parallels, comprehend intersections, identify problems, and develop sustainable solutions. According to the Foundation for Critical Thinking, sound critical thinking is imperative to social progress. It is with our thoughts that we shape the world: Thinking creatively shapes social and cultural structures. It affects the way blame is placed, the way ideas of right and wrong are developed, the way leaders are elected, and the way we understand our place in the world as individuals and as a collective. It helps define, or complicate, who “we” are in the first place.

Teaching critical and creative thought, however, is challenging: First, critical thinking may mean different things to different instructors, principals, and/or districts. Second, it can be hard to know what students are taking away from lessons and curricula designed to cultivate critical thinking skills.

There are ways to navigate through these obstacles: Cultivating critical thinking may be accomplished with modeling. A teacher may explicitly show students how to make connections between their experiences and those of others, show them how to link pieces of literature, or explain the relationship between a piece of modern music infused with metaphor and the poetry lesson from last month. Particular curricula, ones that ask students not just when and where things happened, but why and how, and what contemporary parallels can be drawn, can enhance these skills.

Critical thinking can also be elicited in less directive ways: School trips, service learning requirements, and various other kinds of hands-on situations allow students to make connections at their own pace. In any case, critical thinking skills are probably best infused over months and years, the result of both direct and more subtle instruction, during which teachers suggest, and insist, that students investigate further, making—but more importantly, justifying—inferences and conclusions.

Students at Codman Academy Charter Public School in Dorchester, Massachusetts, engage in so-called "expeditionary learning" projects, which are designed around a topic (for example, botany or urban renewal in a particular city) selected by the students or their teachers. Through research, participating in service learning, talking with seasoned professionals within a particular industry, fieldwork, and by preparing presentations and papers on their topics to share with their schoolmates and the larger community, students build critical and problem solving skills that will serve them for life.

So, if it is possible to teach this type of thinking, how then can we measure if students are developing these skills? This is likely the more confounding question. It’s hard to design test questions that effectively measure a child’s ability think creatively. One way may be to scaffold questions that increase in complexity and demand, which may allow students the opportunity to reiterate, to explain, and then to synthesize information they've gathered. Asking students to make connections between different strands of a curriculum may also be a good way to measure these skills. Assessments may also come in more spontaneous moments, when a child responds to a question or a moment with quiet brilliance or sensitivity. (It may be, however, that the most meaningful measurement takes place once a student is launched into the adult world.)

At the heart of teaching critical and creative thought is the ability to ask the right questions to students. In turn, they need to be able answer in a way that demonstrates their ability to see the parallels and intersections; perceive linkages between historical moments, between the period and the art, between the circumstances then and now; to comprehend the relationship between “us” and “them”, between “we” and “they,” and, ultimately, whether dichotomies like “we” and “they” are useful—and, if so, how.

Illustration by Will Etling

Zoe Burgess has been working in education for seven years. She is a Teach For America alumnus, and currently works as an education consultant, research assistant, and writer.

Educatie vizuala si gandire critica

Arta, media şi educaţia vizuală
de Nita Mocanu-Stoica

* o parte dintr-un text scris pentru Simpozionul interjudetean ”Ce stim, va aratam!”-Clubul Copiilor Sebis jud.Arad 11 iunie 2011

„The motivation to make art seems to come from a deep desire to communicate” Steina Vasulka artist video (Motivaţia de a face artă se pare că vine dintr-o profundă dorinţă de a comunica)
Lumea contemporană este încărcată şi modelată de mesajele vizuale care ne însoţesc zi de zi. Arta vizuală este o disciplină care valorifică şi pozitivizează pe de-o parte, decodifică şi analizează pe de-altă parte mediul vizual în care trăim.
Dezvoltarea gândirii critice este esenţială viitorilor creatori sau/şi consumatori de artă. Pentru a distinge în primul rând între arta vizuală şi amploarea de imagini produse de diferitele medii comunicaţionale tehnologice, elevii trebuie să cunoască atât elementele de bază ale limbajului vizual cât şi elementele limbajului specific mass media-ei. <<„Creativitatea” automatizată umflată la proporţii sociale, ba chiar mondiale, este deservită de tehnologia avansată, care însă nu se asociază cu un manual de instrucţiuni completat de normele estetice, etice şi morale. Astfel, o imagine impecabilă din punct de vedere tehnic se poate încadra artei, kitsch-ului sau pornografiei. Nu avem cum să evităm exprimarea lui Flusser referitoare la acest tip de om ca fiind „analfabet fotografic”, iar cluburile de fotoamatori, „grote postindustriale de fumat opium, locuri de îmbătare cu complexitatea structurală a aparatului, de unde se revarsă „nearticularităţi vizuale”.>> ( László Ujvárossy). Teoria filozofului Vilém Flusser asupra fotografie poate fi extrapolată tuturor formelor de artă realizate cu ajutorul tehnologiei moderne care produc imagini digitale statice sau în mişcare. „Analfabetul fotografic” al lui Flusser este cel care nu depăşeşte utilitarismul aparatului pe care-l foloseşte şi consideră că imaginea este obiectul însuşi arhivat pe peliculă sau computer, aşa cum ar spune Rudolf Arnheim este un fel de „doctrină iluzionistă”. Conform acestei doctrine <<în cel mai bun caz, artistul poate ”perfecţiona” realitatea sau o poate îmbogăţi cu roade ale fanteziei sale, omiţând sau adaugând detalii, alegând exemple potrivite şi rearanjând ordinea dată a lucrurilor. ”>> (Rudolf Arnheim). „Doctrina iluzionistă”se referă la redarea obiectelor din natură ca proiecţie folosind perspectiva liniară şi evitarea reprezentărilor bazate pe concepte, simboluri, idei, cunoştinţe despre obiectele în cauză. Plăsmuirea de imagini , artistice sau de alt fel, spune Arnheim este un echivalent, redat printr-un anumit mediu a celor observate la un obiect. În cazul fotografiei şi a artei digitale mediul prin care se redă imaginea tinde să fie mesajul însuşi, ca să-l parafrazăm pe Marshall McLuhan şi celebrul său slogan „The medium is the message”. Posibilităţile tehnice ale instrumentului tind să fie lucrarea însăşi, de exemplu un filtru dintr-un program de manipulare a imaginii va fi perceput ca subiectul lucrării în lipsa unui conţinut care să cuprindă intrinsec acel efect vizual al filtrului. Aşa cum doar nişte forme geometrice nu vor fi niciodată artă abstractă fără conceptul şi structura compoziţională din care să se poată citii conceptul de la care a pornit lucrarea.
„Mijloacele contemporane de comunicare şi reţelele sociale precum Facebook, YouTube şi Twitter oferă populaţiei globale posibilitatea de a-şi prezenta fotografiile, clipurile video şi textele în moduri ce nu pot fi distinse de o operă de artă post-conceptuală. ” (Boris Groys). Dacă copii şi tinerii zilelor noastre mai disting arta clasică, din noiamul de imagini de pe internet, identificând anumite stiluri de pictură după subiect sau picturalitate, genuri de artă cum ar fi cea expresionistă, cubistă, abstractă, conceptuală, new media sunt foarte greu de identificat şi mai ales de valorizat. Pentru a reveni la educaţia artistică, voi aminti că elevii secolului XXI utilizează de la vârstă tot mai mică noile tehnologii. Ei angrenează în activităţile lor zilnice sute de magini de toate tipurile. O parte din aceste imagini sunt reproduceri digitale ale unor opere de artă celebre. Luate în ambianţa imaginilor digitale găsite aleator pe internet ele sunt golite de valoarea lor artistică, devenind doar încă nişte instrumente vizuale necesare comunicării în masă. Această „neânţelegere” a artei se datorează în mare parte analfabetismului media cât şi a celui vizual. Mesajul media este consumat ca atare, mesajul artei devine o componentă structurală a mesajului media. Asta se datorează şi suportului prin intermediul căruia avem acces la artă la scară largă, si anume reproduceri în cataloage, reviste de specialitate, site-uri web, filme documentare. În acest context din afara galeriei sau a muzeului de artă este uşor să se facă confuzie între o imagine ilustrativă şi o lucrare de artă.
Educaţia media este o disciplină care nu se studiază la noi în ţară chiar dacă marea majoritate a populaţiei se uită la TV sau foloseşte internetul. Dar ce este Educaţia media? Educaţia media este despre mass media şi rolul ei în formarea de identităţi, societăţi şi a lumii; are de a face atât cu mediile comunicaţionale moderne: sunet, imagine statică şi în mişcare create prin folosirea noilor tehnologii cât şi cu cele tradiţionale: text şi imagine printate; promovează o abordare mai aprofundată a mediilor comunicaţionale folosite de societate şi felul în care ele funcţionează; încurajează deconstrucţia şi analiza critică a contextului în care textul mediatic operează, mai exact promovează analiza critică şi identificarea valorilor şi intereselor (sociale, culturale, politice, economice şi comerciale) care influenţează informațiile cuprinse în textul mediatic; încurajează dezvoltarea de cunoaştere şi aptitudini necesare elevilor şi cetăţenilor, în mare, pentru o citire critică a textului mediatic.
Reprezentarea lumii prin imagini mediatice se face folosind aceleaşi principii care stau la baza creaţiei artistice. Gama imaginilor mediatice este foarte largă, de la realiste la abstracte, toate operează cu modul nostru de a „citii” lumea în care trăim. Educaţia vizuală trebuie să facă distincţie între artă şi imaginile produse de mass media, astfel ca arta vizuală să fie cu adevărat percepută şi înţeleasă.
„Astăzi artistul împărtăşeşte cu publicul arta în acelaşi mod în care împărtăşea, altădată, religia sau politica. A fi artist a încetat să mai fie un destin exclusiv; în schimb a devenit caracteristica societăţii luate ca întreg la nivelul ei cel mai intim, cotidian şi corporal.” Boris Groys

Bibliografie:

Animaţia stop-motion ca metodă didactică :

http://nitamedialab.blogspot.com/2011/01/animatia-stop-motion-ca-metoda.html

„Arta şi percepţia vizuală. O psihlogie a văzului creator” de Rudolf Arnheim, Ed. Meridiane, 1979

„Fragment dintr-un abecedar al comunicării vizuale” de László Ujvárossy :

http://www.photomagazine.ro/photomagazine/b_camera/photo26.pdf

„Marx după Duchamp sau Cele Două Corpuri ale Artistului” de Boris Groys :

http://www.protokoll.ro/resources/groys-marx-dupa-duchamp.html

„Mendacious Images” by Marie-Thérèse van de Kamp :

http://www.kunstcontext.com/ckv/mendimag.htm

„Women, art & technology” edited by Judy Malloy, Massachusetts Institute of Technology 2003

„Pentru o filosofie a fotografiei” de Vilém Flusser, Idea Design & Print Editură, 2003

Sir Ken Robinson - Changing Paradigms

Changing paradigms in education- short animation


Changing Paradigms - conference documentation


Sir Ken Robinson
Sir Ken Robinson, PhD is an internationally recognized leader in the development of education, creativity and innovation.He works with governments in Europe, Asia and the USA, with international agencies, Fortune 500 companies and some of the world’s leading cultural organizations. In 1998, he led a national commission on creativity, education and the economy for the UK Government. All Our Futures: Creativity, Culture and Education (The Robinson Report) was published to wide acclaim in 1999. He was the central figure in developing a strategy for creative and economic development as part of the Peace Process in Northern Ireland, working with the ministers for training, education enterprise and culture. The resulting blueprint for change, Unlocking Creativity, was adopted by politicians of all parties and by business, education and cultural leaders across the Province. He was one of four international advisors to the Singapore Government for its strategy to become the creative hub of South East Asia.
http://sirkenrobinson.com/skr/

Technology and Society by Neil Postman

Neil Postman
Neil Postman (March 8, 1931 - October 5, 2003) was an American author, media theorist and cultural critic, who is best known by the general public for his 1985 book about television, Amusing Ourselves to Death. For more than forty years, he was associated with New York University. Postman was a humanist,^[1] who believed that "new technology can never substitute for human values."Neil Postman (March 8, 1931 - October 5, 2003) was an American author, media theorist and cultural critic, who is best known by the general public for his 1985 book about television, Amusing Ourselves to Death. For more than forty years, he was associated with New York University. Postman was a humanist,^[1] who believed that "new technology can never substitute for human values."

Animaţia stop-motion ca metoda didactica

Stop motion este o tehnică de animaţie prin care obiecte par să se mişte singure.Obiectul este mişcat foarte încet, la fiecare mişcare se face o fotografie, aceste imagini ordonate într-un program video vor da impresia de mişcare, întreg ansamblul de mişcări fotografiate va apăre ca o singură mişcare.
Această tehnică de animaţie poate fi încorporată cu succes activităţii didactice de la orice materie. Cu un pic de creativitate se pot spune poveşti, comenta evenimente, descrie procese naturale/fizice/chimice etc

Creta si tabla de la şcoală/White board plus carioca
- se desenează în linii scurte, la fiecare linie trasată se face o fotografie.
Vezi:
What are asteroids & comets and how big are they? - Julius and Henry



Figurine de plastelină
Se modelează pas cu pas plastelina , se fac fotografii la fiecare pas.

Vezi:
Exponential Bunnies


Math Geometry Angles- A Stop Motion Animation Project


Colaj
Se desenează figurile, se decupeaza apoi se mişca pas cu pas pe un fundal desenet/pictat. Se fac fotografii la fiecare mişcare.
Vezi:
Digestion of food


Lego
Vezi:
Charming stop-motion animation for French learners


Obiecte
Vezi:
Genius Loci

Original Video- More videos at TinyPic