Transcript of Assessing Remix Assignments
an assessment ology For most of human history, the creation of culture was always a shared phenomenon: an activity connected to spiritual sustenance and a mutual confirmation of values between the creators and their community. Only recently has it been found advisable to withhold virtually all such creative activity until it can be paid for. Negativland, "No Business" (2005) Lawrence Lessig, “Who Owns Culture?” (2005) Culture is remix. Knowledge is remix. Politics is remix. Everyone in the life of producing and creating engages in the practice of remix. STIRRED, NOT SHAKEN: Sharing is the NATURE of Creation. Gilberto Gil, Brazilian Minister of Culture, RiP: A Remix Manifesto (2008) MOVIE TRAILER REMIX:
Students will create a remix of a movie trailer that disrupts, complicates, or challenges the underlying ideology in the original. Students may incorporate some original content in the composition, but should keep in mind that this is primarily an exercise in rearranging, combining, and transforming pre-existing material. This remixed trailer will be accompanied by a 2-3 page reflective statement. FAIR USE DOCTRINE:
Guidelines that outline the limitations imposed on traditional copyright law (basically, the exceptions that allow us to sample, copy, quote, and remix without permission):
The purpose and character of the use, including whether such use is of commercial nature or is for nonprofit educational purposes
The nature of the copyrighted work
The amount and substantiality of the portion used in relation to the copyrighted work as a whole
The effect of the use upon the potential market for, or value of, the copyrighted work HOW FAIR USE GUIDELINES ARE USED:
# Heuristic to help guide brainstorming/concept planning.
# Framework for face-to-face feedback during initial composing stages.
# A central component of studio critique session.
# A component used in the accompanying designer’s reflective statement/rationale.
# Central part of grading rubric. QUESTIONS FOR YOU:
# Productive ways of extending or refining this assessment model?
# Adequately address rhetorical skills we generally try cultivating in our students’ work?
# Potential conflicts, complications, or things that give you pause?
# Appropriate only for this assignment, or possible to apply to other remix-type assignments? THE WORK: PROOF OF CONCEPT: Copyright is in tremendous flux at the moment; governments all over the world are considering what their copyright systems should look like in the 21st century, and it's probably a good idea to nail down what we want copyright to do. Otherwise the question "Is copyright working?" becomes as meaningless as "How long is a piece of string?" Cory Doctorow, Sci-fi author & copyright activist ACT I: "Fair Use: It's Not Just for Lawyers Anymore"
ACT II: "Remixing Academic Genres—Knowledge, Learning, Design"
ACT III: "The Evolving Rubric—An Assessment Tool" ACT 1: "Fair Use: It's Not Just for Lawyers Anymore" New media force us to re-conceptualize not only what a text is but also the criteria by which we judge texts. Print-based assessment has been “ported” to digital composing, but print-based criteria favors print-based discourse, not the kind of discourse that is possible with new media. -- Diane Penrod We need to create a new assessment system that values “a writer’s ability to communicate within a particular context and to a specific audience who needs to read this writing as part of a clearly defined communicative event.” -- Brian Huot ACT II: "Remixing Academic Genres—Knowledge, Learning, Design" Goals of Personal Narrative Assignment
• To develop a sense of authority as a writer (i.e., feel as though you have something to communicate about a topic you are an expert in)
• To learn to use detail and specific language to describe your experience (i.e., “show don’t tell”)
• To analyze and reflect upon your experiences with literacy skills: reading and writing in all its forms (traditional and non-traditional, “school” oriented and not)
• To analyze and reflect upon the role of instruction (both formal and informal, within and outside of school) and practice in your learning of literacy skills
• To understand the choices available to you as a composer and how to make the best choices based upon the context in which you are writing and the audience you are addressing• To understand how revision and peer response contribute to creating successful texts. Goals of Narrative Remix Assignment
• To compose with authority and “voice” in the visual realm
• To learn to use visual detail and visual language to tell a story or make a point (i.e., literally show don’t tell)
• To analyze and reflect on your experiences with literacy skills, while learning a new literacy (composing with images)
• To analyze and reflect on the process of creating this text and learning this new literacy or form of composing
• To understand the role that medium plays in the context of composing, learning to narrow the scope of your message appropriately, choose the best visual details to present your concept to your audience, and think about audience concerns when composing
• To understand how form and medium influence and, at times, constrain your choices regarding the visual design of your texts
• To utilize revision and peer response to create successful texts. ACT III: "The Evolving Rubric—An Assessment Tool" DERIVATIVE APPROPRIATION UNCREATIVE ILLEGAL THEFT An appropriation from a source in which there is intervention and transformation of the original intent. Making new stuff from old stuff in a way that has social and cultural benefits. Rubrics are inquiry-based, emerging piecemeal as needed
from vigorous discussions of the visual, technical, aesthetic,
linguistic, and metacognitive characteristics of rhetorically
effective multimedia, and the criteria appropriate for assessing
them. Through each stage of production, new categories are
added, some fall away, criteria for production and evaluation
are refined and elaborated, and the final compilation becomes
the agreed-upon rubric for summative assessment and grading.
Please note: this post was originally published in August 2012. I’m not sure how or why, but the original post disappeared completely (!). Thanks to the magic of the Wayback Machine I was able to grab a copy of the text and re-do the whole thing. I took the opportunity to revise it a little as well!
What is Incredibox?
Incredibox is a online music arranging and remixing tool that looks great, is easy to use and is free. It also happens to work really well on an interactive whiteboard.
The concept is simple: drag an icon to one of the “dudes” (as I like to call them!) on the screen and he’ll start beatboxing, singing or whistling. You can use 7 dudes at once and with a total of 20 sounds in 5 different categories to choose from, there’s a wide range of combinations possible.
Novelty value only?
When using fun, free resources such as Incredibox, many think they have novelty value only, but I think Incredibox has quite a bit to offer if student use of the tool is framed with specific outcomes in mind.
Which musical concepts can Incredibox teach or reinforce?
- Arranging or remixing skills
- Solo and tutti
- Texture and timbre
- A cappella part-singing and beat boxing
- Conducting skills
Three versions of Incredibox
Over the years, the original 2009 version of Incredibox has been refreshed a couple of times. A new version was released in 2012 and then another “Draft Punk” style version in 2013. All three versions are still accessible – just make a selection when you first land on the website.
It’s important to note that the original version – Version 1 – of Incredibox has no record button. When they added that functionality into version 2, it made all the difference from an educational point of view because it meant that students could put together a meaningful remix and record what they had done. For me, that really helped move Incredibox beyond novelty status, so bear that in mind when choosing which version you will use in class.
Lesson: create and record an interesting 30-second Incredibox remix
How To Play
First, spend some time experimenting with the sounds available. Drag one of the icons across the bottom of the screen to an empty (undressed!) dude to start playback of a sound. A new dude will appear and you can add another rhythmic or melodic layer by dragging an icon on to the new dude.
You can fit a maximum of 7 dudes on the screen at once. To remove or change one a sound, hover your mouse over the dude and then click on the cross (the other two buttons allow you to mute or solo the dude). That dude will disappear and a new dude will appear at the end of the line.
Exploring texture and timbre
Allow students to spend time listening to different combinations of dudes, then ask them to choose 7 sounds that cover a variety of rhythmic and melodic patterns.
This shortlist of 7 will form the basis of their remix recording. Students could keep a record of their choices by writing down the sound/icon numbers in each group. For instance, I have used sound number 3 in the Effects group of sounds in the image on the right. Another option is to take a screenshot (a “photo” of the screen) of their chosen dudes.
Step-by-step lesson details
1. Line up your dudes!
Ask students to fill up the Incredibox screen with their 7 chosen sounds (see Exploring Texture and Timbre above). They can then experiment with the mute and solo buttons to test out different combinations of dudes in varying-sized groups. Make a note of any effective combinations so that they can remember them easily during the “recording session”.
2. Arranging skills: plan your remix
Plan your arrangement so that it has a beginning, a middle and an end. Make sure that your remix incorporates some layering, plus the use of solo and tutti. A typical remix might be structured as follows:
- Beginning – use layering to bring in all or some of the parts
- Middle – create some interest by using the solo and/or mute buttons to vary texture
- End – layer the parts out at the end
3. Rehearse your conducting skills
By clicking on a dude at the right time (ie. on a down-beat) you can bring sounds in and out quite cleanly when performing your remix. Practice clicking on each dude at the right time.
You can also try this: solo one dude by clicking on his headphone icon (all the others will be muted automatically), and then gradually bring in other dudes by clicking on their speaker icons one by one.
4. Get ready to “perform” your remix
Mute all of the dudes so that they become your silent ensemble waiting to perform. The quickest way is to solo one dude (this mutes all the other dudes) and then click the final dude’s mute button.
5. Record your remix
Hit the record button (top left) and perform your arrangement! Keep an eye on the timeline at the top of the screen and remember that you only have a total of 30 seconds for your performance. Having all the dudes muted to start with gives you control on how you conduct them. You can layer them in any order and solo or mute as you like.
6. Share your remix
When finished, students can email their arrangement to you or copy and save link.
In cooking-show style, here’s an example I prepared earlier
Assessment and feedback
Students can each play their remix for the class and offer one another constructive feedback. They should comment on the choice of sounds, the use of layering, the use of solo and tutti sections and the structure of the piece.
Here are a few extra Incredibox tips:
- Double-click on a dude to delete him
- Click once anywhere on a dude to mute him
- Do a long click on a dude to solo him (the solo occurs on release of mouse button)
Do you use Incredibox?
Do you use Incredibox in the classroom already? How do you use it? Do the students enjoy using it? Let me know in the comments below.
I love to simplify technology for music teachers. I help teachers from all around the world through the Midnight Music Community - an online professional development community where teachers can take online courses, ask questions and receive personalised help for the music tech goals.