January 22-24 “Photographic Manipulation”

Outcomes

• Technically execute a work of digital art, and apply formal decisions that communicate ideas visually.
• Identify personal inspirations and interests as a way to see their own artistic agency as self-reflective practitioners.
• Enact a critical outlook as visual readers, recognizing how meaning is cultivated and perpetuated through representation.
• Produce ethical, informed, multi-dimensional, work that is situated in contemporary concerns.

Lecture

Digital Photography, do photographs lie? From analogue to digital, what changed? Overall, we will talk about ‘truth’ and ‘fabricated’ photographic documents, and their relationship with truth.

Lab

You will have time to conduct approximately 5 minute personal meetings with each student to talk about their project.  You may have them sign up for exact times the week before if you like.  You could also conduct the lab to have the two hours serve as “drop in” time and speak to whomever is interested.

If you like, you can also conduct group work for them to look at artworks, but it might be difficult to facilitate this as well as meetings -so be careful of how much you put on your plate for the day!  However, if you are up for it there are some ideas of how to do this scheduled in week 4, you can do some of it this week.

Homework Reminders

• Other ½ of Module 1 and accompanying quizzes should be done this week even though they are due January 28 at 11:59pm
• Students may also want to watch the “Manipulation” video
• Remind students that an upload of their draft to ComPAIR is due February 1, end of day
• Assign particular due dates for midterm critiques on Trickery taking place in labs on February 5-14 (10 students per day) and post the schedule on Canvas or via email to your class

January 15-17 “Practice-led Research”

Outcomes

• Enact a critical outlook as visual readers, recognizing how meaning is cultivated and perpetuated through representation.
• Identify personal inspirations and interests as a way to see their own artistic agency as self-reflective practitioners.

Lecture

How has digital photography changed our access to ‘truth’ in representations?

Assign Trickery Project

Lab

This lab is an opportunity to start talking about how images work before they make their own.  The first lecture will ask them to bring in a piece of ‘media’ that they find interesting.  For the most part these will be media products with particular purposes, hopefully by the end of the class you can compare this to the purposes of ‘art’.

“Show n’ Tell”

This lab is dedicated to discussing agency in images, and to show and talk about works that have made an impression on them via media.  It is an opportunity for students to pursue a discussion on the purpose of images, how representation creates meaning and whose agenda or ideology is being serviced.  Have them work in groups or each student present a work to the whole class and describe the work they brought in.  From here you can have a class or facilitate group discussions with the following prompt questions.

• Are the pieces of media brought in mostly positive or negative?
• Are there pertinent themes?
• Are they mostly serious or are some funny? 
• What were the intentions behind why the media was made and circulated?  (Advertising to sell you something, PR for someone’s image, competition-winning a game, information/news, etc)
• How does the agency/intention change the way we can access the purpose of what the media is saying?
• Did any examples bring out anything new that may have been unintentional?
• Are there any depictions that defy conventions?
• Does certain media examples remind you of something or have specific references?
• On the whole, did the sample media brought in give an adequate and full understanding of our world?  If not, what was it skewed to depicting?  (For example, are women mostly depicted to be looked at and men in powerful positions, in gaming is it mostly men that are the protagonist/player, is much media violent?… etc) Are they inclusive?
• Do the sample media allow for complication and complexity or do they reduce meaning to stereotyped or already accepted conventions? 
• Are any pieces of media testing or pushing conventional representational systems?  Are any ‘revolutionary’?
• What might be missing, overlooked, purposely ignored or deleted, taken for granted, or broken down to normalized/general/common conventions? 
• How does the media brought in create a ‘representation’ of a topic?  
• How does this then lead to ‘meaning’?
• This is a Visual Art class, are any of the media brought in artistic works?  
• What do you think the difference is between media and art?
• What does this class want? (art or media – just look at the course code, it is a Visual Art class!)

Feel free to add your own questions, especially in conversation with what the students bring in!

Homework Reminders

• 1/2 Module 2 with accompanying quizzes are due January 28, remind them to keep on track!
• Trickery Project will be assigned, tell them to come to the next class with some ideas next week.
• You might want to have students sign up for individual meetings for next week if you like.

January 8-10:  Introduction & Medium Specificity of Photography

Outcomes

• Identify the characteristics of medium towards the interpretation of an image, in order to make informed material choices for their own work.
• Enact a critical outlook as visual readers, recognizing how meaning is cultivated and perpetuated through representation.

Lecture

This lecture will focus on properties/medium specificity and innate characteristics of photography, and delve into its implication on how medium can influence how we read an image.  An overview of art history featuring photography to show the evolution of how one understands document, indexical, objectivity and ‘truth’.

Lab

Introductions (60 minutes)

• Introduce yourself & background, view on art, details on availability/how to contact you, office hours
• Introduction to the class syllabus, clarify lab rules and your own rules and procedures
• Structure/Expectations of the class
• Introduction to Canvas & Online Technical Demonstrations
  Please tell them which browsers work best with the technical demonstration video library.  Please let them know that although there are due dates for the quizzes online, the videos will always be available for them to use if they need to re-watch or find something out.
  Show students where to find lecture notes, assignment description updates, readings, links, etc…
• Have students introduce themselves to each other
  A classic introduction game is to have students write 3 questions on a piece of paper, then pass the questions to the person on their right.  Ask everyone to take a turn saying their name to the class, and introducing themselves by answering the questions.  Please remind students that these are not meant to be imposing questions, for example warn them not to ask “at what age did you loose your virginity” -as that is inappropriate.  Some common questions are, “what is your favourite movie of all time?”  or “who is your favourite artist” or “what do you like to do on your free time?” etc…

Give Students a Break

Activity:  Classroom Climate Exercise (30 minutes)

Last week they endured their first class discussion, and even participated in showing and discussing images that they brought in for the idea of “love”.  Have students recall how this felt, towards creating a Classroom Climate Guideline for the specific lab.  For this component of the class please start the process of creating your particular lab’s “code of conduct” together with the students that will set-out guidance for productive critique and discussions.  The activity might go something like this:

• Discuss how important a welcoming and comfortable classroom climate is to their success in the class and Visual Arts as a whole
• May want to talk about critique not as judgement, but as discussion, the respect and generosity it takes to ‘read’ another’s work, articulate what you are interpreting and considering it enough to give feedback
• Bring up that art making can be very personal and vulnerable and this is encouraged, and therefore we will be making a ‘guide’ for the class to follow for the rest of the term, these will be specific to this particular lab and is why we are coming up with them together
• Explain how a supportive critique and the overall role of critique in the Visual Arts is to help their growth, and that it is a necessary part of the Visual Arts classroom environment, so how can we encourage this outlook in our particular classroom, what is important to note?  (Greenberg story can be useful)
• Have all of them write out at least one element, (but they can contribute more) on one index card/post it note each, that they think would create a good environment, and at least one element that they think would create a bad environment, and either put them on a common table or wall to see them together
• The students can then look at each others, and see what comes up, what repeats, etc…
• Some points you may want to bring up if they don’t come up by the students are things like censorship, (does your class want to censor… is this a good idea in an institution that promotes academic freedom?) trigger warnings (does your class want a warning if something about to be shown is controversial in some way – politically, sexually, religiously, etc), clapping, discuss what is considered helpful, describe what kind of engagement would be defined as thoughtful, and may want to address how to take and what to do with critique feedback, you may also want to talk about how it would feel to others if someone decided not to show their work for critique
• Allow students to find links, contradictions, comparisons and like-mindedness and organize these on a table/wall as a group.  When there are conflicts in ideas, try to come up with resolutions that speak towards academic freedom rather than rules, but if there are major concerns allow for “warnings” so that students can decide whether they want to stay in the class or not during a more controversial work critique, therefore it is the responsibility of the student showing to provide that warning
• Come up with a set of guidelines for the class, bring them home and type them up so that you can hang them in the class during workshop and critique days in the future.  You can also type them up and post them on your lab’s discussion board on Canvas.
• Suggestions
  You probably know the basic rules of classroom etiquette, but everybody can use a refresher. You attend a top-ranked research institution and you should conduct yourself in a professional, responsible manner, but what does that mean? Some things to consider:
  • How do we want to be addressed?  (Pronouns, titles, etc)
  • Turn off your phone when class begins.
  • If you are late, enter quietly and discreetly, and avoid walking in front of the monitors.
  • Do not record or take pictures without explicit permission from the instructor and fellow students.
  • Discuss lab top and phone usage – when is it okay to use your phone and when it is not, (emergency circumstances, leave the room to talk, volume of ring or buzz) . But other uses (e.g., emailing, web surfing) distract your fellow students. Can instigate a rule such as:  Inappropriate laptop use will result in the student being required to turn off the laptop and it may affect their participation mark.
  • Allowed to check your text messages.
  • Sleep/tiredness.
  • Leaving class and come back 15 minutes later.
  • Consistently come to class late.
  • Let others do all the work during a group process.
  • Pack your bags and look eagerly at the door when there are 3 minutes of class left.
  • Talk to your neighbour (when a fellow student/TA is trying to share their ideas with the rest of the class.)
  • May wish to note that students who exhibit open disengagement from in-class learning (e.g., texting, side-conversations) or other disrespectful behaviour will be asked to leave the classroom.
• Helpful Links:
  Art Teachers Guide to Critique
  Art Critiques made Easy
  Rethinking “The Critique”
• Useful resource to shape our own anti-oppression guidelines. (Thanks Alejandro!) https://shihtzustaff.wordpress.com/queer-exchange-lower-mainland/#_bbx8vffwx6g9

*This workshop interaction is a holistic part of the “Lab Participation” grade.

Reminders

• Module 1 “Fundamentals” & Quizzes, Due: January 14, 11:59pm
• 1/2 of Module 2:  Photoshop, including self-assessment Quizzes, Due: January 28, 11:59pm- tell them to stay on track weekly (approximately 1 hour) to avoid build-up or falling behind.
• *Please remind students that (voluntary) technical workshops are available Monday and Thursday for those who need in-person instruction.
• Please warn everyone that January 14  is the final add/drop date for all classes.

 This outline may change at the discretion of the instructor or TA, you will be notified if so.

Due Date Overview

Please take the time to write down these due dates in your calendar, and set reminders if you are prone to forgetting due dates.

• January 14, 11:59pm – Online technical quizzes of Module 1 due
• January 28, 11:59pm – Technical quizzes for Photoshop – Module 2 & 3 due
• January 28, 11:59pm – Upload draft of mid-term project on ComPAIR (no extensions)
• February 1, 11:59pm – Peer critiques of mid-term project on ComPAIR due (no extensions)
• February 5-14, in lab – Trickery midterm project due & critiques
• February 25, 11:59pm – Technical quizzes from Module 4 & 5 due
• March 4, 11:59pm – Uploaded draft of final project on ComPAIR (no extensions)
• March 8, 11:59pm – Peer critiques of final project on ComPAIR (no extensions)
• March 12-21, in lab – Appropriation final project due & critiques
• March 25, 11:59pm – Technical quizzes from Module 6 due
• April 2-4, in lab – Engaged learning GIF response project due for critique
• April 9, 11:59pm – Engaged learning reflection response due on Canvas (no extensions)

Course Details

TITLE & DATES
VISA 110 227 – Foundation Studio:  Digital Media
Term Runs from January 2 to Apr 4, 2019
There is no final exam for this class
Labs and lecture begin on January 8
Please install Top Hat student response system on your device

OFFICIAL CALENDAR DESCRIPTION
Foundation instruction in techniques and approaches to digital practice. The nature of digital technologies and their role in contemporary culture will be examined.

EXTENDED COURSE DESCRIPTION
Images have become a pervasive way of life. In the last 40 years we’ve gone from seeing 500 to as many as 5000 images in a single day, how many have you seen so far today?  We also take more images than ever, photographing everything from selfies to sunsets, food on a table to feet on the beach. This class brings attention to the intuitive act of recording and consuming images, with a little thoughtfulness, you will see that the process of making images is a way of knowing and understanding. This course unravels the big idea that with making images, there is more than meets the eye!

The course covers historical, political, theoretical, practical and technical issues in art and image making through studio production of artwork. The focus of mechanical and electronic practices through to current digital media is examined by dissecting the machine’s role in the creation and reception of representation, and how it has changed through history. Strategies that inform art making are central to the course; technical skill building will be practiced in execution, but not central to the course content.

LEARNING OBJECTIVES
This course is primarily about art making, and the structures that influence studio practice. A successful student, and successful course, is defined by the reaching of the outcomes. By the end of this course, students will be able to:

• Identify personal inspirations and interests as a way to see their own artistic agency as self-reflective practitioners.
• Activate the process of making, as a way of knowing.
• Technically execute a work of digital art, and apply formal elements to communicate ideas.
• Identify the characteristics of medium and how it informs the interpretation of an image, and employ this awareness in their own work.
• Enact a critical outlook as visual readers, recognizing how meaning is cultivated and perpetuated through representation.
• Produce ethical, informed, multi-dimensional work that is situated in contemporary concerns.
• Practice poiesis in an artwork that demonstrates sensitivity of intuition transferred to intellect.

Course Structure

COURSE COMPONENTS
VISA 110, Foundation Studio:  Digital Media has various teaching structures. They are:

• A weekly one-hour lecture from 6-7pm on Tuesdays
• A weekly two-hour lab/studio time (you must attend the lab you are enrolled in)
• An (almost) weekly 1 hour online technical learning demonstration (in Canvas), and/or optional in-lab workshop (schedule below) for those who need in-person guidance through the technical tutorials, however all quizzes for technical learning must be completed on Canvas

LECTURE + LOCATION
Every Tuesday at 6pm in Hennings 200

INSTRUCTOR
Christine D’Onofrio
Christine’s drop-in office hours are Monday from 1:30-3:30pm in Somerset 206
You may also email Christine at christine.donofrio@ubc.ca to make an appointment to meet outside of office hours, please note that it may take up to one week to schedule an appointment time.

LABS
Labs are facilitated by your Teaching Assistant
L21 – Tuesday 4-6pm (BUCH 125) – Ramey
L22 – Tuesday 4-6pm (UCLL 109) – Nazanin
L23 – Thursday 4:30-6:30pm (PCOH 1008) – Nazanin
L24 – Thursday 4-6pm (BUCH 125) – Alejandro
L25 – Thursday 6-8pm (BUCH 125) – Alejandro

TA GUIDANCE
Your TA will run the lab component of the course and will bring their own research specialization to the classroom. As a result, the labs may differ from each other, and play out in their own special way. This is a sign of passionate, professional teaching. The Teaching Assistants are professional Visual Artists who are dedicated to the field. Therefore, be open to what they can offer you and the specialized learning they have themselves worked through. Teaching assistants may also have separate rules for their sections, and extended schedules from the syllabus, so please take note of the expanded rules and procedures for your lab component. Your Teaching Assistant will notify you of their specific office hours, please take note of this time as it is a great time to ask for individual personal help on a project or to answer any questions you may have about the course.

TA INFO & OFFICE HOURS
You may contact your TA’s via email and/or visit their office hours in BC Bining 208
Alejandro  –  Tuesday 5-6pm   alejandro.barbosa@ubc.ca
Ramey – Tuesday 3-3:30pm. ramey.newell@ubc.ca
Nazanin – Thursday 2-3pm nazanin.oghanian@ubc.ca

TECHNICAL MODULES
This is a flexible learning class, therefore certain types of learning happen in class, and other learning (mostly technical skill-based learning) is done online via demonstration videos and assessment questions. The online component should be done in a timely manner in order to allow practice time and enough time to complete your assignment. Due dates for which the self-assessment quiz questions will count towards grades are located on the course schedule. There are quiz questions after each online video to help isolate where you will find the answer. If you are fluent with the programs already, you can answer quiz questions without watching the video, if you are not answering them correctly you may want to watch the videos!  The videos will take you through basic training of the programs to execute your specific project, they will be accessible to you throughout the class, and you may watch them however many times you like even after quiz due dates. The modules also contain summaries and extra resources, including external links to further information. If you feel you need further one-on-one help through the programs, I encourage you to attend the various technical workshops provided by the course. Attendance at these workshops are not required and purely voluntary. However, to prove your technical knowledge all are expected to complete the online quizzes.

TECHNICAL WORKSHOPS
Please refer to the official workshop schedule as they are not held every week, and each workshop contains very specific demonstrations. You may also come into a workshop time to use the computers. The workshops are run by TA’s and held:

• In BC Binning Studios (BCB 208)
• If scheduled on Monday it will take place from 3-4pm, if scheduled Thursday it will be held at 1-2pm
• Please see schedule for exact days & topics covered

OPEN LAB HOURS
Drop in lab hours for you to use the programs on the computer to complete your project are available in the Visual Art Digital Studio, The BC Bining Studio Digital Lab (BCB 208) which is open, 10am – 7pm Monday through Thursday, and 10-4:30pm Fridays.  The programs used in class are also available on the media computers in the IK Barber Learning Centre, 3^rd floor public space, and on the IMAC’s within the book stacks. If you are having a hard time getting on a computer, please email Christine.donofrio@ubc.ca for special arrangements.

MATERIALS
You will need: Zip/Flash/USB drive, at least 32 gigabytes in size. As well, you will need access to a digital point and shoot camera for still or video or audio recorder or disposable camera. You may also use your camera on your phone if it is of a decent quality, which most are nowadays. You will be using Adobe Photoshop and Premiere to create your projects. You are not required to purchase these programs, and they are available for you to use on campus computers. There will be open lab times held in the Buchanan labs, and the IK Barber Library has many workstations with these programs.

COMMITMENT
This course gives student the opportunity to enter into the mindset of an artist, an active way of looking and being in the world. Engaging in this way will create habits of critical creativity and influence your ability to create strong work for the course. You must go beyond conventions and activate creativity, new ways of thinking, try new things and be experimental, and allow yourself to grow – even if that means you might contradict yourself. Your creative growth as an artist, in all its ups and downs, (there is no right way to do it, but engaging in this process is always valuable) is viewed as important to your individual process and is looked at as a positive experience towards your development.

ACADEMIC FREEDOM
Art making is a complex and often controversial practice that covers a range of topics from various perspectives. The classroom is a place for the open discussion of ideas and issues. Reading, discussions, lecture materials and artworks shown in class may reference mature themes, violence, sexuality religious, political or conflictual subject matter. The points of view expressed by the instructor represent a professional perspective on art historical or contemporary issues. If at any time you wish to discuss an issue or if a topic causes significant distress to you, please feel free to contact your TA or Christine.

Course Content

COURSE BREAKDOWN
The Course Breakdown is as follows:

Artworks
Project #1 (Trickery) Still Image                        20% (approx. 20 hrs)
Project #2 (Appropriation) Moving Image        22% (approx. 22 hrs)

Peer Review + Critique
Online Project #1 (Trickery)                           5% (approx. 5 hrs)
Online Project #2 (Appropriation)                  5% (approx. 5 hrs)
In-Lab Critiques                                                8% (approx. 8 hrs in lab contact time)

Engaged Learning Component
Lecture & Gallery Trip                                       5% (approx. 5 hrs)
Artwork Response                                            8% (approx. 8 hrs)
Presentation & Reflection                                  3% (cumulative 3 hrs)

Technical Quizzes                                                       8% (approx. 8 hrs)

Participation
Lecture Participation                                     7% (throughout)
Lab Exercises & Participation                        5% (throughout)
Artistic Growth                                                4% (reflected throughout)

TOTAL 100%

DESCRIPTIONS OF COURSE COMPONENTS

• Midterm & Final Artwork – Two artwork projects will be assigned with online technical, and in-class conceptual and aesthetic instruction. Project #1 is to allow practice and understanding of digital imaging properties of manipulation in a still photographic image. Project #2 functions in further developing skills into visually complex, critical and creative ways of revealing meaning in the complicated use of borrowing from external sources to create new meaning -appropriation. The second project is a moving image project. All project files and flash drives must be labeled by your name, failure to do so will result in a 0 on that project. Project information and requirements will be provided in the Assignments section of Canvas.
• Online Peer Review – A total of 10% of your grade will be dedicated to online peer-review. An online portal in which you are to contribute, and then participate in critique, will be made available to you with pointed specific questions to help yourself and your colleagues achieve greater success in the project, with enough time to make revisions before it is due.
• Critique Participation – You will be required to critique your fellow colleagues work in class oral and written, as well as present your own work for critique. This is worth 2% per class for a total of 8% of your final grade because it will take approximately 8 hours of in class time.
• Technical Demonstrations – This course uses online modules, there are small quizzes after every video module that you are required to complete to test your understanding of the video content, the videos will take approximately 7 hours to view, and quizzes account for 7% of your final grade.
• Engaged Learning – This class introduces you to engaged learning, using the wealth of experience and knowledge in our community by visiting it and bringing it back into the classroom. As well, the opportunity encourages work in the class to inform and contribute back to the community.  The engaged experience will include a gallery visit and tour, talks and a work made in response.  It will conclude with an analysis exercise which will encourage you to activate a learning experience outside of academia and how you negotiated those lessons.  Finally, there is also opportunity for an exchange between you and the artist and gallery.
• Lecture Activities – Surprise polls, debates, questions and activities will be given during lecture to a cumulative lecture grade of 7%.
• Lab Participation – There will be series of exercises that may require preparation work that will be activated in class for learning experiences, they will be assigned in lecture. Overall this grade accounts for your participation in lab-related work, including classroom climate exercise, workshop exchanges, general discussions and generative feedback sessions including individual meetings with TA’s and group work with peers.
• Artistic Growth – This grade evaluates artistic challenges taken and overcome throughout the duration of the course, towards artistic growth. As art-making has elements of ‘risk’ that when starting out to make art, can go awry, this part of your grade accounts for the fact that you went beyond your comfort level, and made something that mattered. Overall, this class tries to get you beyond the predictable, conventional, boring, general or even shallow ways in which we represent, into exciting new territories we’ve never been before. While this is accounted for in most of the rubrics for the course, this component of the breakdown is to further emphasize that this course is about doing something different and unique.

ARTWORK EVALUATION
There are two major artworks expected of the class, they will be assigned throughout the course. We will monitor comprehension and applications of methodologies used in completing assignments as well as level of challenges the student undertakes. There will be an evaluation of the assignments on the basis of quality, originality, appropriateness, presentation, creativity, attention to subject matter and credibility as an artist. As well, formal aesthetics such as composition, framing, technical proficiency, and adequate use of materials and their implications will be assessed. The breakdown for artwork projects are:

10% Technical Execution/Proficiency
25% Presentation, Formal Delivery, Handling & Craftsmanship
25% Conceptual Framework, Risk-Taking, Originality & Creativity
25% Meeting of Project Goals & Overall Success
15% Reflection & Revisions

UBC GRADING

90-100% = A+ Distinguished work
85-89% = A   Original thinking, superior grasp of subject matter
80-84% = A-   Evidence of extensive knowledge base
76-79% = B+  Evidence of critical capacity and analytic ability
72-75% = B   Reasonable understanding of relevant issues
68-71% = B-   Familiarity with subject matter, competent performance
64-67% = C+ Understanding of the subject, and solve simple problems
60-63% = C   Not seriously faulty, but lacking style and vigor
55-59% = C- Acceptable but uninspired work
50-54% = D   Adequate work
0-49%   = F    Inadequate work for credit value (Fail)

UBC GRADING POLICY EXPANDED TO THIS SPECIFIC CLASS GUIDELINES
Below, the first point of the guidelines below is written in the UBC Calendar, the second point in italics is an extension of the description by your instructor.

• From the UBC calendar: The following guidelines offer a broad-brush characterization of the type of work that might be associated with various ranges of grades. The intent here is to encourage general consistency across the faculty rather than to provide precise specifications. UBC’s Arts Grading Policies can be found here: http://legacy.arts.ubc.ca/faculty-amp-staff/resources/courses-and-grading/grading-guidelines.html
• The following are guidelines towards studio work grading. They are not rigid regulations and there are times that they may be adjusted as is appropriate for specific circumstances, project challenges, and other factors. More definite rubrics or comments will be given specific to the studio project assignment and level.

80% to 100% (A- to A+)  “Exceptional”

• Exceptional performance: strong evidence of original thinking; good organization; capacity to analyze and synthesize; superior grasp of subject matter with sound critical evaluations; evidence of extensive knowledge base.
• Artistic work shows significant originality, ambition and a distinguished degree of critical thinking. A sophisticated analysis of complex theoretical and conceptual thinking towards proven execution and active engagement with project goals. Preparation, research, engagement with process and outcomes of the project are exemplary.

68% to 79% (B- to B+) “Competent”

• Competent performance: evidence of grasp of subject matter; some evidence of critical capacity and analytic ability; reasonable understanding of relevant issues; evidence of familiarity with the literature.
• The work engages the viewer and the project goals at an above average attempt. There is a demonstrated reference to research and comprehension of the challenges set up by the project goals. Process in execution has been sufficiently developed and demonstrates knowledge of technique towards a successful and impressive outcome.

50% to 67% (D to C+) “Adequate”

• Adequate performance: understanding of the subject matter; ability to develop solutions to simple problems in the material; acceptable but uninspired work, not seriously faulty but lacking style and vigour.
• The project demonstrates an average satisfactory engagement with the challenges of the assignment, or less than expected simplistic comprehension with process and outcome of the project goals. While the project is adequate for course credit, it is not doing much more.

00% to 49% (F) “Inadequate”

• Inadequate performance: little or no evidence of understanding of the subject matter; weakness in critical and analytic skills; limited or irrelevant use of the literature.
• The work does not meet the minimal requirements of the assignment and fails to prove comprehension of project goals.

Resources

ANNOUNCEMENTS
There are many wonderful talks and events set up for your extended education at University of British Columbia and in the local art community. I will be listing weekly events on the Announcements board in Canvas as well as highlighting a few in lecture time that I highly recommend that you try and attending.

MAGAZINES/BOOKS
Another way to keep up with the art world is through contemporary art magazines. Even if you just look at the pictures! There is a great section on the third floor of IK Barber book stacks that houses a large amount of art magazines and renews them monthly, spend at least one day each month looking at what is going on in the art world through these sources. Magazines can also be found for purchase at bookstores and specialty magazine shops, and many have quite a lot of material online. My recommendations are as follows. • Canadian Art • Artforum • C Magazine • Border Crossings • Parachute • Frieze • NY Times Art Section (online as well) • October • Fillip • Art in America • ArtNews  Note:  There is a great art bookshop called Read at Emily Carr.

GALLERIES
If you are passionate about art, or new to it, need inspiration or further guidance, my main recommendation for this class (or any art class) is to see how it is done at a professional capacity. We are very lucky to live in an active art city, where openings, events, talks and exhibitions are happening all the time. Here are some of my recommendations for galleries, (most of which are free or by donation) that you should make a point of visiting sometime during the term. •Vancouver Art Gallery (Robson & Hornby) •Belkin Art Gallery (on campus, in front of Lasserre building) •MOA (on campus @ 6393 N.W. Marine Drive) •Libby Leshgold Gallery (520 East 1st Avenue) •CAG (555 Nelson St.) •Polygon Gallery (101 Carrie Cates Ct, North Vancouver) •Richmond Art Gallery (7700 Minoru Gate, Richmond) •Anvil Centre New Media Gallery (777 Columbia St. New Westminster) •Evergreen (1205 Pinetree Way, Coquitlam) •Surrey Art Gallery (13750 88th Ave,Surrey) •Burnaby Art Gallery (6344 Deer Lake Ave, Burnaby) •Simon Fraser (8888 University Dr, Burnaby) •Access (222 East Geogria St.) •Artspeak (233 Carrall St) •221A (221 East Georgia) •Burrard Arts Foundation (108 E Broadway) •Field (17 West Broadway) •Centre A (268 Keefer St) •CSA (2414 Main St, ask for key from Pulp Fiction Books) •Western Front (303 East 8th Ave) •VIVO (2625 Kaslo) •Or (555 Hamilton) •Audain (SFU 149 West Hastings) •Catriona Jeffries (274 1 East Ave) •Macaulay & Co (293 East 2nd) •The Nest AMS (gallery located in the SUB @ UBC) •Equinox & Monte Clark (525 Great Northern Way) •AHVA Gallery (1001 Audain Art Centre, 6398 University Blvd)

Policies

COURSE POLICIES TOP TEN
This is a condensed version of important course policies, see below for further details.

1. To do well in this course attendance is mandatory, as a result we strongly advise no more than 3 absences during the lab component, there is a 3% deduction to your final mark every absence thereafter. You are responsible to catch up with what you missed in lab or lecture by contacting a friend or visiting office hours. Being absent does not exempt you from the material covered in class that day.
2. Being a half hour (or more) late to a class is considered an absence.
3. You can attend only the lab you are enrolled in.
4. If you miss more than 50% of the lab (6 weeks) you are subject to a below credit value final grade.
5. Large projects are accepted up to 4 business days late (no reason needed) to hand it in please put it into Christine’s mailbox in Lasserre 400, it must be date stamped. There is a grade deduction per day unless accompanied by an advising notice. Late deductions are not as hurtful to your grade as not handing anything in, therefore it is strongly recommended you use this policy and hand everything in.
6. Workshops, online peer review, online quizzes and in class critiques are not eligible for extension, exemptions are considered for these components if a recommendation from Arts Advising is obtained.
7. Neither the Instructor or the Teaching Assistant will accept a medical note or judge deferral or exemption situations, this must be reported with Academic Advising as they are better qualified to advise you through these circumstances. Advising will contact us and we will proceed from there. Therefore, if there are emergency or extenuating circumstances we advise that you go to your home faculty Academic Advising, it is a useful tool the University has set up to deal with special circumstances.
8. If you would like more information on a project or discuss a project grade, feel free to visit the Instructor or your TA during their office hours to discuss in person. Please bring up concerns in a timely manner, especially if you suspect there might be a mistake in a grade.
9. As with every class, you are expected to practice academic honesty, create your own original work that is made for this class only, and has not been used for class credit in another class at UBC or other institution.
10. Do not hesitate to let us know if you need any accommodations, there are many ways we can make components of the course more accessible to diverse needs.

LATE ASSIGNMENTS
Projects and workshop assignments are due at the start of the studio class, if it is 10 minutes or more into class time, it is considered late. Workshop assignments, reading discussions, in-class activities and critiques do not have eligible extensions beyond academic advising concessions. Large artistic project assignments (Trickery and Appropriation) are accepted up to four business days after the due date with a letter grade deduction for each day, (unless arrangements with the instructor has granted an extension, or an academic advising concession). This means that a B+ work handed in 2 days late will be downgraded to a B-. You may hand the assignment into either your TA’s or my mailbox in Lasserre 400, but if you are putting it in our mailbox, be sure to put your drive in an envelope with your name on it, and have an official date stamped or written, or else it will be dated when it is picked up. We do not accept projects that are more than three days late. Not participating in a critique is detrimental to your critique grade, as well as your own personal growth and education, therefore, even if you do not have something to show you are expected to join in critiques.

ATTENDANCE & PUNCTUALITY
If you must miss a class, you must approach your TA or Christine at least one week in advance to set up other arrangements for what you will miss. If you miss a class, you are responsible to find out what you have missed. You can only attend the specific lab you are enrolled; you cannot attend the other sections or freely ‘drop’ in to another lab without specific permission. Students with more than 3 unexcused absences are subject to a 3% deduction on their final grade per absence thereafter. Being late three times results in an absence. Late arrivals or early departures from class are disruptive and should be avoided and may result in a registered absence. If a student has missed more than 50% of lab time, they may be subject to an inadequate grade for receiving course credit. In general, it is not wise to miss or be late for this class as it heavily depends on active learning workshops, discussions and in-class learning, and so you should make every effort not to miss it at all. Of course, if there are emergency or extenuating circumstances you are advised to go to your home faculty Academic Advising, it is a useful tool the University has set up to deal with special circumstances.

REVISED ASSIGNMENTS
Only the first large project (Manipulation) can be considered for a re-do and re-grading. The class is organized and scheduled to allow time for process and new lessons, (via in class exercises, peer review and TA consultation, as well as visiting office hours, etc) to happen while making your large projects. If new lessons were learned after you handed it in, and you would like a chance to re-do the mid-term project please start by submitting a 150-word proposal by February 28 to Christine at christine.donofrio@ubc.ca. In this paragraph, state what you learned about the project challenges after the due date and how you plan to improve or re-approach in the new piece. If your proposal shows promise, you will be notified and allowed to submit a new project by November 28. If your proposal does not show significant comprehension of how you can raise your grade, it will not be accepted. We rank the ability to re-do a project in this proposal because we do not want students to spend time on re-doing a project that won’t raise their mark, or might even lower their mark, the proposal is to pre-assess this. The second large project (Appropriation) cannot be considered as grades are due quite quickly for classes without an exam. If you feel you need a concession or further consideration for the final, please visit Academic Advising.

PREPARATION
For every class you are expected to have required reading or projects done, have workshop material ready, and are ready to participate in discussions, take notes, and be a productive member of the classroom. As this is an art-making class, you are expected to act as an artist, and your lifestyle should encompass an artistic headspace. This means that you should visit, read and view artworks, films, literature, music events, and immerse yourself in the creative world. Understanding and experience of the creative fields by being part of them, is required as preparation for this class.

ACADEMIC HONESTY
All UBC students are expected to behave as honest and responsible members of an academic community. Breach of those expectations or failure to follow the appropriate policies, principles, rules, and guidelines of the University with respect to academic honesty may result in disciplinary action. It is the student’s obligation to inform himself or herself of the applicable standards for academic honesty, and information can be found in the Academic Calendar under Academic Honesty and Standards and Academic Misconduct.

CLASS CONDUCT
I practice a class environment that is comfortable for all students, and all students are respectful. A highlight of the visual arts is that we may not always agree with each other, however, it is important we respect and listen to other’s viewpoints. Discriminatory or disruptive behaviour will not be tolerated. Codes of conduct in regards to class discussions, workshops and critiques will be created specific to each lab, and have an underlying connection to the University Student Code of Conduct. It is the responsibility of the student to read the UBC Calendar Student Code of Conduct for all UBC classes, and familiarize themselves with its contents. As well, this class is a UBC Positive Space, aiming to help make UBC more receptive and welcoming of its lesbian, gay, bisexual, trans* (transgender, transsexual, trans-identified), two-spirit, queer, questioning, intersex and asexual (LGBT*TQIA+) communities, individuals and issues of sexual and gender diversity on campus.

ACCOMODATIONS
Anyone with a possible or documented disability is gently encouraged to contact the Centre for Accessibility in Brock Hall, 1203- 1874 East Mall (tel. 604.822.5844) for accommodations and support services. Other helpful programs are the Academic Success Services, and UBC Counselling Services.  Students who require accommodation for extenuating life, family or health are advised to go to your home faculty Academic Advising, it is a useful tool the University has set up to deal with special circumstances. For students missing classes for athletics, please connect with your TA or Christine at the start of the term to discuss potential days affected by games and other athletic obligations.

EARLY ALERT
During the term, we will do our best to reach out and offer support if we are concerned about your academic performance or wellbeing. We also encourage you to come and speak with us if you need assistance or direction in where to go. In addition, we may identify my concerns using Early Alert, a UBC program that allows academic, financial, or mental health concerns to be identified sooner and responded to in a more coordinated way. This provides you with the earliest possible connection to resources like academic advising, financial advising, counselling, or other resources and support to help you get back on track. The information is treated confidentially and is sent because we care about your wellbeing and academic success. For more information, please visit earlyalert.ubc.ca.