Pixel Pusher DRPT-3017-001 Spring/Summer, Remote/Online Course 2020 TEMPLATE of Julius Poncelet Manapul

3 MAIN KEY WORDS THAT I HAD LEARNED ARE

GOAL / MOTIVATION & the need for CONNECTIONS

Student Preparation / Workload Expectations (The total hours are copied to the template as in-person Spring/Summer course which was two days a week, within six weeks) For this Remote/Online Course, I have allocated 50% time outside remote/online learning. This will take students away from the computer screen. Through engaged iterations of experimentations and research in their own time, and 50% Asynchronous Remote/Online Participation (watching demos, posts). Critiques will happen Asynchronously in the Canvas Discussion Board over one week, or in optional Weekly Live Drop-In with Julius Manapul in two Time Zones, (Tuesday 8:30 am-10:30 am & Thursdays 8:00 pm-10:00 pm). Students will also have a choice of a One-On-One Live Microsoft Teams Meetings with students, or by connecting through email. This version of the remote course is designed to encourage students to connect in their own time through an Asynchronous Discussion Board and create a dialogue of exchanging ideas, links, samples of work in progress and proposals. This process is an integral part of learning and discovering other possibilities in research and execution. Students can anticipate initiative work as well as exchanging ideas with each other to complete this online class. This course will require a minimum of six hours of online/computer time per week and 6 hours of art experimentation. Thesis iterations will include making work outside the computer screen each week. All in all, students are responsible to organize their own time suited to their individual needs. If students face any difficulties with their technology tools, please reach out to ithelp@ocadu.ca Student Preparation / Workload Expectation (Results & Outcomes)

-Make sure there are detailed expectations of what exactly you will expect from the students. Their weekly online presence or activities, taking part to online participation specially the asynchronous accessible portions. “Personally, I was fine without the meetings because everything was pretty straight forward for me but I feel like having the option to discuss something online is good at times that are needed.”- Students Comments -Roughly how many hours you expect the students to work on art and to be online. -When we talk about preparation, we also must think about student’s mental preparedness, this is simply reaching out to the students who are not active, to give encouragements and a goal purpose. (MOTIVATION) (The need for CONNECTION) (Show Procrastination, Career Strategist Shadé Zahrai, TikTok Video) “It worked the way that I had more hours at home to work on my projects”- Student Comment “I loved the experience of making an image response and a writing response to the same reading”-Student Comment. Most consensus says “the online course was organized and was easy to follow due to it”. Plagiarism Be mindful of how ‘borrowing’ images and ideas of others, be critical, and create new ideas out of it. In this course you must properly source everything, including your visual sources. Below are some links that will help thinking through the use and transformation of existing images and sources - Parody Link (https://en.wikipedia.org/wiki/Parody) Link ( https://the-artifice.com/the- art-of-parody/ ) - Critique Link ( https://www.wikihow.com/Critique-Artwork ) - Homage Link ( https://www.bbc.com/news/av/entertainment-arts-28089571/in- homage-the-art-that-influences-artists) Teaching & Learning Methods This is a personal space studio/online seminar course. Readings, watching videos, texts, writing, and art production will be integral components of this course. Additionally, group discussions on the Canvas Discussion Board will happen asynchronously and will be an imperative aspect of the learning process. Reading responses will consist of sketchbook or digital art image replies and a one-page written reply of what struck them throughout the reading in context of the digital landscape. One home studio project is assigned throughout the course, which is broken into 2 parts. 1) Idea and concepts by building with trial and error and with diverse examples of research studies. 2) The final project that combines digital infused from drawing or installation or readymade objects together. Teaching & Learning Methods (Results & Outcomes) (INCREMENTS) (GOALS) -I find that creating one main PROJECT GOAL keeps the students focused and have more time to evolve the iterations and ideas. Because it’s a Remote Learning Delivery I knew that FOCUS & MOTIVATION will be the

key factor for them, so I decided to brake-down complex big projects in increments, this also allows me to assess their participation on discussions and idea exchange from each other. Process becomes the main spotlight, as final projects becomes potentialities due to the nature of remote visual exchange. -Creating a welcome page to introduce students to the Remote/Online Course. >Have videos that introduce yourself to your students and give them the chance to introduce themselves as well in the Discussion Board’s “Introduction Meet & Greet”. >Create a Video that guides the students on how to navigate and stay active on Canvas. -A lot of the learning happened during the Asynchronous Discussion Board, The Weekly Live Drop In Meetings, How they instigate and communicate to each other in a weekly basis through posts of discussions and weekly topics. “The one meeting I attended was very helpful for me to understand the scope of the final project expected. It was wonderful to hear my classmates talk about their own projects. As much as we all describe our work on the discussion boards, hearing them speak always gives more life to each other’s work.” – Student Comment (MOTIVATION) (The need for CONNECTION) Class Schedule This specific OCAD U remote/online course is a six-week scheduled class with weekly activities during this semester. Students must be available for the duration of this period. Missing one week of the remote/online materials is equivalent to missing two days of the class. Note that the university attendance policies apply to the remote delivery. Class Schedule (Results & Outcomes) -The weekly schedules allows the students to focus on a specific task each week. >So that one day live in person class, is basically stretched into a one week format, thus keeping that same structure but inn a more accessible ways. What worked for you in this remote version course? “The one week that was given for assignments to be uploaded was very useful.” – Student Comment “I really appreciated having a small/manageable project due each week – instead of larger projects spaced out throughout the semester. This truly made it so much easier to stay on track by having the course load evenly distributed week by week. As an online course, it becomes crucial to create and manage my study schedule, and this project structure made it effortless.” – Student Comments (INCREMENTS) (GOALS) “I liked having weekly exercises in written and especially image responses. I think it’s a great way to challenge myself and engage with the material I’ve read or make small artworks that ended up leading to other ideas.” – Student Comment (INCREMENTS low stake weekly tasks) (Which also links to their GOALS)

Supplies

-Computer/Laptop (Wi-Fi, Internet Access) -Cellphone -Found Objects or Items that interests you, found from home or the space you are at. -Photos, Prints, or Digitals from Phone and Social Media, Selfies, Food and/or Spaces from travels and other archives. -Magazines, Books, Posters, Flyers. -Materials found from home -Open to any materials with a one-on-one proposal messaged to me just email me at jmanapul@faculty.ocadu.ca

Sustainable Supplies (Results & Outcomes)

-Students work and final project will dictate what materials and resources they have access to in the space they are at. -I encourage them to reflect, utilize objects they have at home, it can be things found in their Kitchen, Closet, Junk drawer, Cellphone, Bookcase, exc. -Digital manipulations of editing installations, sculptures, paintings & drawings. Video Documentations and Digital Mock-Ups of larger scale ideas. (GOALS) -Work Small, but Think Big is the encouraging note I try to give students with limited space. Work that can be assembled in a Park, Backyard, or other Open Public Space and work that can become compact and are mobility friendly. (GOALS) -Iterations of Studies and the pure process becomes the main importance. The concepts and ideas that is not bound with the tangible existence of archived materiality but the ideas that can reflected on the items they have available. (MOTIVATION) -Some students do prefer to order materials online, but they will need advance reminder at the beginning of the course. (But now some Art Supply Stores are starting to Open)(Or students can create their own natural pigments from their kitchen that sustainable, Ex. one of my students created her own stains from seeds, pits, other organic materials found from nature)

Online Asynchronous Critique

Critiques will take place in the Discussion Board on Canvas and will run for over several days to accommodate accessibility during COVID-19. This is to acknowledge that not everyone is free synchronously at the same time and that classmates have varied time schedules and time zones to consider. You will be provided a couple of days to write questions, answers, and reflections in response to your classmate's projects. More details will be posted on the Discussion Board as we go through the class so pay close attention to updates and activations in that online space.

Online Asynchronous Critique (Results & Outcomes)

-One thing to flag is that the Discussion Board on Canvas seems to have a limit capacity for students. I noticed a few students having a hard time to upload their research, proposal statements and artworks saying it had reach capacity. I ended up just asking them to email it directly to me and repost it as a smaller file or a link as most projects manifest in Blogs, Websites, Instagram, Vimo, or Youtube. (Or a solution is to create different Discussion Board Groups so there is less online traffic on the Group Discussion Boards.)(GOALS) (The need for CONNECTION)

-On the Discussion Board I create a Data Check Lists of students who posted work and who they asked questions to. >This visual Data will help students see who already posted work that they can look at and Crit as well as who has not gotten any remarks and questions to guide them quicker into the mass amount of submitted items on the board. Plus I find that the moment I started the Visual Data Check List the more it encourage the students to make sure their names are added to the checklist. (MOTIVATION to then reach their GOALS) What worked for you in this remote version course? “Discussion page as a critique space was surprisingly effective in receiving comments and suggestions for final project as well as the presentation. When giving comments, it was nice to have time to construct a comment and question compared to a classroom setting where there is not enough time to make a clear cut comment about other students works.” – Student Comment What are the challenges you face during this COVID isolation? “Definitely challenges economically but also missing social interaction of being at school and communicating with other students is a big part of my experience that I feel is lacking now.” - Students Comment (The need for CONNECTION)

Late Work

All late work will be subjected to a penalty of 1% per day after the due date week period unless specific accommodations are negotiated with the instructor. Students may not re-submit previously graded work or work produced for other courses for evaluation in this course.

Online Participation

• Share conceptual development in progress with other students • Listen and be an active participant in the asynchronous online critique discussions • Analyze and offer opinions about work in progress • Participate in peer-learning groups (*Self-initiated tutorial groups) • Engagement in group work • Faculty & Student Communication • Interact with weekly course content in Canvas • Share conceptual development in progress with other students

• Collaborate on group PowerPoint projects

Online Participation (Results & Outcomes)

-Students tend to have low motivation with their initiatives of getting to check Canvas on a weekly basis at the beginning, because they are used to its static instructions and data and how Canvas was used before. (Create MOTIVATION) -How I try to change the dynamic of the Canvas page is, I envision the Canvas Site as an organic ever-changing, active remote presence. Through Weekly Tasks, Demo’s, Readings, Links, Artist Samples, and Videos. Changing every week as students anticipate what will come up next from the last weeks conversations, through the Discussion Board & the Optional Drop-In live conversations. Every evolving conversation will then inform the next Demo’s, Links and other information that gets posted on a weekly basis. (This creates a natural flow of response and interactive exchange of knowledge between students and myself) (MOTIVATION) (The need for CONNECTION) -I ask myself why the new generations are obsessed with Social Media from YouTube, Facebook, Messenger, WhatsApp, Instagram, Skype, Snapchat, Twitter, TikTok, Viber, Likee, Kakao Talk from Korea. > It’s accessibility, Unlike the computer It’s mobile, people can respond, reply anywhere. (Accessibility = MOTIVATION) (The need for CONNECTION) > A Canvas that is in constant change and always evolving, New Posts, Videos, Challenges, Visual Exchange. All in all its organic, which goes back to the natural flow that I mentioned earlier that students tends to gravitate to. > Be the catalyst: the more I become active online they start to follow the patterns that I start off, from conversations, to posts. The less online activity I present the longer they stray away from the online weekly tasks. (Set an EXAMPLE = MOTIVATION) (I also start to continue my own art practice as sets of examples and demo tutorials which became sustainable combining my teachings and art practice into one) (The need for CONNECTION) (Julius’ Demo Examples, TikTok Video Teasers) -The Weekly Drop Ins are important to them as it creates the connection and the online presence to create relationships and activate the discussions further in the Asynchronous Discussion Board. (Note: to create a weekly sign up list for the people who will be attending the weekly live online discussions. It will save you from booking off a time frame when no students are available.) The pattern I noticed is the Weekly live drop ins are popular in the beginning of the course and near the end of the course where they start to finalize their final projects. Expect a low in presence during the late middle or half way through the course as these are the times, they usually allocate most of their work and research. (One note from students is that remembering to time everyone when they speak online so everyone has a chance to talk, and I remind them that they can always book a time with me one-on-one as well as create their own group discussions though Microsoft Teams, this maybe one of the Demo videos you show in the beginning of class) (The need for CONNECTION) What worked for you in this remote version course? “I think this course was very thorough. You followed a schedule to post different content on different days, which helped maintain engagement.” – Students Comment

“Weekly announcements and emails motivated me to keep on track and showed me that the teacher is invested in the students regardless of remote application”-Student Comment (MOTIVATION) (The need for CONNECTION)

GOAL / MOTIVATION

-What I did was I created a Goal / Motivation, which them came in the form of an ONLINE GROUP SHOW to be achieved! -I had only expressed this idea to the students half way through the course when the momentum started to plummet, and I needed something exciting for them to look forward to and achieve the completion of the final project. -Useful FREE sites to create your own Online Gallery Show: > https://spark.adobe.com/sp/ > www.wix.com

-Useful FREE site to create your own Posters & Promotional in all Social Media & Digital Formats. > www.canva.com (Show Goal & Motivation, Career Strategist Shadé Zahrai, TikTok Video)

Photographing & Documenting Artwork Tips to Photographing Artwork with Your Cellphone

• Set your phone settings under your camera to a high resolution HDR. • Take the photo in daylight best to be near a window or outdoors. • Ensure the work is not in direct sun. • Use Photoshop to colour correct the image so it’s closer to the colour of it in person. • There are also options to edit the photo straight from your iPhone to adjust the image quality and

colour. • Make sure your phone is perpendicular to your work when photographing it so that you don’t get an

incorrect or warped angle. • In your settings go to the camera and turn on the grid option this will help you guide your image into

alignment and makes cropping your work easier. Accommodations Accommodations will be on a one-on-one basis to adjust the course expectations to the specific needs of a student. Through discussion in Microsoft Teams, we can come to adjustments on varied options on the completion of the weekly tasks, assignments and projects. Health, Safety & Wellness from Home Studio (the specific space you are in) Considerations for setting up a studio in your space:

• Create and prepare a list of tools needed for the specific proposed projects and work to find and organize those tools for easy access

• Avoid the use of harsh chemicals at all costs • If using wet products ensure that you have strong ventilation for airflow such as big open windows and

doors, garage, backyard, or balcony • Proper masks, gloves and goggles must be used • Good lighting, near a big window or florescent lighting that imitates daylight. • Proper disposal and clean-up with artist materials allocated to a specific bin in your space. • Dispose of the items directly after using so as to not allow chemicals to linger in your living space • Limit your computer use to a maximum of three hours with rest periods every half hour for your eyes,

body and mental state. • Take personal time to communicate to your love ones, family & friends on your weekends via online or

the people you live with Please read through this webpage on the Government of Canada website for tips and safety while making art at home: https://www.canada.ca/en/health-canada/services/home-garden-safety/use-arts-crafts-materials-safely.html Brief Summary of what worked in my experience with Remote/Online Learning -WORK ARE SPLIT: 50% ONLINE / 50% OFF-LINE! -BE CLEAR AND DETAILED ON WORKLOAD EXPECTATIONS -WEEKLEY TASKS SCHEDULE (CREATING A WEEKLEY MODULE STRUCTURE HELPS ORGANIZE THE COURSE) -WEEKLY LIVE DROP IN MEETING IN 2 TIME ZONE. -WORK SMALL / THINK BIG! -ACCESSIBLILITY, SUSTAINABLE MATERIALS & DIGITAL WORK. WORKS! -CREATE DIFFERENT GROUPINGS OF ASYNCHRONOUS DISCUSSION BOARDS. -STAY ACTIVE AND VISIBLE ON CANVAS ANNOUCNEMENTS & DISCUSSIONS. -CHANGE UP YOUR DASHBOARD IMAGE ONES IN A WHILE, YOU CAN ALSO USE GIF IMAGES. -REMEMBER TO KEEP YOUR DEMO VIDEOS SHORT NO MORE THAN 10 TO 15 MINUTES. -KEEP ALL YOUR MASS MESSAGES SHORT AND SIMPLE. -CREATE A MOMENTUM FOR THE STUDENTS A GOAL TO ACHIEVE LIKE AN ONLINE ARTSHOW -ALL IN ALL KEEP YOUR CANVAS ACTIVE, ORGANIC AND EVERCHANGING, KEEPING IT FRESH WEEKLY THROUGH VISUALS, READINGS, LINKS AND VIDEOS. QUESTIONS OFTEN ASKED

1. How are students engaging with you and each other?

Critiques happen in the discussion board asynchronously over a one-week period of questions and ideas exchanges. I also have an optional Synchronous Drop-In Weekly Meetings to talk in person, assigned to two different TIME ZONE. Tuesdays 8:30 am – 10:30 am | Thursdays 8:00 pm – 10: pm.

NOTE: *This time format covers all time zone around the world. I will also provide one-on-one live chats, email correspondence.

2. What’s different and what’s the same in your course versus the in-person version? Are your students

learning the same things they’d learn in an in-person class? The essence and learning outcomes of the course are the same but the approach through remote learning is different. I still focus on giving them the tools both in digital executions and responding critically through what I refer to as the digital landscape. Also, the students will still receive the core of the Pixel Pusher course which is the criticality and the understanding of digital execution and making. Additionally, conceptually, they will learn and reflect on today’s global issues in respect to the digital space. However, the display and transference of that knowledge will happen in the online space through the tools of the Canvas platform and the Microsoft Outlook suite.

3. How are students producing work without access to the university’s facilities?

In keeping the theme of sustainability students are encouraged to use materials found in the place where they are during this pandemic. Through this materiality, I aim to critically echo present themes that they are faced with. Examples of material prompt include: food art, making art with things they find in their kitchen, items they find in their closet, utilizing their cellphone to create artworks, and recontextualizing social media as a new platform of global visual exchanges. We really try to rethink the notion of what constitutes a studio space and materials. Students will move forward to execute work that is sustainable and not dependant on accessing specific locations.

4. Why should students register for remote learning classes like yours in the fall?

• Planning ahead of time through this pandemic. • The advantage is remaining involved in their research, • Remaining engaged in learning • Advancing your critical and conceptual advancement. • This crisis pushes us in new ways of presenting your work. Rethink how we do things. • Seek other opportunities and the challenges on how to move forward, sustain our art

practice through these times. • Staying connected to other creative thinkers.

QUESTIONS ASKED FROM THE PANEL TALKED “GOING ONLINE TOGETHER: A TECHNOLOGY ENABLED LEARNING COMMITTEE EVENT SERIES” ONLINE STUDIO BASED LEARNING HOSTED BY DALHOUSIE UNIVERSITY. How do you evaluate students via an online delivery? I try to evaluate the students through the remote/online delivery by reconstructing my rubric marking system, by adding course weight to research, sketches of ideas, and process writing. I also emphasize the use of found materials from the living space during this pandemic. I centre this materiality research as an aspect of the

work that happens 'outside the computer screen'. Also, through creating an online Discussion Board, that is open for one week, I allow students, regardless of time constraints, to complete their responses for online participation marks. Additionally, I have centred the process work in my expectations of the course. This includes concept iterations, proposals and opens up the final project submission as digital plan or documentation of the work. I grade the final project by considering how the work can inevitably exist in the digital landscape as a way of visual exchange. What has been the impact of online delivery in the creativity in learning with the students? The impact of online delivery on the creativity of the students is dependent upon reconsidering what constitutes as a STUDIO SPACE. I now think of this space as organic, fluid and nimble. This is now space defined as a place where experimentation can occur in any forms. The possibilities of interventions in these unexpected spaces is now newly available to the creator. These new spaces can also work to push sustainability in art-making and materiality as a process that can be tackled even after a course is done outside the modes of academic learning. The students push themselves creatively by finding new ways to articulate their ideas with accessible media and items found from their own space. The students begin to rethink outside the previous conventional ways of making that happened on-site at the university. We can think of these new learning opportunities as pushing the notion of public space and personal space in the context of creation and

access. If I am not mistaken, the lighting and camera settings when taking photo or filming an artwork influence the look and feel of the artwork a lot. What do you suggest to your students on how to make their assignments' photos better? The camera can change the essence of the artwork, especially when we lose that presence of tangibility and lived experience to the work. I show my students how you can adjust the settings on their cellphone or camera they are using to achieve a better high-resolution image. Also, the importance of lighting and using non-direct daylight is possible to make the image crisper and closer to the colour of the artwork itself. Then I guide them with Photoshop on how to colour correct the image and crisp level by adding sharpness and or a smaller number of noise speckles to eliminate squared pixels. https://willkempartschool.com/how-to-photograph-your-paintings-with-your-iphone/

Have you changed your expectations for what students submit as their ‘final projects’? For example, is there a greater emphasis on design iterations as opposed to the final body of work? Or conceptual development over material outcomes?

Yes, the main core of the work is the idea and concepts and the outcome has now become a template/proposal of the work itself. For example, if it is a projected work or sculptural work that exists in a site-specific space, they are encouraged to create a Photoshop edited mock-up of how the work sits in a specific space. But, also, this is a chance for me to challenge my students to re-think how we look at art through these times where digital ways of exchanging are becoming the platform or image and art exchange. I encourage them to question the location of where the final work exists. For instance, is it in on a website, Blog, TikTok, Instagram, an online gallery, or a live performance stream? the possibilities can be explored.