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Stirred, Not Shaken: An Assessment Remixology

This presentation explores the challenges and advantages of various approaches to assessing, evaluating, and grading student remix assignments.

Ben McCorkle

on 25 January 2013

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Transcript of Stirred, Not Shaken: An Assessment Remixology

Stirred, Not Shaken: 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. An Assessment Remixology Sharing is the NATURE of Creation. Gilberto Gil, Brazilian Minister of Culture, RiP: A Remix Manifesto (2008) ACT I: "The Evolving Rubric—An Assessment Tool" ACT II: "Remixing Academic Genres—Knowledge, Learning, Design" ACT III: "Fair Use: It's Not Just for Lawyers Anymore" 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 WHAT THIS MIGHT LOOK LIKE:

# 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 for this assignment, or better to apply to other remix-type assignments?
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