Invisible+Project+--+Walis+Labai

=Invisible Project= = = http://www.digiarts.org.tw/ShowArtwork.aspx?lang=en&CA_GROUP=W1&CW_NO=43

Identification
Title: //Invisible Project I// Artist: Walis Labai (wú dǐng-wǔ: 吳鼎武) Country of Origin: Nantou, Taiwan Cultural/Ethnic Affiliation: Seediq Date/Period: Produced in 2001 Medium: Video installation, photography, infrared detector Style: Software-enhanced anthropological photographs Central Concept: Treatment of aboriginal, or indigenous, cultures in anthropological photographs

Introduction


http://indigenous.pristine.net/events/2008/wsic/presentations/wu_diing-wuu_walis_t.jpg The artist Walis Labai has become a significant figure in the scope of Aboriginal Taiwanese art. As one of the note-worthy contributors to this subject, he embarks on themes pertaining to aboriginal histories and, with the use of digital media, seeks interactive approaches to the maintenance and preservation of aboriginal culture. He explores perceptions of aboriginal identity, as seen in a section of the installation series, //Invisible Project I//. In this section, Walis Labai alters anthropological photographs and footage in order to confront constructs of culture and identity. Also, keeping a profound respect for the aboriginal heritage in Taiwan, Labai addresses indigenous people from all over, finding a sense of unity between native peoples as well as upholding a wide-ranging respect for all indigenous cultures.

Descriptive Analysis
The installation, //Invisible People I//, is a montage of overlapping video and digitally processed images. This visual array is situated around the viewer, with some objects floating massively overhead; others confronting the viewer at eye-level. These images show various tribal people as presented through historical anthropological documentary photographs and portraits. These antique, black-and-white images, at first glace, reveal native people participating in what seems to be their usual daily activities; however, anthropological documentary images have had the tendency to emphasize certain cultural details such as specific regalia and type of house, and tend to showcase the cultural objects and tools on which the person may have relied and utilized. Furthermore, these types of representations have promoted facades which have contributed not only to justifications of conquest but also perceptions and constructions of "nativeness." This is the "canvas" on which Walis Labai works and modifies. Upon closer inspection, these photos of various tribal people begin to take a ghostly effect: through the use of image editing software, the figures of these images are gradually lifted from the composition to bare only a faint silhouette, until nothing at all — leaving absolutely no human face remaining in the image.

http://www.digiarts.org.tw/ShowArtwork.aspx?lang=en&CA_GROUP=W1&CW_NO=43 Of those images that are projected on hanging screens, the effect is even more eerie; the main subjects of the photographs gradually lift before your eyes, until they eventually disappear from the composition, the slightest draft within the room causing the hanging screen to undulate, delicately complimenting the mysterious disappearing act in its impression. The visual scene consists of this continual wavering between silhouette and physical form, causing the photographic compositions to transform in a matter of minutes. The main focus of the installation is the perception of shadows as well as the physical form itself, or lack thereof. Another feature of the installation is produced by the use of an infrared detector that, upon recognizing a viewer, triggers a nearby projector to cast the shadows of an aboriginal dance footage within the viewer’s realm. In the same manner, the artist has incorporated an additional ‘shadow’ that, upon infrared detection, follows the viewer around the installation space therefore breaking the barrier between art space and real space.

The artist plays with the concept of shadows in numerous ways within the installation space, as rather flexible avenues of form. The artist molds shadows not only into and out of physical human forms, but also into the forms of a bat, a duck, and a dog. In another, figure and shadow are switched; shadows stand upright like the identifiable physical form would, while its corresponding shadow, in turn, is cast as the detailed form. Additional elements are incorporated into the work, such as the use of fog, further contributing to the experience and sentiment, as well as providing yet another surface on which shadows, or silhouettes, are projected. Also, footsteps are portrayed with the illusion that they are running across the ceiling of the installation space. The color scheme generally consists of gradations of black and white, correlating with the appearance of the dated photographs and footage. The sounds of the installation consist of human voices that accompany empty compositions from which figures have been erased from the scene, and the echoes of aboriginal songs that gradually grow fainter as the figures fade from the photographic composition. Walis Labai nonetheless experiments with forms, though the focus of the piece is the absence, or the intangible shadows, of native peoples: their complete removal from photographic compositions and unidentifiable statures amidst well-preserved environments of material culture, as a metaphor for their displacement by dominating foreign powers.

http://www.digiarts.org.tw/ShowArtwork.aspx?lang=en&CA_GROUP=W1&CW_NO=43

Formal and Contextual Analysis
As the basis for Walis Labai’s installation, the concept of anthropological documentary photographs in relationship with the depiction of native people is ripe with theoretical discourse; Walis Labai takes on these visual constructs to further confront both the ways in which aboriginal people have been represented and their present place within society. From this anthropological aesthetic, the artist shines light on the problematic notions of prizing people’s material cultures without significant regard for the cultures themselves. In his action of removing the figures from the photographic compositions, he reveals what ultimately has occurred: the people, or the most essential quality of the “documentary” presentation, have been disregarded, while their characteristics of “otherness” have been treasured within a recontextualizing ideology. In addition, the sense of emptiness achieved in the manner of erasing the figures from the images imparts a rather disturbing feeling. This absence becomes a symbol for the aboriginal experience as well as a reminder of the potential tragedy in disregarding aboriginal identity and impression of culture. The wavering between physical form and shadow, and the vague auras of shadows that dance throughout the installation space, are meant to conjure questions pertaining to structure, perception, reality, and truth. Through the absence of some details and the inclusion of others, these questions lead one to consider by what means have aboriginal people been defined and in what space aboriginal people exist in relation to these constructs. Walis Labai dedicates his work to the preservation of aboriginal culture in chorus with the importance of aboriginal people being able to define what aboriginal culture essentially is. He further touches on the haunting legacies of dominating powers and the dangers of cultural genocide, by confronting the viewer with images of aboriginal people completely erased from the picture, and the sounds of aboriginal songs gradually lowered into complete silence. The lingering shadows, which read like the ghosts of aboriginal people, also speak to this idea of a fading existence as a result of instances of cultural assimilation and the dominance of mainstream culture. Thus confronting the viewer with illustrations of cultural heritage lost, both aboriginal and non-aboriginal people can realize the importance of cultural preservation and aboriginal identity. Additionally, Walis Labai seeks to educate viewers about the existing traditions of aboriginal people by exposing the viewer to aboriginal dances, as presented through projections, which can be cast directly within the space of the viewer. He uses the setting of anthropological photographs to express notions of aboriginal culture and identity. Furthermore, as a Taiwanese man of aboriginal ancestry, he examines more personal feelings about history and perceptions of aboriginality.

http://www.digiarts.org.tw/ShowArtwork.aspx?lang=en&CA_GROUP=W1&CW_NO=43

Personal interpretation
In understanding some of the ideas in the //Invisible Project// series it is important that one remembers that neither aboriginal people, nor their culture, are “extinct.” In this we need to explore what native/aboriginal culture essentially is and further the role of “authenticity” in constructing aboriginal identity and culture. Aboriginal identity and culture does not have to be defined as intrinsically “tribal.” Aboriginal identity/culture exists as it continues to do so: having survived as well as transformed. A truthful except by the Puyuma writer Sun Ta-chuan gives a glimpse of how culture tends to transform but, nevertheless, carry on:

“My mother was 90 years old in 2003, and people from the tribe celebrated her birthday. I still have a photograph of her at the party with a group of her friends, all of whom were over 80 years old. After they had some drinks, the old people got in a circle and began taking turns singing really old songs. The words of those songs, and their impact, were so truly Puyuma! A bit tipsy, I said to the old folks, ‘I really envy your deep friendship. I'm afraid that people in my generation can never understand or enter your emotional world.’ My mother replied with a smile, ‘I'm afraid that's the way it is! My Puyuma friends and I are probably the last group of people to experience the life and emotions of the tribal village. You don't belong to the village. Although you do a lot of Puyuma things, my Puyuma and your Puyuma are not the same, and my village and your village are not the same. A lot of things we take to the grave with us…. But you shouldn't be unhappy, because, when I was young, your great-grandmother told me the same thing I am telling you now.’ After she said this, all the old people started laughing, and it was as wonderful as a beautiful sunset.” (http://www.asianz.org.nz/pacific-art-kaohsiung)

Additional Works by Walis Labai
//Psychedelic Mona Rudao//, 2001 In the video, //Psychedelic Mona Rudao//, Walis Labai transforms footage from the period of Japanese occupation to convey sentiments of the Wushe revolt and its placement within history, as well as the current perception. The video is named after the Seediq chief, Mona Rudao, who led the Wushe revolt against the Japanese in 1930.

Standards
This lesson meets the following [|National Standards for Arts Education (Visual Arts)]: Standard 1: Understanding and applying media, techniques, and processes (Proficient: 1) Standard 2: Using knowledge of structures and functions (Proficient: 2, 3) Standard 4: Understanding the visual arts in relation to history and cultures (Proficient: 2) Standard 5: Reflecting upon and assessing the characteristics and merits of their work and the work of others (Proficient: 1, 2) Standard 6: Making connections between visual arts and other disciplines (Proficient: 2)

This lesson meets the following [|National Educational Technology Standards for students]: 1. Creativity and Innovation (A & B) Students demonstrate creative thinking, construct knowledge, and develop innovative products and processes using technology.

2. Communication and Collaboration (A & B) Students use digital media and environments to communicate and work collaboratively, including at a distance, to support individual learning and contribute to the learning of others.

4. Critical Thinking, Problem Solving, and Decision Making (B & C) Students use critical thinking skills to plan and conduct research, manage projects, solve problems, and make informed decisions using appropriate digital tools and resources.

**Central Concepts**

Concept 1 – Transformation of Aboriginal Cultures Transformation <span style="color: #000000; font-family: Arial,sans-serif;"> is a thorough or dramatic change in form or appearance. <span style="font-family: Arial,sans-serif;">Neither aboriginal people, nor their culture, are extinct. Aboriginal cultures continue to evolve and transform in Taiwan, as well as in other countries and cultures. Utilizing multimedia technology including infrared sensors and the removal of the figures from photographs as the viewer watches, the artist is able to convey the changing nature of aboriginal cultures.

<span style="font-family: Arial,sans-serif;">Concept 2 – Aboriginal People in Anthropological Documentation <span style="color: #000000; display: block; font-family: Arial,sans-serif; text-align: left;">Aboriginal people are the original inhabitants of a place. Anthropological documentation are the photographs and other records that document the scientific study of a cultural group. Aboriginal people in all cultures have been defined in anthropological documentation, such as photographs, through the presence of some details and the absence of other details. By removing the figures from anthropological documentation, the artist makes viewers examine the settings in which those figures had been placed. In so doing, the setting becomes the subject as the figure disappears from view.

<span style="font-family: Arial,sans-serif;">**Lesson Activities**

<span style="font-family: Arial,sans-serif;">Activity 1 – //Examination and Discussion of Images from the Installation// – 1 class period
 * <span style="font-family: Arial,sans-serif;">Students will look at and discuss images from [|Invisible Project I] <span class="wiki_link_ext">installation by Walis Labai (WU Diing-Wu). The teacher will project the images using the class projector, and we will discuss the images as a whole class. There are four pairs of images on the //Invisible Project I// website. We will discuss each pair as a set. The teacher will open the discussion using the Visual Thinking Strategies (VTS) approach as outlined on the [|VTS website], asking the following three questions ("Visual thinking strategies," 2011):
 * 1) What's going on in this picture?
 * 2) What makes you say that?
 * 3) What more can we find?
 * In addition, the teacher will ask students to make connections between the artist's message and formal choices (art medium, technique, and elements and principles of design) by asking the following questions:
 * 1) Why did the artist choose to use photographs for this artwork, instead of another medium, such as painting or sculpture?
 * 2) What do you think it means that the artist chose to remove the figures from each of the photographs?
 * 3) What is the subject of the photographs where the figure is removed? Is that the same as in the photographs where the figure has not been removed?
 * <span style="font-family: Arial,sans-serif;">We will spend approximately 3-5 minutes discussing each pair of images. After discussing the images, students will read the artist's description of [|the installation] by Walis Labai (WU-Diing Wu), to provide them with cultural and historic context of the images and the installation.

Activity 2 - //Genealogy Diagram// - 1 class period
 * <span style="font-family: Arial,sans-serif;">Individually, students will read page 8 of 9: //Stereotypes// of [|The Native American Images Project], ("American philosophical society," 2010). Students will be allowed ten minutes to read the text.
 * <span style="font-family: Arial,sans-serif;">In groups of four or five students, students will compare and contrast the two photographs of Bird Chief ("American philosophical society," 2010) with the two images of the Aboriginal Taiwanese man from //Invisible Project I// by Walis Labai (WU Diing-Wu).
 * <span style="font-family: Arial,sans-serif;">Students will be use Kidspiration, Inspiration, Webspiration, or a similar software program to create a Venn diagram illustrating how the Bird Chief images compare with the //Invisible Project I// images. Prior to this lesson, students will have received training on how to use the diagramming software.

<span style="font-family: Arial,sans-serif;">Activity 3 - //Creation of Original Artwork - "Identity Investigations"// - 12 class periods

Class period 1:
 * As an introduction to this activity, the teacher will say, "At times, the absence of the subject of an artwork can better convey the message than the presence of the subject does. The selection of a particular artistic medium can further enhance the content or message of the artwork. In the case of //Invisible Project I//, the use of anthropological photographs enhances the sense for the viewer that these things really happened, as opposed to the use of painting, drawing, or other artistic media."
 * <range type="comment" id="620717">The teacher will explain that students will create an original artwork using the same formal choices as //Invisible Project I// (digital still photographs that are modified using image editing software); similar function and subject as //Invisible Project I// (subject will be people and their activities, specifically, students will use the timer feature of their cameras to photograph themselves); and a different context from //Invisible Project I//. [This follows Level 2: Path A of the Art/Object Making Lesson PowerPoint.]
 * <span style="font-family: Arial,sans-serif;">Students will create two companion artworks to explore issues of their identity: one photograph of a figure doing some sort of activity, and a second one in which the figure has been removed using image editing software, leaving only the background and the tools that the figure was using. (For the purposes of this lesson, I have arranged with the director of the school drama department to allow students to borrow costumes and props from the drama department inventory. Also, students have previously used the digital cameras and image editing software.)
 * <span style="font-family: Arial,sans-serif;">The teacher will do a demonstration of how to use the image editing software to remove elements from a digital photograph.

<span style="font-family: Arial,sans-serif;"> Class periods 2-3:
 * <span style="font-family: Arial,sans-serif;">Before beginning to take photographs, students will do individual Internet research into a specific ethnic, racial, religious, or cultural group that is of interest to them. Students may research a Western or Non-Western group. Students will sign up for their group on a sign up list. Students will select an ethnic, racial, religious, or cultural group that has not already been selected by another students, so that any group chosen will be researched by only one student in the class. The teacher will provide students with the following questions before they begin researching, which they will respond to on the class blog (tumblr, moodle, etc.):
 * 1) <span style="font-family: Arial,sans-serif;">What ethnic, racial, religious, or cultural group did you decide to research?
 * 2) <span style="font-family: Arial,sans-serif;">Why did you select that group? Do you or your family members belong to that group, or did you simply want to learn more about that group?
 * 3) <span style="font-family: Arial,sans-serif;">What types of stereotypes did you discover that have been perpetuated about the group that you researched?
 * 4) <span style="font-family: Arial,sans-serif;">What activities do members of that group perform that you may want to portray in your photographs?
 * 5) <span style="font-family: Arial,sans-serif;">How will the activities you portray help to illustrate the stereotypes?
 * 6) <span style="font-family: Arial,sans-serif;">How did your research of this group help you to explore your own identity? What did you discover about yourself?
 * <span style="font-family: Arial,sans-serif;">Based on their research, students will create preliminary sketches of ideas in their sketchbooks. The teacher will then meet with them individually to discuss their research and their ideas for their artwork.

<span style="font-family: Arial,sans-serif;"> Class periods 4-7:
 * <span style="font-family: Arial,sans-serif;">Students will check out costumes and props from the drama department inventory.
 * <span style="font-family: Arial,sans-serif;">Students will choose a classmate as a partner. The pairs of students will take turns acting as a model for their classmate to photograph, which will encourage cooperation and sharing of resources.
 * <span style="font-family: Arial,sans-serif;">Students will begin taking photographs and importing digital images into the computer (a process with which they have prior experience).
 * <span style="font-family: Arial,sans-serif;">The teacher will discuss with each individual student which of their photographs they want to digitally enhance with the image editing software, before they begin editing their images.
 * <span style="font-family: Arial,sans-serif;">Students will begin digitally enhancing their selected image using image editing software. They may adjust tone, contrast or color on the first image, then they will remove the figure from that enhanced image to create a second image.

Class period 8:
 * <span style="font-family: Arial,sans-serif;">A progress critique will be done by projecting each student's pair of images onto the projection screen. Students have done progress critiques in the past; however, the teacher will remind them to begin by describing the artwork, discussing the <range type="comment" id="896261">elements and principles of design used by the artist and his or her intended meaning, discussing strengths and weaknesses, and offering suggestions for change.

<span style="font-family: Arial,sans-serif;">Class periods 9-11:
 * <span style="font-family: Arial,sans-serif;"><span style="font-family: Arial,sans-serif;">Based on information received in the progress critique, students will finish editing their images. Final projects will be due at the end of class period 16. For grading purposes, students will submit their images digitally, because //Invisible Project I// featured digital projections. Also, students will print their images using the color printers, a tool with which they have prior experience, s o that they may take their artwork home.

<span style="font-family: Arial,sans-serif;">Class period 12:
 * <span style="font-family: Arial,sans-serif;">The whole class will do final critiques using the same process as was done in the progress critiques. To ensure that every student has the opportunity to talk, the teacher will assign each student to begin the critique of another student.

<span style="font-family: Arial,sans-serif;">Activity 4 - //Online Reflective Journal Entry// - 1 class period >
 * <span style="font-family: Arial,sans-serif;">Students will post to their online class blogs (such as tumblr or moodle) in response to the following questions:
 * 1) <span style="font-family: Arial,sans-serif;"><span style="font-family: Arial,sans-serif;">How do you think you would have experienced //Invisible Project I// differently if you had been able to interact with it in person, rather than reading about it?
 * 2) <span style="font-family: Arial,sans-serif;">If the customs of a culture are wiped out, but the people that descended from that culture remain, is the culture gone? Please explain your answer, giving at least one specific example.
 * 3) <span style="font-family: Arial,sans-serif;">How did activities 1, 2, and 3 help you to understand transformation of Aboriginal cultures?

Assessment
Formative Assessment
 * <span style="font-family: Arial,sans-serif;">In every class period the teacher will observe students, while they work independently and within groups. I will ask questions throughout the lesson to assess how well they understand the material, whether they understand what is expected of them during the daily activities and assignments, and decipher whether they are achieving sufficient understanding or struggling to keep up. I will ensure that students are provided with a safe environment, focused on promoting respect and understanding among students. I will ensure that students will have an environment where they feel comfortable expressing themselves and exploring their personal values and opinions.
 * <span style="font-family: Arial,sans-serif;">__Action:__ if it appears that my students are struggling, I will take the appropriate steps to adjust my instruction and also allow for greater in-class discussion and student interaction. If only a few students are struggling, I will work with them independently and also offer them the opportunity to participate in peer review circles to encourage cooperative learning.

<span style="font-family: Arial,sans-serif;">Summative Assessment
 * Activities 3 and 4 will be summatively assessed using the following analytic scoring rubric. A total of 40 points are possible. Assignment of grades is based on the number of points earned. A table showing allocation of grades follows the assessment rubric.

Analytic Scoring Rubric for Activity 3 and Activity 4:

<span style="font-family: Arial,sans-serif;">Participation in Class Critiques || <span style="font-family: Arial,sans-serif;">Student was present for the critiques, but gave limited input to the critiques, or presented information in a judgmental manner. ||  || <span style="font-family: Arial,sans-serif;">Student gave limited feedback during critiques, but all feedback was non-judgmental. ||  || <span style="font-family: Arial,sans-serif;">Student gave extensive, non-judgmental feedback during critiques. ||  ||
 * <span style="display: block; font-family: Arial,sans-serif; text-align: center;">Criteria || <span style="display: block; font-family: Arial,sans-serif; text-align: center;">1 Point || <span style="display: block; font-family: Arial,sans-serif; text-align: center;">2 Points || <span style="display: block; font-family: Arial,sans-serif; text-align: center;">3 Points || <span style="display: block; font-family: Arial,sans-serif; text-align: center;">4 Points || <span style="display: block; font-family: Arial,sans-serif; text-align: center;">5 Points || <span style="display: block; font-family: Arial,sans-serif; text-align: center;">Score ||
 * <span style="font-family: Arial,sans-serif;">Activity 3: Technical skills (digital photography) || <span style="font-family: Arial,sans-serif;">Application of digital photography techniques lacks control. ||  || <span style="font-family: Arial,sans-serif;">Application of digital photography techniques is not pre-planned, but done in a careful, logical manner. ||   || <span style="font-family: Arial,sans-serif;">Application of digital photography techniques is pre-planned (such as through use of sketchbook planning) and done in a logical, sequential manner. ||   ||
 * <span style="font-family: Arial,sans-serif;">Activity 3: Technical skills (image editing software) || <span style="font-family: Arial,sans-serif;">Application of image editing software lacks control. ||  || <span style="font-family: Arial,sans-serif;">Application of image editing software is not pre-planned, but done in a careful, logical manner. ||   || <span style="font-family: Arial,sans-serif;">Application of image editing software is pre-planned (such as through use of sketchbook planning) and done in a logical, sequential manner. ||   ||
 * <span style="font-family: Arial,sans-serif;">Activity 3: Application of elements and principles of design (elements: space, line, color, shape, texture, size, value; principles: unity, harmony, balance, rhythm, contrast, dominance, gradation) ("The elements of," 1998) || <span style="font-family: Arial,sans-serif;">Made some attempt to apply elements and principles of design but the overall result is not pleasing. ||  || <span style="font-family: Arial,sans-serif;">Applies elements and principles of design with fair skill. ||   || <span style="font-family: Arial,sans-serif;">Applies elements and principles of design with great skill. ||   ||
 * <span style="font-family: Arial,sans-serif;">Activity 3: Research regarding other cultural group informs student artwork || <span style="font-family: Arial,sans-serif;">Student is not able to describe the influence of other cultural artwork on personal artwork. Artwork shows some evidence of cultural influence. ||  || <span style="font-family: Arial,sans-serif;">Student is able to describe influence of other cultural artwork on personal artwork, and influence is somewhat evident in the artwork. ||   || <span style="font-family: Arial,sans-serif;">Student is able to describe influence of other cultural artwork on personal artwork, and influence is clearly evident in the artwork. ||   ||
 * <span style="font-family: Arial,sans-serif;">Activity 3: Use of tools, materials, and supplies (such as computers, digital cameras, drama department props, etc.) || <span style="font-family: Arial,sans-serif;">Student adequately cleans and takes care of tools if reminded. Student shows some respect for materials. ||  || <span style="font-family: Arial,sans-serif;">Student adequately organizes tools and work area at the end of the session without reminder, but the area may be messy during the work session. Student shows respect for materials. ||   || <span style="font-family: Arial,sans-serif;">Student keeps tools and area clean and protected without reminders. Student shows great respect for the tools. ||   ||
 * <span style="font-family: Arial,sans-serif;">Activity 3: Time/Effort || <span style="font-family: Arial,sans-serif;">Class time was not always used wisely, but student did do some additional work at home. ||  || <span style="font-family: Arial,sans-serif;">Class time was used wisely. Student could have put in more time and effort at home. ||   || <span style="font-family: Arial,sans-serif;">Class time was used wisely. It is clear the student worked at home and at school. ||   ||
 * <span style="font-family: Arial,sans-serif;">Activity 3:
 * <span style="font-family: Arial,sans-serif;">Activity 4: Completion of Online Reflective Journal Entry || <span style="font-family: Arial,sans-serif;">Student answered most of the questions, but not very thoughtfully. Or student thoughtfully answered one or two of the questions. ||  || <span style="font-family: Arial,sans-serif;">Student gave thoughtful answers to most of the questions that were asked. ||   || <span style="font-family: Arial,sans-serif;">Student gave thoughtful and reflective answers to all questions that were asked. ||   ||
 * ||  ||   ||   ||   || <span style="display: block; font-family: Arial,sans-serif; text-align: center;">__**TOTAL**__ ||   ||

<span style="font-family: Arial,sans-serif;">Grading Scale: (Out of 40 possible points)
 * <span style="display: block; font-family: Arial,sans-serif; text-align: center;">Points || <span style="display: block; font-family: Arial,sans-serif; text-align: center;">Grade ||
 * <span style="display: block; font-family: Arial,sans-serif; text-align: right;">36 - 40 || <span style="display: block; font-family: Arial,sans-serif; text-align: center;">A ||
 * <span style="display: block; font-family: Arial,sans-serif; text-align: right;">32 - 35 || <span style="display: block; font-family: Arial,sans-serif; text-align: center;">B ||
 * <span style="display: block; font-family: Arial,sans-serif; text-align: right;">28 - 31 || <span style="display: block; font-family: Arial,sans-serif; text-align: center;">C ||
 * <span style="display: block; font-family: Arial,sans-serif; text-align: right;">24 - 27 || <span style="display: block; font-family: Arial,sans-serif; text-align: center;">D ||
 * <span style="display: block; font-family: Arial,sans-serif; text-align: right;">0 - 23 || <span style="display: block; font-family: Arial,sans-serif; text-align: center;">F ||