You will be required to critique your fellow colleagues work in class oral and written, as well as present your own work for critique.  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 rubric expects attendance at both critique days, otherwise will be considered below credit value or incomplete.  If you are not able to show your work because it is incomplete or for other reasons, please speak with your TA before class.

Critique Participation Rubric:

Levels of Achievement

Variations of the following prompt are provided for the Trickery (mid-term) and Appropriation (final) projects.  Below is an overview of expectations as written for the students, for updated versions please see Canvas.

When artists work in a studio, a useful part of the environment is the ability to give peer critique, suggestions and even evaluations of how a work is functioning.  In lieu of a physical studio, this component of the course and project aim to create a virtual studio that enables the same type of communication.

The peer critique will take place entirely online, (therefore you can do it from anywhere you have an internet connection if you are away during Reading week) using a really wonderful UBC created program called ComPAIR.  There is a link on your left that will automatically register you into the program when you first click.  Please be sure to log in to ComPAIR with your own sign in on Canvas, if you do it with another student signed in it will not work.  Please be sure there is no one else signed in to any UBC space when you click the link initially, otherwise you will not be able to use the program in your own student registration.

Part 1:  Upload your Project to ComPAIR

To start the online peer review process, please upload a rough or complete draft of your work, and please provide a working title for the work.  It is a visual artwork and should communicate with the viewer visually, therefore do not add an explanation of your idea.  If the work is unfinished, you should add a description of what you still have left to do for context.  But remember, do not add too much explanation, your project should explain itself visually!  At this point you should have your idea, sources, and a rough cut of the formal decisions of your composition.  A rough draft JPG file of your project should be uploaded to ComPAIR for your peers to see and critique.  A file cannot be more than xx for ComPAIR, so please reduce/compress the size of your file if it is larger than this.

Part II:  Online Critiques

You are asked to compare student projects and give thoughtful feedback. The online critiques will have NO BEARING on your grades, and are a tool to help you grow with the project and generously create a sense of community, not count as peer grading or competitive in any way.  This is about making people better and reach their potential in the project.  You are graded on how generous you can be to another student in improving their work.  A review of the process is as follows:

• The peer review is set up to do two comparisons (2 projects) of peer work, three times.
• Therefore, you are to complete three sets of comparisons, viewing 6 works, writing 6 feedback boxes of approx 150 considered words each (total of 900 words).
• For each comparison pair, you have three specific questions to answer. They are provided on the comparison form.
• After completing the three question comparison, you are able to give feedback to each student you have compared.  This feedback box is vital!  Please deliver generous and thoughtful constructive feedback so that the student may improve or understand where things may have gotten distracted.  The feedback box answer will be delivered to the student who has created the work, please be tactful and appropriate in your answers. Comments are meant to be constructive and helpful for the student who receives it; understand that text can come across quite blatantly, and you are to be mindful in how it reads. All judgements are to be backed up by hard proof found in the work.
• In the feedback box, write one succinct paragraph for each work (at least 150 words each) describing how you dissected the image, and how you interpreted the meaning.  You should also consider if the assignment goals of ‘trickery’ were achieved, and how they were achieved.  Did the artwork meet the criteria using trickery as a tactic towards complicating meaning? Did all formal and process decisions demonstrate this understanding? Were there any decisions in execution that you felt were arbitrary or distracting?  Was there a personal investment and creativity in approaching the subject matter?  And finally, are there areas of the project that could have been improved, and even suggestions/examples on how they could do this.

Part III:  Read Feedback & Make Improvements

You will receive feedback from your colleagues to help you to improve your work.  You are allowed to change it as much as you want from the input you received, and in some cases, you may wish to start again, (as long as you learned from your previous iteration of the project what you wish to improve).  Please read your feedback to see where there might be disjoints in how your project is functioning to a viewer.  From here, you can adjust.  You are allowed to make changes on your project after this peer review, that is actually the point!

• You are graded on your feedback to others.
• Critiques are anonymous (unless you use your actual name, but you are not required to) and involve the entire lecture class.

Comparison Questions

1. Which of the two projects in this comparison demonstrates a more effective use of trickery/appropriation?
   Which project used the concept of trickery in photography, or appropriation in moving image, as a way in which to complicate the ‘trick’ or ‘appropriation’ they created? Which project using the idea of ‘medium specificity’ or ‘appropriation’ of the digital as an enlightened approach to the message?
2. Which work shows greater attention to detail in its execution decisions?
   At this point, which of the two projects carries a more succinct composition and arrangement of content to the idea they are executing? Which project does a better job of rendering their idea?
3. Between the two projects, which work uses the idea of ‘trickery’ or ‘appropriation’ in a more complex way?
   Which project complicates or take a risk in what it is using trickery/appropriation for? Which project alludes to larger and/or more complex cultural/social/emotional/political issues in its rendition?

“Access is the most precious of all privileges, and it is therefore strictly guarded, which in turn makes one wonder whether to be a successful plagiarist, one must also be a successful hacker.”
-Critical Art Ensemble

“Good artists borrow. Great artists steal.”
-Pablo Picasso

The world is filled to suffocating.  Man has placed his token on every stone. Every word, every image, is leased and mortgaged.  We know that a picture is but a space in which a variety of images, none of the original, blend and clash.
-Sherrie Levine

The artistic question is no longer; “what can we make that is new?” but “how can we make do with what we have?.”  In other words, how can we produce singularity and meaning from this chaotic mass of objects, names and references that constitutes our daily life?
-Nicolas Bourriaud

You must borrow from any moving image source, such as film, commercial photography, television, video games, talk shows, commercials, songs, trailers, cartoons, old films, music or even art sources, to create a new appropriated work that reveals, exposes or changes meaning (or does all of these things) from the source’s original meaning.  Be creative in approach to the material sources and what your alterations or juxtapositions can relay to the viewer.  Be sure to be aware of the connotations and links that your sources contain within them, or the primary meaning of your sources, and let this inform your changes, and how your changes will be read. Therefore, we expect back-up research of the sources you are using and what place they take in society.  Adjust or manipulate your sources in a creative way towards new meaning or to reveal hidden meaning in savvy, artistic, poetic, magical, enticing way.  Think of how the meaning can be pushed or altered stylistically, through effects of slow motion or sped up, through juxtaposition, erasure, addition, and manipulation or even by way of a collection of scenes with a common theme.  We will be looking at how the appropriation of the original content of the source finds new meaning and a new way of receiving or looking at it, reveals original agency in an image and questions it, including the creation of myths or ideologies.

Create a meaningful and thoughtful piece that you will be proud of, a work that goes beyond being an ‘assignment’ and into the realm of art, something that approaches things in an accountable and critical view that you are concerned or provoked by.  You can even dissect or challenge the idea of appropriation itself.  Push boundaries!  This is Art!

Technical Requirements

For all projects, all sources must be appropriated, you may have one source or a thousand or anywhere in-between —only appropriated material allowed! 

A challenging part of this project is obtaining the original source files at a decent quality, so search out footage, images, or sound first, or let it inspire you before being stuck on an idea that you may not be able to execute.  Try archive.org, mediaburn.org, torrents, Google video, encoding YouTube videos or searches that specify” mp4” files for video’s.  This preliminary research is essential work.  We will understand and allow a ‘watermark’ or branding icon on your footage, as well as low resolution, and there are no grade deductions because of it –although it would be great to avoid it unless it informs your concept.  If all else fails, use a video camera and shoot your tv or computer screen, or in-screen recording, for editable footage!

Specific Requirements:

• The project must be completed using Adobe Premiere Pro, and therefore you should use “Module 4:  Introductory Premiere” and as an option to expand your practice, you may also use tutorials provided in “Module 5:  Advanced Premiere” to help you through the project.
• All projects can be completed on a PC or MAC platform using Adobe Premiere Pro, the programs are cross-platform but the demonstrations online are on a MAC.  Keep in mind that you may have to look up certain aspects that don’t transfer platforms, Premiere can be a bit more complicated than Photoshop in this.
• The project must be between 15 seconds to 3 minutes in length, you may think about looping it if you wish for duration to be a present factor.  If you wish to go outside of this guideline, please speak to your TA or Christine about why, and we will consider.
• The frame rate and dimension of the work is dependent on your footage, so there are no specific guidelines except to make the quality render the information of the footage decently.  You may work in standard (SD) or HD format, but please keep in mind the power and ability of your computer to handle HD video.  Rendering could also take quite a while, be aware of the time and equipment constraints, please work within your means.
• You must submit both a working and final movie file for grading, the working Premiere file (PRPROJ) and also please create a compressed (MP4) or (MOV) file in H264 The final MP4 or MOV file cannot be more than 100 MB.  The final PRPROJ file needs to fit on your flash drive.
• Failure to provide both files and your name on the drive and file name can result in a failing grade.

Along with your Premiere working file and .MP4 file for your final hand in, please provide the following information on a hard copy paper sheet, 1-2 pages in length, it must contain:

• Your Name
• Title of the Work
• Duration of the work
• Maximum 200 word description of your intentions making the work, and the relationship to ‘appropriation’
• References (title, year and URL if possible) of appropriated sources found in your project
• Summary (200 words) of feedback you received online and in consultation with peers and teachers, how you considered and incorporated feedback into revisions of the work. If you did not chose to listen to the feedback in deciding your revisions, please detail why not.

Artwork Rubric:

Saved Comments:

*A reflection on the assignment will be given on due dates, due one week after their critiques, and part of their Trickery mark.

DUE DATES

Upload Trickery draft to ComPAIR by February 5, 11:59pm, online critiques open at 6pm after lecture and due on comPAIR by February 10, 11:59pm
Final Version of Trickery Project due February 13, 24 & 25 at the start of class time.

Artwork Rubric:

“Love” Exercise Prompt:
Please bring in a lens-based image that represents “love” in an interesting way and that has resonance upon how we would make meaning on the concept of love. It can be an original image made by you, but it can also be a found image from the world. Bring the image to the next lab class for discussion. It would be best if you could print it out, bring in a book or physical photograph or cut out of a magazine, etc…  Or you can show it on your phone, but please be sure to have enough battery and change your screen shut down time. The image must be captured by a lens; either a photograph or video clip.  If you do bring in a video clip, be sure it is under 10 seconds long so that the segment you pick is very specific.  Don’t let this small assignment overwhelm you, if anything just bring in an interesting image for the sake of conversation in how representing love works, and how it defines the concept of love.

Record student image and group work in class, and grade online reflection as the final component.

Love Workshop Rubric