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Op-Ed Columnist

College the Easy Way

By BOB HERBERT

March 4, 2011

The cost of college has skyrocketed and a four-year degree has become an ever more essential cornerstone to a middle-class standard of living. But what are America’s kids actually learning in college? For an awful lot of students, the answer appears to be not much.

A provocative new book, “Academically Adrift: Limited Learning on College Campuses,” makes a strong case that for a large portion of the nation’s seemingly successful undergraduates the years in college barely improve their skills in critical thinking, complex reasoning and writing.

Intellectual effort and academic rigor, in the minds of many of the nation’s college students, is becoming increasingly less important. According to the authors, Professors Richard Arum of New York University and Josipa Roksa of the University of Virginia: “Many students come to college not only poorly prepared by prior schooling for highly demanding academic tasks that ideally lie in front of them, but — more troubling still — they enter college with attitudes, norms, values, and behaviors that are often at odds with academic commitment.”

Students are hitting the books less and partying more. Easier courses and easier majors have become more and more popular. Perhaps more now than ever, the point of the college experience is to have a good time and walk away with a valuable credential after putting in the least effort possible.

What many of those students are not walking away with is something that has long been recognized as invaluable — higher order thinking and reasoning skills. They can get their degrees without putting in more of an effort because in far too many instances the colleges and universities are not demanding more of them.

The authors cite empirical work showing that the average amount of time spent studying by college students has dropped by more than 50 percent since the early 1960s. But a lack of academic focus has not had much of an effect on grade point averages or the ability of the undergraduates to obtain their degrees.

Thirty-six percent of the students said they studied alone less than five hours a week. Nevertheless, their transcripts showed a collective grade point average of 3.16. “Their G.P.A.’s are between a B and a B-plus,” said Professor Arum, “which says to me that it’s not the students, really — they share some of the blame — but the colleges and universities have set up a system so that there are ways to navigate through it without taking difficult courses and still get the credential.”

The book is based on a study, led by Professor Arum, that followed more than 2,300 students at a broad range of schools from the fall of 2005 to the spring of 2009. The study (available at highered.ssrc.org) showed that in their first two years of college, 45 percent of the students made no significant improvement in skills related to critical thinking, complex reasoning and communication. After the full four years, 36 percent still had not substantially improved those skills.

The development of such skills is generally thought to be the core function of a college education. The students who don’t develop them may leave college with a degree and an expanded circle of friends, but little more. Many of these young men and women are unable to communicate effectively, solve simple intellectual tasks (such as distinguishing fact from opinion), or engage in effective problem-solving.

“This is a terrible disservice, not only to those students, but also to the larger society,” said Professor Arum. “I really think it’s important to get the word out about the lack of academic rigor and intellectual engagement that’s occurring at colleges and universities today.”

While there are certainly plenty of students doing very well and learning a great deal in college, this large increase in the number of students just skating by should be of enormous concern in an era in which a college education plays such a crucial role in the lifetime potential of America’s young people. It can leave the U.S. at a disadvantage in the global marketplace. But, more important, the students are cheating themselves — and being cheated — of the richer, more satisfying lives that should be the real payoff of a four-year college experience.

“You have to ask what this means for a democratic society,” said Professor Arum. “This is the portion of the population that you would expect to demonstrate civic leadership in the future, civic engagement. They are the ones we would expect to be struggling to understand the world, to think critically about the rhetoric out there, and to make informed, reasoned decisions.

“If they’re not developing their higher order skills, it means they’re not developing the attitudes and dispositions that are needed to even understand that that’s important.”

linked from:

http://www.nytimes.com/2011/03/05/opinion/05herbert.html?_r=1&scp=1&sq=bob%20herbert%20college&st=cse

reading assignment

"The central argument of Chromophobia is that a chromophobic impulse - a fear of corruption or contamination through color - lurks within much Western cultural and intellectual thought. This is apparent in the many and varied attempts to purge color, either by making it the property of some "foreign body" - the oriental, the feminine, the infantile, the vulgar, or the pathological - or by relegating it to the realm of the superficial, the supplementary, the inessential, or the cosmetic. " -Editor's note

reading assignment due Monday March 28th. To be read to class and handed in.
selection from David Batchelor's Chromophobia.
look for this in your email in coming days (I am scanning and making PDF).
write 2 page essay on reading, summarizing it and relating it to your own and/or others' cultural color observations. Research ideas, and find historical information to back up ideas, theories, and thoughts.

Project 7: Color, Environment, Urbanism

Heidi Weber Museum, Lake Zurich, Le Corbusier, 1964-67

Didden Village, Rotterdam, the Netherlands (MVRDV)

Los Heroes building, Santiago, Chile

Museum of Contemporary Art, Castilla y Leon, Spain

Mitch Cope & Gina Reichert, Powerhouse, Detroit

Tiggerific Project, Detroit

Ice House, Detroit

Cemetary, Central America

Buenos Aires, Argentina

Tortola, BVI

Milton Glaser, 1972

Milton Glaser, 1975/2001

Jasper Johns, White Flag, 1955

Pierre Cardin

Pierre Cardin

Ed Ruscha, He Didn't Care and Neither Did She, cherries on satin, 1974

Ed Ruscha, Actress, Rhubarb on Moire, 1974

Ed Ruscha

This project involves considering the way color functions in the public domain and shared imagination. How colors "mean". Urbanism is defines as "a focus on cities and urban areas, their geographical, economical, political, and social characteristics, as well as the effects on and caused by the built environment"*. The term built environment refers to human-made settings that are the setting for human activities. These may range from shelter, building, neighborhood, to cities themselves. The term also refers to the supporting infrastructures of such, including energy networks, dialogue, and cultural activities and their manifestations.

Much of our own urban environment is colored in fairly neutral tones. Look at the examples above of environmental color, and possibly create a proposal to create a structure, or to create meaningful color changes to a specific site, area, or building. Something like this this should have a high degree of detail and finish, as if you were presenting a real proposal to try to achieve an actual public commission.

Or consider working with color and imagery in the public domain, working with the popular culture canon. When an image becomes well-known enough to reach the status of iconic, it can be utilized to make a new image or work with a differing, sometimes contrasting meaning. Color often plays a large role in this form of constructing new meaning. Some of the above imagery are examples of playing with color in such a way. These can include appropriation, detournement, and "subvertising". Others borrow for the purpose of alignment or connection to the original.

Some are physical, concrete alterations in the environment (i.e architectural), while others are pictorial. Some are individually motivated, others come out of small collaborative groups, and still others come out of tightly-organized and legitimized groups such as architectural firms. Some are artistic, some are design, some are activist and some are professional or mainstream.

Your project will demand an understanding of the color codes, and associations particular to this place (you can define the place, it need not be strictly Chicago). Some of the images above simply illustrate how certain colors and color schemes are identified with specific eras and/or genres.

Your color choices should be pointed and have a meaning legible to a broad audience. This is about using color intelligently in art and design projects that work toward civic engagement.

Create an ambitious, interesting, cogent project in your choice of media.

This is a three-week project due Wednesday, March 30. For digital: bring file (on jumpdrive). For video, upload to Vimeo if possible. I do not have Quicktime (it strangely disappeared).

ADDENDUM: NOW DUE MONDAY, APRIL 4


* Wikipedia

** Also see:
http://en.wikipedia.org/wiki/Detournement
In détournement, an artist reuses elements of well-known media to create a new work with a different message, often one opposed to the original. The term "détournement", borrowed from the French, originated with the Situationist International; a similar term more familiar to English speakers would be "turnabout" or "derailment", although these terms are not used in academiasatirical parody, but employs more direct reuse or faithful mimicry of the original works rather than constructing a new work which merely alludes strongly to the original. It may be contrasted with recuperation, in which originally subversive works and ideas are themselves appropriated by mainstream media. and the arts world as they are inherently 'anti-art,' often involving the blatant theft and sabotage of existing elements. Détournement is similar to

In the United States, Frank Discussion is widely known for his use of detournement in his works dating from the late 70s through the present, particularly with the Feederz. Détournement's use by Barbara Kruger familiarised many with the technique, and it was extensively and effectively used as part of the early HIV/AIDS activism of the late 1980s and early 1990s.^[1] Examples of contemporary detournement include Adbusters' "subvertisements" and other instances of culture jamming, as well as poems composed collaboratively by Marlene Mountain, Paul Conneally, and others, in which quotations from such famous sources as the Ten Commandments and quotations by United States President George W. Bush are combined with haiku-like phrases to produce a larger work intended to subvert the original source.

The Neue Slowenische Kunst has a long history of aggressive détournement of extreme political ideologies, as do several industrial music groups, such as Die Krupps, Nitzer Ebb, KMFDM, and Front 242.

Also see:

http://en.wikipedia.org/wiki/Recuperation_(sociology)
Recuperation, in the sociological sense (first proposed by Guy Debord and the Situationists), is the process by which "radical" ideas and images are commodified and incorporated within mainstream society, such as the movement for civil rights in the United States or the push for women's rights. It is the opposite of detournement.

A similar dynamic often occurs in the sphere of punk rock culture: many musical styles developed from punk rock (such as Grunge, Thrash metal, Metalcore, Post-punk, Indie rock, New Wave, Emo, and Pop punk) have garnered mainstream popularity; artists of these genres have signed to major labels, and have become household names in the mainstream culture. Kurt Cobain, in his journals, often expressed resentment at how his own band played into this situation. The formerly punk-rock group Chumbawumba, has attempted to subvert the recuperation concept by intentionally "selling out" but then using their earned money to donate to the radical causes that they still support.

Project 6: Traditional and Unconventional Color Harmonies

Froebel gifts

Froebel gifts

Gerrit Reitveld

Le Corbusier

Mondrian , Broadway Boogie Woogie

Kara Walker

Kara Walker

Kara Walker, Testimony, 2004

Kara Walker

http://www.designformankind.com/2009/03/custom-leaf-silhouette-portraits/

Monochromatic and Achromatic or Low-chromatic

Analogous

Complementary

Cool/Warm

Double-Complement

Split-Complementary

Triads

Tetrads

Keys

Gary Panter

Hiroshi Iguchi

Perks and Mini

Perks and Mini

Will Sweeney

Andy Warhol

Gianni Versace

Takashi Murakami New LV pattern

Takashi Murakami Original LV pattern

Nathalie Lete

Nathalie Lete

Lucienne Day

Marimekko

Ikea

Marimekko

Marimekko

The Western idea of color harmony is based on the symmetry of the color wheel and goes back centuries. Mid-twentieth century European groups such as the De Stijl movement, and the Bauhaus based some of their programs on ideas around creating balance and harmony in art and design that would improve the psyche of all immersed in such aesthetics. Much of this was based on these artists, designers, and architects interest in perceptual psychology and the creation of harmonic conditions.

Wikedepia's entry on "Color Theory" mentions a bit about older color theories of harmony in relation to current understandings of the impact of culture and other variables on color taste.
...color harmony is a somewhat misleading notion in that responses to color can be influenced by a range of different factors including individual differences (age, gender, etc); cultural and social differences; as well as contextual, temporal and perceptual factors.^[2] In addition, given that humans can perceive over 2.8 million different hues^[3], it has been suggested that the number of possible color combinations is virtually infinite thereby implying that predictive color harmony formulae are fundamentally unsound.^[4] Despite this, many color theorists have devised formulae, principles or guidelines for color combination with the aim being to predict or specify positive aesthetic response or 'color harmony'. Color wheel models have often been used as a basis for color combination principles or guidelines and for defining relationships between colors. Some theorists and artists believe juxtapositions of complementary color will produce strong contrast, a sense of visual tension as well as 'color harmony'; while others believe juxtapositions of analogous colors will elicit positive aesthetic response. Color combination guidelines suggest that colors next to each other on the color wheel model (analogous colors) tend to produce a single-hued or monochromatic color experience and some theorists also refer to these as 'simple harmonies'. In addition, split complementary color schemes usually depict a range of analogous hues plus a key complementary color. A triadic color scheme adopts any three colors approximately equidistant around a color wheel model. Feisner and Mahnke are among a number of authors who provide color combination guidelines in greater detail.^[5][6]

Color combination formulae and principles may provide some guidance but have limited practical application. This is because of the influence of contextual, perceptual and temporal factors which will influence how color/s are perceived in any given situation, setting or context. Such formulae and principles may be useful in fashion, interior and graphic design, but much depends on the tastes, lifestyle and cultural norms of the viewer or consumer.

As early as the ancient Greek philosophers, many theorists have devised color associations and linked particular connotative meanings to specific colors. However, connotative color associations and color symbolism tends to be culture-bound and may also vary across different contexts and circumstances. For example, red has many different connotative and symbolic meanings from exciting, arousing, sensual, romantic and feminine; to a symbol of good luck; and also acts as a signal of danger. Such color associations tend to be learned and do not necessarily hold irrespective of individual and cultural differences or contextual, temporal or perceptual factors.^[7] It is important to note that while color symbolism and color associations exist, their existence does not provide evidential support for colour psychology or claims that color has therapeutic properties.^[8]

Our project involves playing with colors in combination-and exploring notions of colors may combine to create harmony stemming from 19th and 20th century color science and aesthetics-which we will create or combine with other elements, in pattern or image.

Analyze these and other textile patterns that you research, for use or non-use of the traditional color harmonies discussed here. This project is about the creation of traditions of, as well as invented or observed harmonies applied to pattern design.

Consider the possibility of not using the structure of the color wheels and the relationships created within it to create color combinations. Or consider that a harmonic combination is not the only possible desired effect. You might want to make a non-harmonic image. Or you may find that, like in Nathalie Lete's work, especially the bags above, colors are in such complex combination that they cancel out the notion of a scheme, yet they are beautiful. In Warhol and Versace's works above, the primary function of color is as reference toward the creation of meaning: in Warhol the reference is to popular commercial color, and in Versace the reference is to Warhol. For many of the younger designers' works pictured above, symmetrically-based color harmony is simply not the focus of the work, even though it is sometimes present.

1) For some designs, use only the traditional color schemes described and pictured here-those based on the symmetry of the color wheel, create different designs, patterns, or images if using painted or digital means. These can be digitally manipulated/photo-based, or not; image , pattern, or any kind of design. If you have an idea (such as the leaf or the "Paris" image that has colors within the silhouette) that does not exactly conform to the project description, please feel free to discuss with me. The color schemes or harmonies pictured above are borrowed from Color Workshop, Becky Koenig. Koenig outlines the traditional harmonies that are based on the symmetry of the color circle: Monochromatic, Achromatic or Low-Chromatic, Analogous, Complementary, Double-Complement, Split-Complement, Triadic, Secondary Triadic, Tetrads, Keyed.

A harmony involves a minimum of 2 colors, but is usually 3-5.

2) For others whether digitally or in gouache, create patterns/designs full-bleed (to the edge of the paper) that explore alternative color schemes to these classic schemes. Whether painted or digital, these should be complicated and careful. You are also free to explore these things in photography, video, film, sculpture, or other media. Please ask me if you have such an idea.

You will be asked to explain your working rationale and inspiration for each in the critique.

You will be graded on the quality of thought and execution of your work.

Use the assignment as an opportunity to be visual and conceptually (or both) inventive.

You will be graded on your level of craft, engagement, and invention.

This is now a two-week assignment: time to research, develop, and edit. Due Monday, March 14. Install in classroom at beginning of class, or send to me via email by 6:00 a.m that morning.

I have credited images above when the artist/designer was verifiable. Those left blank are unknown.