Feedback Part II Read my last blog first if you want, this is Part II. I didn't know there'd be a part two but it would appear I have more to say. After posting yesterday, I found myself thinking over what feedback really is and how to get quality feedback on your work. More and more I am understanding that the need for the creator to direct the feedback is critical. This is because that to get quality feedback what we really are asking about is the vehicle not the content! Whoa. Let's think about this. When we are writing or painting or singing a love song; the thing we need or ask for help on is "how" we are presenting the material, not the material itself. I have two examples to illustrate. Let's say there is a Writer's Forum and I join. Also, let's pretend something in the extreme; I am writing porn. If I post my story and say I need feedback; all I'll get is thrashed by the content of my work. Everyone is shocked and disturbed and no one benefits. Now, if I post my story and say I am struggling with trying to write "in a sense of urgency" then the group has something to respond to. In getting quality feedback, one must look beyond the content and zero in on the delivery method. Second example. Something I actually DO write! I'm proud to say I've been published three times, here is one that made it online too. Obviously I'm fairly proud of my little successes. What I tend to write on is specific to my field - lighting design for the modern dance stage under the larger umbrella of making new work. What seems to satisfy the publishers is when I write opinion pieces (or rants). Currently I'm struggling with another article that is on Collaboration. I could imagine myself asking for feedback as I work and edit through my draft. Offering my article to a Writer's Forum for feedback; I know I don't need help on the technical terms. I need help on the delivery of the material. Even with an article laden with tech-speak, I should be able to get quality feedback from a wise pair of eyes, if; I ask for help in a specific area and my critic can look beyond the content. If we are interested in developing the Art of the Feedback, then we must learn to hone our skills. This isn't really a talent so much as learning a technique. It will be applied in everyday life as you may be asked if you like someone's choices; be it someone's poem, a garden lay out or even "does this dress make me look fat?" In the case of the classic dress conundrum, trust me - focus on the vehicle and not the content! "Do you think it echo's your personality?" might work much better than any other doomed response. Learning to hone an easily learned skill simply makes you a better person since you can now properly meet one's needs. Having your needs met requires you to direct where your expectations lay. Peace.

Critics! Kell in her recent blog posting staggered out of a virulent forum that disguises itself as a support group for writers. It's a mark of her maturity that she did not post the name of the group nor the admin of the forum (I sure was curious), rather she mulled over the difficulty in getting honest feedback. Most of the comments in her brief posting of work were "I liked it a lot" and "keep up the good work." All things good to read and we like that. But we also need serious feedback as well. Having been involved in art education for about 17 years and been in on thousands of feedback sessions for new work; I still do not claim to be an expert by any tilt of the sword. However, I have learned much from my peers and so choose to share what I can with you, dear blog reader. The Art of the Critique The Temptation It is always so tempting to offer the solution. Often people showing work wish for the expert to "fix the piece" by telling them how to do it. I have seen the arrogant instructor insist on change "use this piece of music instead" or "keep it as a duet; the trio is all wrong." The student will eagerly follow that advice - and perhaps the piece will be better. However, it's not really their work any more. The Question If it seems obvious to you that a specific thing is not working. It might be best to avoid pointing directly at it. Instead; pose a question that hints at that thing. It is critical for recepient to solve the problem. It is how we learn. The best (I've seen this done deliberately) is for two people to give conflicting comments so the artist must grapple with the issue and solve it themselves. My best example: if I feel a piece on stage is too dark, I'd not tell the designer that the back lights need to be brighter. I'd say, "this cue seems to be lacking energy." An abstracted statement that leads to a solution not dictated by me. The Definition The one asking for feedback must define what the observer must look at; otherwise you get, "I like it" all too much. It can be as vague as "I'm struggling with the spatial dynamic" or as specific as "I'm struggling with accents." By giving direction to the feedback, the critic now has parameters and focus. This allows the one asking for feedback to dictate direction and also allows for shorter snippets of a larger work. The Process One hopes for follow up. If one is posting a short story and requesting feedback; then one must re-post as a response -- even pointing to a specific critique or responder. One must be secure enough in one's work to allow the process to be transparent; this elevates everyone involved and opens the forum. Any critical forum must encourage a process and avoid being completely product oriented. As tempting as it may be to post or show an entire piece; it appears that it's much healthier to show the steps along the way so the observers have a chance to make a difference. It takes strength and it is a challenge. One must be brave. The Material One of the largest hurdles when putting your work out there is to alway remember if they don't like the work does not mean they don't like you. "I hated that painting" will not sting so much if you realize it's the painting that is hated and not you. A professional works at one's profession. This implies a body of work that evolves over a period of time. As you build your body of work; your successes will give you the confidence to take risks and allow failure. When you first begin the need to "be right" or "be perfect" is some kind of mis-guided pressure due to fear. Oreo Cookies Last of all: be nice. If you feel you have a tough thing to say; open with a nice thing, say the tough thing, close with a nice thing. It's like an oreo cookie. Anyone is flattered to be asked to help especially if asked due to expertise. Being in a position to give feedback is a responsibility that is inherently educational. Be nice. Encourage. Build. Try to see through their eyes when looking at work. In the play, Waiting for Godot the two characters get into a fight and begin name calling. Back and forth they go. The trump card is finally played with the worse thing one could be called: Critic! I am certainly no expert at feedback. I hope the above gives some good or new ideas. Defining your needs when asking for evaluation is key. Peace