— | | , | | A UDEN A Some fer fun some fer real Last week ECCA witnessed a robbery. All in atten- dance at the college were witnesses. The robbery was never reported. A few squawks here and there, a little wonderment as to how it was carried off so beautifully. Someone, actually a lot of people, thought it was a great favour. Until the robbery was complete and a few of us saw what we had contributed. Filling out the forms, evaluating the faculty was a most peculiar procedure, don’t you think. What has been made is the most significant and comprehensive examin- ation of what we think, value and understand of these times and the people we are learning with. What has been collected on several hundred green forms must surely be amazing to those who have the privilege of evaluating the evaluations. It’s not a matter of anyone being undermined or betrayed, because sure enough the survey was a meaningful and necessary one, though we do hear squawks of paranoia and suspicion from faculty who have grasped that perhaps they are self-limiting and there- fore more restrictive or repressive than expansive. What is essential is at least to learn of general trends, what has been deemed of value or meaning in school pro- grams. Otherwise such a democratically administered evaluation can only have a benefit for a select few. Faculty are allowed a precise sense of what was contained, in evaluations of themselves and their own teachings, but do not have access to the forms themselves. As we see, in this great dialogue with students, it is not ourselves who have been done much of a favour. The idea of course is that we receive indirect benefit, or benefit in the longer view, through the levels of internal re-evaluation between faculty and administration. At best this could be called a clever democratic device, though something stronger and not so palatable also comes to mind. The faculty evaluations were certainly a work of art. A significant work accomplished amid 450 students strug- gling with physical representations in all forms. This work has an “invisible reality,” being an idea-work and by no means pretending to be a finished work like a Picasso or Warhol. The evaluations must be thought of as involving word images, useful and essential in this instance because of their power in presenting a mental reality; but even more because this is a collective reality. Across all the disciplines and programs the administration has summoned a valuable document. But what has been used to produce ideas now can only tease students into guess work as to what the body of us feel. The artist’s work is likely either C> O71 IO THE O immature or the intention all along was to keep an under- standing of the work among only a privileged few. The robbery accomplished, the questions as to its nature yet to be asked. In lieu of no answers, we take risks to offer ‘‘X” a rough, and openly biased, summary of the faculty evalu- ations. The majority of faculty, often under the influence of preconceived ideas derived from positivist doctrine have thought they could assert that the uncer- tain knowledge in ART is the result of some real inde- terminancy about the evolution of human _ beings. Such an extrapolation does not appear in any way to be justified. It is possible that looking into the future we will be able to interpret probabilities and our own under- standings as being the results of variables which are at present “hidden” from us It may be that the powerful means now used to break up structure and to make new forms and contents appear, will one day give us a direct knowledge which we do not now have of these other levels. To try to stop all attempts to pass beyond the present viewpoints in ART could be dangerous and be contrary to the lessons learned from the history of art and from all forms of cultural expression. This teaches us, in effect, that the actual state of ART knowledge is always provisional and that there are regions which we give no attention. Besides, ART has found itself for several years tackling problems which it has not been able to solve, and seems to have arrived at a dead end This situation suggests that an effort to make some changes at all levels would be valua- ble. We suspect the faculty evaluations do in fact. bear this out. For students a starting point might be the evaluations, understanding our relationship to that; some of us might opt to understand, in our work, not things or images, but PRES Volume 1 Number 12 relationships, essences and signs. Obviously the move- ment might also be towards appreciating the relationship between these two imperatives. Other voices on this issue? Summer Institute at ECCA In the subject of marks, we find that if you are in first year then ‘‘D’s” simply will not be enough to get you into second year. You do want to proceed along to second year, n’est-ce pas? You must have a C plus average to graduate. Next year is supposed to be tougher, which means it’s really a matter of how you look at these things. The Helen Pitt Graduate Awards. . . taadaahh! They’re coming up and it means “recognition” and money ($3,000) and need we say more. There are several issues caught up here (an understate- ment, if ever there was one) and all of us would do well to understand what’s happening with these awards. The race is on, conducted in meetings and a multitude of evaluations, and Published by Student Services Emily Carr College of Art , 249 Dunsmuir Street Vancouver V6B 1X2 though many graduating students say, “Oh no, not me, I don’t care about ’em,” you can be sure that the $3,000 award does much to cut what’s owed to the government loan program. In the next 8 weeks, much more about this. Summer school is coming up and a list of instructors has been forwarded. The question of whether ECCA students receive preference has come up. The result: there will be a pre-registration for ECCA students a week before public pre- registration. There will be a limit of 10 ECCA students per summer class. Dates for registration to be announced. SUMMER INSTITUTE AT ECCA: First Session from June 18 to July 13th Ceramics (hand built ceramic sculpture) Marilyn Levine James Thornbury Painting Ron Reichert Drawing Leslie Poole Photography Jack Fulton Second Session from July 16 to August 10th Ceramics (thrown) Water Ostrum Painting Alan Wood Photography (mural) Bill Cupit Silkscreen Anna Wong Children’s art Diana Caldwell SUPER FEATURE The following students have been elected by the student body as student representa- tives in the foundation show jury: Sandra Platt Alison Browse : Dale Hunter All have pledged mature supreme allegiance to the student part of the foundation cause. So make sure to get yer stuff in. — Some fer fun some fer real Last week ECCA witnessed a robbery. All in atten dance at the college were witnesses, The robbery was never reported. A few squawks here and there, a litle wonderment as to how it was carried off so beautifully Someone, actually a lot of people, thought it was a great favour. Until the robbery was complete and a few of us saw what we had contributed, Filling out the forms, evaluating the faculty was a ost peculiar procedure, don’t you think. What has been made is the most significant and comprehensive examin- ation of what we think, value and understand of these times and the people we are learning with. What has = been collected on several hundred green forms must surely be amazing to those who have the privilege of ‘evaluating the evaluations. Ics not a matter of anyone being undermined or betrayed, because sure enough the survey was a meaningful and necessary one, though we do hear squawks of paranoia and suspicion from faculty who have grasped that perhaps they are self-limiting and there fore more restrictive or repressive than expansive U ‘What is essential is at least to learn of general trends, what has been deemed of value or meaning in school pro- grams. Otherwise such a democratically administered evaluation can only have a benefit for aselect few. Faculty Lae allowed a precise sense of what was contained, in evaluations of themselves and theie own teachings, but do not have access to the forms themselves. As we sce, in this great dialogue with students, itis not ourselves who have been done much of a favour. The idea of course is that we receive indirect benefit, or benefit in the longer view, through the levels of internal re-evaluation between faculty and administration. At best this could be called a clever democratic device, though something stronger and not so palatable also comes to mind. The faculty evaluations were certainly a work of art A significant work accomplished amid 450 students strug- sling with physical representations in all forms. This work has an “invisible reality, idea-work and by no | _ means pretending to be'a finished work like a Picasso or \ Warhol. The evaluations must be thought of as involving word images, useful and essential in this instance because cof their power in presenting a mental reality; but even jore because this is a collective reality. Across all the isciplines and programs the administration has sunmm valuable document. But what has been used to produce ideas now can only tease students into guess work as to Lwhat the body of us feel. The artist's work i likely either tas (2. YO - Eo THE O immature or the n all along was to keep an under- standing of the work among only a privileged few. The robbery accomplished, the questions as to its nature yer to be asked. n Tiew of no answers, we take risks to offer “X”" a rough, and openly biased, summary of the faculty evalu- The majo preconceived of faculty, often under the influence of jdeas derived from positivist doctrine hhave thought they could assert that the uncer tain knowledge in ART is the resule of some real inde- terminaney about the evolution of human beings Such an extrapolation does not appear in any way to be justified. Ic is possible that looking into the future we will be able to interpret probabilities and our own under- standings as being the results of variables which are at present “hidden” from us Tt may be that the powerful means now used to break up structure and to make new forms and contents appear, will one day give us a direct knowledge which we do not now have of these other levels. To try to stop all attempts to pass beyond the preser viewpoints in ART could be dangerous and be ‘contrary to the lessons learned from the history of art and from all forms of cultural expression. ‘This teaches us, in effect, that the actual state of ART knowledge is always provisional and that there are regions which we give no attention. Besides, ART has found itself for several years tackling problems which it has not been able to solve, and seems to have arrived at dead end ‘This situation suggests that ‘effort to make some changes at all levels would be valua- ble. We suspect the faculty evaluations do in fact bear this out. For students a starting point might be the evaluations, understanding our relationship to that; some of us might opt to understand, in our work, not things or images, but RED Volume 1 Number 12 relationships, essences and signs. Obviously the move- ‘ment might also be towards appreciating the relationship between these two imperatives, ‘Other voices on this issue? Summer Institute at ECCA In the subject of marks, we find that if you are in first year then “D's” simply will not be enough to get you into second year. You do want to proceed along to second year, n’est-ce pas? You must have a C plus average to graduate Next ytar is supposed to be tougher, which means it’s really a matter of how you look at these things. ‘The Helen Pitt Graduate Awards. .. taadaahh! They're coming up and it means “recognition” and money ($3,000) and need we say more. There are several issues caught up here (an understate- ment, if ever there was one) and all of us would do well to understand what's happening with these awards. The race is on, conducted in meetings and a multitude of evaluations, and Vancouver V6B. 1X2 249 Dunsmuir Street though many graduating students say, not me, I don’t care about 'em,” you that the $3,000 award does much to cut what's ‘owed to the government loan program. In the structors has been forwarded. The quest whether ECCA students receive preference has come up. The result: there will bea pre-registration for ECCA students a week before public pre- registration. There will be a limit of 10 ECCA students per summer class. Dates for registration to be announced. SUMMER INSTITUTE AT ECCA: First Session from June 18 to July 13th Ceramies (hand built ceramic sculpture) Marilyn Levine James Thornbury Painting Ron Reichert Drawing Leslie Poole Photography Jack Fulton Second Session from July 16 to August 10th Ceramics (thrown) Water Ostrum Painting Alan Wood Photography (mural) Bill Cu Iksereen ‘Anna Wong Children’s art Diana Caldwell SUPER FEATURE, The following students have been elected by the student body as student representa: tives in the foundation show jury: Sandra Platt Alison Browse Dale Hunter All have pledged mature supreme allegiance to the student part of the foundation cause. So make sure to get yer stuff in