We think you have liked this presentation. If you wish to download it, please recommend it to your friends in any social system. Share buttons are a little bit lower. Thank you!
Presentation is loading. Please wait.
Published byKatrina Averill
Modified about 1 year ago
THE CHANGES TO THE IBDP VISUAL ARTS ASSESSMENT PROCESS Visual arts workshops
© International Baccalaureate Organization 2007 From 2013 there are two changes to methods of assessment 1.CHANGES TO THE CANDIDATE RECORD BOOKLET (BECOMING A DIGITAL SUBMISSION) 2.CHANGES TO THE INTERVIEW (THE EXAMINER NO LONGER VISITS & CONDUCTS THE INTERVIEW) * Visiting Examiners will still be used in the November 2012 session for schools not piloting the e-submission programme. This will be the last time that examiners visit schools to interview candidates. Page 2
SECTION 1 THE E-CRB Visual arts workshops
© International Baccalaureate Organization CHANGES TO THE CANDIDATE RECORD BOOKLET (BECOMING A DIGITAL SUBMISSION) This change is only in the method of submission. The Candidate Record Booklet will no longer be a paper booklet: from 2013 all components will be uploaded digitally. As in the current process, the number of photographs of studio work, and copies of investigation pages depends on the level (HL or SL) and option (A or B): there is NO CHANGE to this element. The candidate is still required to write a 300 word candidate statement and the teacher is required to explain and justify the mark awarded for Internal Assessment. Page 4
© International Baccalaureate Organization 2007 STUDIO RECORDING THE STUDIO WORK The advice for photographing 2D work to be uploaded is similar to previous advice: flat against a surface (wall or table) with camera parallel with work in soft even outdoor lighting wherever possible against a plain neutral coloured background sharply focused photographs may be repositioned, cropped and adjusted for brightness, contrast and colour casts, as long as the work is still a true likeness of the original studio work piece Advice for photographing 3D work is the same with the additional suggestion to include details as appropriate Page 5
© International Baccalaureate Organization 2007 STUDIO RECORDING THE STUDIO WORK Electronic, animation work should be provided through its original file, ensuring that the work is supported by thorough documentation showing how the work reflects the student’s efforts Installation and temporary/transient work should be recorded: through a series of still photographs, or through short/concise video footage in good lighting on a tripod wherever possible Any audio accompanying an installation (for example, music) should not be included, only the visual aspect of the work will be assessed. Page 6
© International Baccalaureate Organization 2007 STUDIO STUDIO UPLOAD INFORMATION/ADVICE Studio works should be uploaded as image and/or video files. Large file sizes are unnecessary: large photographs are not needed for the electronic upload, just big enough to fill a computer monitor at 72 pixels per inch (dpi). The limit per file (i.e. per image) is 1 MB. One advantage of the e-CRB is that a still image is not the only possibility: short videos are also possible - although Keep studio work video footage to a minimum, using it sparingly to show an installation or a 3D work Page 7
© International Baccalaureate Organization 2007 INVESTIGATION Investigation workbook pages can be uploaded either as document files or image files. Scan the required number of investigation workbook pages into one document – copying and pasting scans into a Word file is one example of how this might take place. The total of a scanned IWB (all pages) should not exceed 20MB. Number of pages relates to option and level chosen (for example, a maximum 30 pages for HLA candidates) No double pages! Page 8
© International Baccalaureate Organization 2007 CANDIDATE STATEMENT The 300 words candidate statement would be uploaded as a text file. Page 9
© International Baccalaureate Organization 2007 TEACHER STATEMENT The teacher statement would be uploaded as a text file, and should relate to the IA component being considered and refer to the markband descriptors to explain and justify the mark awarded. Page 10
SECTION 2 THE INTERVIEW Visual arts workshops
© International Baccalaureate Organization CHANGES TO THE INTERVIEW (THE EXAMINER NO LONGER VISITS & CONDUCTS THE INTERVIEW) The teacher (or a third party) interviews the candidate. The purpose of the interview The interview, like the candidate statement, is not allocated marks. However, the additional information provided by the student about their work provides the examiner with a greater understanding and may allow access to a higher markband, and so a higher mark. Page 12
© International Baccalaureate Organization CHANGES TO THE INTERVIEW (THE EXAMINER NO LONGER VISITS & CONDUCTS THE INTERVIEW) The purpose of the interview For example, if the selected studio works and/or investigation workbook pages did not reveal evidence of an ongoing process of review, modification and refinement, then the student could be encouraged to talk about how they undertook that process in development of a final piece of studio work. Page 13
© International Baccalaureate Organization CHANGES TO THE INTERVIEW (THE EXAMINER NO LONGER VISITS & CONDUCTS THE INTERVIEW) An advantage of the teacher facilitating the interview is there that will be a relationship of trust and familiarity in place already that will help put the student at their ease. Because the teacher has worked with the student throughout their course they will be best placed to make the interview time as useful as possible, and so be more successful than an examiner and drawing out relevant information. Page 14
© International Baccalaureate Organization 2007 General interview reminders: the interview should… Relate to the option chosen (A or B): option A students should be encouraged to talk about aspects of their studio work, focusing on their experience making the works exhibited, while option B students should talk about their investigation and its relationship with the studio work, focusing on the contextual, visual and critical investigation provide evidence to address the requirements of the markband descriptors Page 15
© International Baccalaureate Organization 2007 General interview reminders: the interview should… use open ended prompts or questions (the teacher should not, for example, work through a scripted list of questions, but support the student in talking appropriately about their work) not rely on closed prompts or questions (for example, did you use oil paint?) not use questions designed to draw out specific knowledge (for example, what year was Picasso born?) Page 16
© International Baccalaureate Organization 2007 General interview reminders: the interview should… be as relaxed and unthreatening as possible to put the student at ease, enable them to feel comfortable and confident, and to talk as easily as possible about their work encourage students to focus on relevant information and guide them back if they lose focus end when appropriate, up to the maximum time. If the student has delivered all the information they wish to, then it is not necessary to keep talking. Students should not make a prepared speech. Page 17
© International Baccalaureate Organization 2007 RECORDING THE INTERVIEW The recording of the interview should be either an audio file or a video file: it’s optional. The choice between audio or video should be relevant to the comfort and context of the student and the school. Schools are not expected to follow the visual format of the OCC interview clips and are not required to submit a video recording of the interview at all; an audio recording would be entirely appropriate. Page 18
© International Baccalaureate Organization 2007 RECORDING THE INTERVIEW Schools considering video should remember that just as no marks are awarded for the interview, equally, no marks will be awarded for any studio work or investigation pages seen in the video. Marks are based only on assessment of the uploaded studio and investigation files. Page 19
© International Baccalaureate Organization 2007 RECORDING THE INTERVIEW In the instance of planning an audio recording, listening to one of the interviews from the OCC without the images would be helpful in highlighting how the information given by the student would need to be enhanced to aid the understanding of the external examiner (some points are mentioned in the information associated with each clip, others may be identifiable). Page 20
© International Baccalaureate Organization 2007 RECORDING THE INTERVIEW File size/time limit If it’s a video file (e.g. FLV or MOV), the maximum size is 1GB. If it’s an audio file, (e.g. MP3), the official maximum time is 40 minutes (although this is longer than the time needed for HL) – see below: Length of interview The recording of the interview should be a maximum of 30 minutes for an HL student and 20 minutes for an SL student (in order that the examiner has time to properly consider the photographs of the studio works). Page 21
© International Baccalaureate Organization 2007 DIGITAL/UPLOADING INFORMATION Four types of files may be uploaded for visual arts coursework: document files, audio files, video files, and image files. This information is taken from the “Visual arts E- submission pilot: teacher guidance material”, available on the OCC Page 22
© International Baccalaureate Organization 2007 DIGITAL/UPLOADING INFORMATION If you have questions and/or want specific information, please write to the ‘Visual Arts Upload’ address: teachers or coordinators have a dedicated address for technical queries: Page 23
SECTION 3 THE BENEFITS Visual arts workshops
© International Baccalaureate Organization 2007 THE BENEFITS There is only one presentation of art work. Currently visiting examiners and moderators see different presentations of the students’ work and this is not good assessment practice. The Candidate Record Booklets are used to moderate the marks awarded by visiting examiners, who have looked at the original work. Students will have an e-portfolio of their work which they can use in applications to art colleges. Page 25
© International Baccalaureate Organization 2007 THE BENEFITS Students will find the electronic submission will be easier than the production of paper candidate record books. The submitted material is likely to benefit from better quality sound and images. It will also, of course, facilitate the submission of emergent media, such as ephemeral work, animation and video, something increasingly demanded by students and teachers, but difficult to assess in a paper-based world. Page 26
© International Baccalaureate Organization 2007 THE BENEFITS Schools will not have the storage burdens that the current system imposes. They can mount the exhibitions at whatever time is convenient for them and for the students. Once the exhibitions have been electronically captured, they can be dismounted. Schools will benefit from social, environmental and financial savings, as material and people are not moved around the world during each examination session. Page 27
© International Baccalaureate Organization 2007 THE BENEFITS Although the pilot has thrown up a few issues (which will be resolved by 2013), this is a great opportunity to demonstrate leadership in innovative assessment and the appropriate use of technology. This will allow DP visual arts to be more responsive to school and student needs and to provide enriched feedback. Page 28
© International Baccalaureate Organization 2007 Does it make the assessment more reliable? Everyone will benefit from the improved quality assurance processes, which will ensure far greater consistency of assessment than is possible in the current non-electronic world. In the same way as we are already seeing improvements in the quality of marking carried out through e-marking of paper scripts, these benefits will also be seen in the assessment of the visual arts. Page 29
© International Baccalaureate Organization 2007 Does it make the assessment more reliable? Moderation in externally assessed visual arts work will no longer be necessary. Instead, the marking standards of visual arts examiners will be monitored directly and in real time as they mark, in the same way as in other e-marked subjects. Naturally, moderation of internally-assessed coursework will continue. Page 30
© International Baccalaureate Organization 2007 Does it make the assessment more reliable? Examiners will gain experience of the standards and variety of students’ visual arts work from around the IB World, as opposed to in just one or two schools in a particular geographical region. This will enhance their understanding of the assessment process and the application of global standards. A truly IB global understanding of all visual art work that is created in all parts of the IB will be possible for all examiners. Page 31
© International Baccalaureate Organization 2007 Does it make the assessment more reliable? When ‘alternative arrangements’ were initiated, we first satisfied ourselves that the process was as robust and as valid as the use of visiting examiners. Our understanding after many years’ experience is that this system is as reliable as the use of visiting examiners, which gives us the confidence to move forward in this way. Page 32
SECTION 4 WORKSHOP ACTIVITY Visual arts workshops
© International Baccalaureate Organization 2007 SESSION ACTIVITY: DISCUSSING ASPECTS VISUAL ARTS INTERVIEWS USING THE OCC VIDEOS Following this PowerPoint presentation there will be an opportunity for questions, together with a closer look at the examples of the interviews on the OCC. Page 34
© International Baccalaureate Organization 2007 SESSION ACTIVITY: DISCUSSING ASPECTS VISUAL ARTS INTERVIEWS USING THE OCC VIDEOS OCC Interviews reminder: The students interviewed had not yet finished their visual arts course, and had not finally decided which pieces were their final pieces, or which investigation workbook pages they would select for assessment. Page 35
© International Baccalaureate Organization 2007 SESSION ACTIVITY: DISCUSSING ASPECTS VISUAL ARTS INTERVIEWS USING THE OCC VIDEOS OCC Interviews reminder: The editing process has faded some student responses before they finished in order to keep file sizes manageable, and because the intended focus of these videos was the teacher’s role in facilitating the session. Page 36
Assessment and feedback Principles, practice and technologies.
2012 SQA Central Training (New Centers) Venue – BISU, Beijing 9, Sept am– 5:00 pm Mary Gao.
Teachers as researchers and the development of teacher professionalism Dr Ken Chow.
How to write a good AHRC grant application (Research Grants & Fellowships) Arts and Humanities Research Council.
USER GUIDE for Learners. Workplace English Training E-Platform INTRODUCTION This User Guide will provide you with useful.
PLANNING THE AUDIT Individual audits must be properly planned to ensure: Appropriate and sufficient evidence is obtained to support the auditors opinion;
Unit Presentations Unit Tech Talk: Technology in Careers Using Technology at Work (pg. 305–306) Use Technology to Find a Job (pg. 307) Choose a Career.
S5 Extended Project. Aims Develops employability skills, including project management. Specifically designed to aid transition to higher education and.
SQAs Approach to Quality Assurance of Assessment Matthew McCullagh Quality Manager Welcome.
International Baccalaureate The Extended Essay October 2010 WESTWOOD COLLEGIATE.
Introduction New Form Stage 1 Stage 2 Stage 3 Feedback Conversation Career Development SMART Goals Competency Framework Documents There are also links.
Presenting: Unit V1 Who this presentation is suitable for? Internal verifier-candidates working towards Unit V1: Conduct internal quality assurance of.
Assessment for Learning Promoting Formative Strategies A quick reminder ….What does AfL involve in the classroom? Teachers having an understanding of the.
Imagine It! Inquiry. Why Use the Inquiry Process? Instruction in reading, writing, speaking, and listening is often fragmented and lacking in a coherent.
Digital Fluency Diagnostic for Staff The purpose of this diagnostic tool is to support individual staff efforts to improve their digital fluency. It can.
Dr Alison Williams (& Dr Simon Tate) Geography. Outline The Geography dissertation process The problem Solutions to date and issues with these Further.
Coaching: Tapping Into Your Employees Potential. 2 Objectives After this workshop you will be able to: Set the groundwork for productive coaching sessions.
Produced By- Dave White. Head of D&T Clevedon School Student Teacher Class/Group Date Current Level Project Title.
Presenting: Units A1 and A2 Who is this presentation for? Assessor-candidates working towards the Unit Assess candidates using a range of methods (A1)
G.E.A.R.S. Grand Erie Assisted Research Strategies.
“A European network on cervical cancer surveillance and control in the new Member States - AURORA” 3 rd Module: Organization, management and evaluation.
HND Supply Chain Management Implementation of Revised Framework Workshop 1 Ken White – SQA External Verifier 23 April 2013.
IUCN (International Union for Conservation of Nature) SIS self-teach guide. Version 1.1 (27 th July 2012) The IUCN Species Information Service (SIS) Version.
The Project Cycle Management Course presented by Simon Pluess World Alliance of YMCAs.
Instructional Strategies for Elementary Students with TBI Susan J. Roland.
PROGRESS REVIEWS Norman Mason. Strengths and Weaknesses Progress reviews Common inspection strengths Effective progress reviews and target-setting Good.
“Theatre “Theatre is a composite art that is forever evolving in new forms. It nourishes, sustains and extends the human spirit.” (Subject guide: Nature.
Strand B – In Depth. Strand B Competencies 3, 4, 6, & 7 3. The teacher communicates with and obtains feedback from students in a manner that enhances.
Extended Essay Guidelines London, June © International Baccalaureate Organization 2007 The Extended Essay (EE) The Extended essay is: a research.
SCASS Arts Item Development Training Program Created for SCASS Arts In 2001 Updated 2004 & 2007.
© 2016 SlidePlayer.com Inc. All rights reserved.