— — “ih vA warts hy, ant. solving and the processes of research and documentation are essential. In three dimension, an experimental introduction to materials, with simple technology, is a good basis for the HEY KIDS! As a result of noise and complaints of Foun- dation students about courses and teachers (or lack of), the following letter was sent to all Foundation instructors. FOUNDATION DEPARTMENT SPRING SEMESTER COURSE TO ALL FOUNDATION INSTRUCTORS We must constantly remember that we are dealing with a Foundation Program, that we are providing as a unified experience for a beginning artist/designer. This year we have agreed that the process of growth was a prin- ciple that should be dealt with by everyone. We have also agreed basically to an experimental approach where possible, as opposed to-exercises with foreseeable end products. If we are working towards the student’s indivi- dual development, then there should be projects which permit this. Please remember the fundamental nature of a foun- dation course and also you are representing your division and its disciplines, as well as purely personal interests and preferences. In spite of previous meetings, seminars, agreements, and professed commitments by faculty, it appears that some students feel they are not receiving certain promised experiences. We want to be certain that everyone understands the requirements for next semes- ter’s program. We have agreed to an overall principle of “Growth” and two major themes. Some recommendations relating to these themes have already been presented at the beginning of the year. The titles are: “Context and Social Realities” “On Broadening Communication and Personal Development”. We feel that certain fundamental issues such as “Draw- ing’’ must be covered by each instructor, as it relates to the theme and his/her interpretation. However as has often been stated, the range of drawing should be widened to relate to different disciplines. Here are some examples: Objective systems. Subjective methods. Analytical drawing: drawing as research. Systems: graphs, diagrams, etc. Drawing related to other visual communication processes (e.g. scripts, maps, etc.) serial and nar- rative drawing. Anthropometrics and articulation. Drawing from the figure. Drawing from Nature. Gesture and action: hand and mechanical meth- ods. ¢ Continuous projects (e.g. drawing/ideas books). It is obvious that you won’t be able to deal with all of these themes and systems but some must be dealt with. The representation of the different divisions is rea- sonably balanced and it is obvious that there will be weighting for certain areas of study. Another fundamental subject is colour and although dealt with by everyone, it would obviously require more detailed study in 2 Dimen- sions and Design, but it is also something which could be explored to advantage in 3D. Interdisciplinary is looked upon as the ideas, concep- tual area of activity — this does not exclude the use of ideas in other areas; it means instead of working from a thematic ideas base, you choose to incorporate ideas in particular projects. 3 Dimensions constitutes problems on the 5th floor, but many types of structures can be negotiated there, particularly by using ready-made material, e.g. paper, fabric; ready-cut lengths and sheets of wood. Also natural material and found-objects can be used indoors. Why not consider some activities out of doors, on location, in a natural or urban environment using what is available. We must do the maximum amount of work on the 5th floor, otherwise we have a tired, apathetic atmosphere and students are not able to respond to the variety of ideas, forms and developments in a true foundation manner. Students are already responding to this negative, vacuum condition. The place should be like a creative factory not a sterile institution. * This coming semester we have a stronger than usual contribution from designers, between them they should provide an introduction to a variety of disciplines. In Graphic Communication, subjects such as signs, symbols; experiments in visual form; type experiments, are import- For all young designers an introduction to problem future. Design Media which deals dynamically with communication can introduce the student to audio- visual processes and drawing methods such as story- boards, visual scripts, etc. In fact designers can introduce many aspects of draw- ing related to designing, one of the most important would be analytical drawing. The 2 Dimensional staff cover both printmaking and painting. Both deal with aspects of drawing and colour. Technology can be kept simple but there are many possi- bilities. Colour is often involved in differing uses and pro- cesses — the transparent film of much printing contrasts with the often opaque and dense pigments in painting. Drawing can be a mindless handwriting or it can be a sti- mulating search and research. If people are interested in drawing from the figure they should be stimulated to having a personal point of view and developing selective responses, not just sitting down in front of the model. Drawing should deal with specific problems and ideas as well as sensory response to experience. Interdisciplinary attitudes often present ideas of varying kinds; they reflect the complexity of life and ex- perience. The techniques might not in fact vary all that much from other disciplines but are employed to different ends. Usually you will find that skills and processes are incorporated when dealing with the problem, and many different media might also be used. Colour, Drawing, diagramming, documenting and presentation are as essen- tial in this area as any other. A conceptual basis doesn’t necessarily foreclude the production of objects or other material demonstrations. Tom Hudson Susan Hillman 1st December, 1978 Emily Carr College of Art 7 To X (or XX) So who says things are going to be any different at the ‘‘new school”? What idealism. | guess it all depends on who you’ve been listening to lately. Everyone is still going to be carrying around the same emotional baggage. The same asylum. The patients there will resemble the patients we have here presently. . . in the guise of an art college. It will still be a place where people with a lot of personal and sexual problems run around. Imagine them all together in the same building. I guess I’ll be there too. Along with all these teachers running off to the Alcazar, great artists hustling my friends as if it was just another event. Do you know how hard it is to work here? All the dead beats ben, able to get it together each day. In the first year we just make the best of it. . . there’s no way to sort it all out. Your holy art-politics stuff makes me sick. December 12, 1978 ra A The newsletter offers some encouragement but what else can be done, what more can be said? Pointing fingers at people doesn’t do anything. But my teachers think stu- dents are not very intelligent, that we’ve got years before we can understand anything. What bullshit. Everything is breaking down, teachers inflating each other’s egos as they plan everything for us. We should expect peace? | think there are some serious contradictions in how these teachers think of themselves and art. Peace is only what some teachers think of when they see another pretty girl. I do not want to sound like some old German mother but back of a lot of words is simple lust. People who can’t deal with themselves as whole human beings. Yet they go on talking about evolving and learning. What they are really doing is handing us their own personal problems, like not listening to anyone except that voice in the back of their heads. Alright, this is getting a bit long and all | want to say is that hoping the new school is going to be different is not going to change anything. And I don’t really think anyone can wait for the front office and a five-year plan to tell us what to do or how it’s going to be done. And let’s not have any more of those asinine studies carried out about who the students are; all the statistical stuff. | see so many people in Foundation just falling for this kind of stuff. They don’t ask any ques- tions about how they see or anything. Are these just peo- ple who came from high school? | don’t know. Look, all | want to say is keep things open and let’s not have any more of this bullshit about the new school and big plans unless of course you can get rid of that stupid idealism. How can anyone leave their name on a letter like this? A teacher’s sure going to think I’ve flipped. So no name. This is just another attitude along with everyone else’s. Well! We thank you for your letter and we don’t think you've “‘flipped”’. co-editors Volume 1 Number 8 aia oe hee Se Ra ole eg Tig Bae dag th J Joshua Berson For X newsletter (or XXXX) A bunch of us have been sitting down and talking about this second year art history course, and among other things we thought it would be a fine idea for all those term papers we handed in to be accessible to every- one in the course. Why should Art Perry be the only one to read them? From friends we’ve talked to it sounds like there are some very interesting things in all the papers. People are talking about things in them that they cannot talk about in class, which really was apparent in today’s class when Mark whoever came from UBC and talked about Guernica. Any suggestions from people? Have them xeroxed? Or leave them at Art History where we can come and read them? What about it Art? The group of six Wednesday 23 Well guys, we'll see if we can squeeze it in. O.K.? 5 Renee ec se HEY KIDS! As a result of noise and complaints of Foun- dation students about courses and teachers (or lack off, the following letter was sent 10 all Foundation instructors. FOUNDATION DEPARTMENT ‘SPRING SEMESTER COURSE TO ALL FOUNDATION INSTRUCTORS ‘We must constantly remember that we are dealing with a Foundation Program, that we are providing as a Lnified experience for a beginning artist/designer. Tl Year we have agreed that the process of growth was a pit ciple that should be dealt with by everyone, We have also ‘agreed basically to an experimental approach where Possible, as opposed to exercises with foreseeable end products. If we are working towards the student's indivi dual development, then there should be projects which Permit this. Please remember the fundamental nature of a foun- dation course and also you are representing your division and its disciplines, as well as purely personal interests and Preferences. In spite of previous meetings, seminar agreements, and professed commitments by faculty, appears that some students feel they are not receiving certain promised experiences. We want to be certain that everyone understands the requirements for next semes- ter's program. We have agreed to an overall principle of “Growth’' and two major themes. Some recommendations relating to these themes have already been presented at the beginning of the year. The titles ae: “Context and Social Real “On Broadening Communication and Personal Development”, ‘We feel that certain fundamental issues such as “Draw- ing” must be covered by each instructor, as it relates to the theme and his/her interpretation. However as has often been stated, the range of drawing should be widened to Yelate to different disciplines. Here are some examples: Objective systems. ‘Subjective methods. Analytical drawing: drawing as research. Systems: graphs, diagrams, ete, Drawing related to other visual communication Drocesses (e.g. scripts, maps, etc.) serial and nar- tative drawing. + Anthropometrics and articulation ‘© Drawing from the figure. ‘© Drawing from Nature. ‘© Gesture and action: hand and mechanical meth- ods * Continuous projects (eg. drawing/ideas books). Itis obvious that you won't be able to deal with all of these themes and systems but some must be dealt with The representation of the different divisions is rea- sonably balanced and it is obvious that there will be weighting for certain areas of study. Another fundamental subject is colour and although dealt with by everyone, it would obviously require more detailed study in 2 Dimen- sions and Design, but itis also something which could be explored to advantage in 3D, Interdisciplinary is looked upon as the ideas, concep- tual area of activity ~ this does not exclude the use of ideas in other areas; it means instead of working from a thematic ideas base, you choose to incorporate ideas in particular projects. 3 Dimensions constitutes problems on the Sth floor, bbut many types of structures can be negotiated there, particularly by using ready-made material, e.g. paper, fabric; ready-cut lengths and sheets of wood. Also natural ‘material and found-objects can be used indoors. Why not consider some activities out of doors, on location, in a natural or urban environment using what is available. We must do the maximum amount of work on the Sth floor, otherwise we have a tired, apathetic atmosphere and students are not able to respond to the variety of ideas, forms and developments in a true foundation manner. Students are already responding to this negative, vacuum condition. The place should be like a creative factory nota sterile institution. . ‘coming semester we have a stronger than usual contribution from designers, between them they should provide an introduction to a variety of disciplines. In Graphic Communication, subjects such as signs, symbols; experiments in visual form; type experiments, are import- ant. For all young designers an introduction to problem solving and the processes of research and documentation, are essential In three dimension, an experimental introduction to materials, with simple technology, is a good basis for the future. _' Design Media which deals dynamically with communication can introduce the student to audi visual processes and drawing methods such as story- boards, visual scripts, etc In fact designers can introduce many aspects of draw- ing related to designing, one of the most important would be analytical drawing. The 2 Dimensional staff cover both printmaking and painting. Both deal with aspects of drawing and colour. Technology can be kept simple but there are many possi- bilities. Colour is often involved in differing uses and pro- cesses — the transparent film of much printing contrasts with the often opaque and dense pigments in painting Drawing can be a mindless handwriting or it can be a sti- mulating search and research. If people are interested drawing from the figure they should be stimulated to having a personal point of view and developing selective Fesponses, not just sitting down in front of the model Drawing should deal with specific problems and ideas as well as sensory response to experience. Interdisciplinary attitudes often present ideas of varying kinds; they reflect the complexity of life and ex- perience. The techniques might not in fact vary all that ‘much from other disciplines but are employed to different fends. Usually you will find that skills and processes are incorporated when dealing with the problem, and many different media might also be used. Colour, Drawing, diagramming, documenting and presentation are as essen tial in this area as any other. A conceptual basis doesn't necessarily foreclude the production of objects or other ‘material demonstrations. Tom Hudson Susan Hillman 1st December, 1978 Emily Carr College of Art To X (or XX) So who says things are going to be any different at the “new school”? What I guess it all depends ‘on_who you've been listening to lately. Everyone is still ‘going to be carrying around the same emotional baggage. The same asylum. The patients there will resemble the Patients we have here presently. .. in the guise of an art college. It will still be a place where people with a lot of personal and sexual problems run around. Imagine them all together in the same building. 1 guess I'l be there too. ‘Along with all these teachers running off to the Alcazar, great artists hustling my friends as if it was just another event. Do you know how hard itis to work here? All the dead beats barely able to get it together each day. In the first year we just make the best of it... there's no way to sort it all out. Your holy art-poitis stuff makes me sick. December 12, 1978 The newsletter offers some encouragement but what else ‘ean be done, what more can be said? Pointing fingers at people doesn’t do anything. But my teachers think stu- dents are not very intelligent, that we've got years before wwe can understand anything. ‘What bullshit. Every breaking down, teachers inflating each other's egos as they plan everything for us. We should expect peace? 1 think there are some serious contradictions in how these teachers think of themselves and art. Peace is only what some teachers think of when they see another pretty gi 1/do not want to sound like some old German mother but back of a lot of words is simple lust. People who can't deal with themselves as whole human beings. Yet they {g0 on talking about evolving and learning. What they are really doing is handing us their own personal problems, like not listening to anyone except that voice in the back of their heads. Alright, this is getting a bit long and all 1 want to say is that hoping the new school is going to be different is not going to change anything. And I don’t really think anyone can wait for the front office and a fiveyear plan to tell us what to do or how it’s going to bbe done. And let’s not have any more of those asinine studies carried out about who the students are; all the statistical stuff. I see so many people in Foundation just falling for this kind of stuff, They don’t ask any ques- tions about how they see or anything. Are these just peo- ple who came from high school? I don’t know. Look, all | want to say is keep things open and let's not have any more of this bullshit about the new school and big plans unless of course you can get rid of that stupid idealism. How can anyone leave their name on a letter like this? A teacher's sure going to think I've flipped. So no name. This is just another attitude along with everyone else's, Well! We thank you for your letter and we don't think ‘you've “flipped”. co-ditors Volume 1 Number 8 Joshua Berson For X newsletter (or XXXX) ‘A bunch of us have been sitting down and talking about this second year art history course, and among other things we thought it would be a fine i those term papers we handed in to be accessible to every- fone in the course. Why should Art Perry be the only one to read them? From friends we've talked to it sounds like there are some very interesting things in all the papers. People are talking about things in them that they cannot talk about in class, which really was apparent in today's class when Mark whoever came from UBC and talked about Guernica. Any suggestions from people? Have them xeroxed? Or leave them at Art History where we can come and read them? What about it Art? ‘The group of six Wednesday Well guys, we'l see if we can squeeze it in. O.K.2