Ikuko Yoshida

Analyzing Japanese Society Through Online News (JPN4707.01)

This course is designed for students to deepen their understanding of Japanese society through the analysis of Japanese online news articles. Mass media is the reflection of a society and the mirror of a culture. Therefore, reading Japanese newspapers helps students to become more aware of the Japanese culture, which is reflected in newspaper articles.

In the first half of the term, students will examine Japanese society by reading online news articles from various contexts and practice various reading strategies. These reading strategies are introduced to help students become independent learners and to help them conduct research independently. In the second half of the term, students will choose one research topic from an area of their interest such as politics, art, and/or science. They will conduct their own research on Japanese society and write a Japanese online newspaper article for local Japanese people.

Joshua Higgason

Motion Capture: Interactivity (DRA4208.01)

This workshop is concerned with investigating the interaction of projected manipulated imagery with performers, motion, and space and its use in performance. Using Watchout, a multi-display production software, and utilizing various other tools such as live cameras, animations, motion sensing input devices, and real-world inputs, students will investigate the integration of live performance and multimedia design.

Integrating ways to use live video within a performance or installation will be experimented with, including real-time manipulation, tracking, and projections on a variety of surfaces, static and in action.

Investigation will center on how projections alter the reality of what they are projected on and our perception of what is real.

Corequisites: Occasional labs will be Mondays 6:30 – 8:20pm.

Joshua Higgason

Manipulating the Projected Image (Canceled)

***This course has been combined with Motion Capture: Interactivity (DRA4208.01).***

This workshop for faculty and students is concerned with investigating the interaction of projected manipulated imagery with performers, motion, and space using Pandoras Box and Widget Designer.

Investigation will center on how projections alter the reality of what they are projected on and our perception of what is real.

Integrating ways to use live video within a performance or installation will be experimented with, including real-time manipulation, tracking, and projections on a variety of surfaces – static and in action.

Emphasis will be on participants projects in design, video/animation, and performance. Participants will be expected to work in a collaborative and workshop environment.

There will be an occasional workshop on Monday evenings 6:30pm – 7:30pm.

This course will be offered the first seven weeks of term.

Carol Stakenas

A Survey of Avant-Garde Exhibitions (VA2109.01)

*** New faculty and updated description ***

This course will examine a selection of art exhibitions in Europe and the United States from the middle of the 19th century to the early 2000s. The course will focus on controversial exhibitions associated with individuals and movements such as Gustave Courbet, Edouard Manet, Impressionism, Fauvism, the Armory Show, Alfred Stieglitz, German Expressionism, Surrealism, Dadaism, the Bauhaus, Marcel Duchamp, Peggy Guggenheim, Andy Warhol, Womanhouse and others. It will consider how exhibitions are not only reflections of artistic life but shaped by political, social and cultural forces that have, over time, affected the history of modern art. Building on this historical base, the course will include discussions about contemporary exhibitions and art projects, specifically considering the globalization of art fostered by commercial and institutional enterprises such as the Guggenheim Museum, Venice Biennale as well as the Getty’s Pacific Standard Time initiative.

Carol Stakenas

Rules of Engagement: Art & Curatorial Practices that Animate the Public Realm (VA4122.01)

This seminar investigates the creation and curation of contemporary art in the public realm from the 1960s to present day through the work of a range of artists from Allan Kaprow, Border Arts Workshop, Adrian Piper, Group Material, Suzanne Lacy and Mel Chin to Wafaa Bilal, Blast Theory, Andrea Fraser, Jeanne van Heeswijk, Pablo Helguera, Ultra-red and more. The class will address the various ways that curators, organizations and funders work to bring together artists and audiences in the public realm by looking at the work of curator Mary Jane Jacob and her landmark project “Culture in Action”, Okwui Enwezor’s Documenta 11 as well as the long term work of Creative Time, the Queens Museum and Appal Shop.

Core areas of investigation include projects that emerge from situation, circumstance and event, models for public engagement including social practice, institutional critique, cross sector collaborations with urban planning, architecture and design as well as engaging controversy and managing conflict.

“Rules of Engagement” is intended for those interested in considering an expanded field of roles to be played in the contemporary art world within and beyond of the highly visible international art market. Class time will be devoted to lectures, screenings, discussions of weekly readings, as well as both team-based and individual presentations.

Aysha Peltz

Beginning Potters Wheel (CER2107.02)

This class is an introduction to using the potters wheel as a tool for generating clay forms with an emphasis on pottery making. While focusing on the development of throwing skills, students will explore various possibilities for assembling wheel-thrown elements and will experiment with both functional and non-functional formats. Students will be introduced to the whole ceramic process from wet working, to glazing and finally firing. Slide lectures and discussions will contribute to the projects.

Terry Creach; Kota Yamazaki

Projects: Dance (DAN4794.01)

For students with prior experience in dance composition involved in making work for performance. Attention will be given to all of the elements involved in composition and production, including collaborative aspects. Students are expected to show their work throughout stages of development, complete their projects and perform them to the public by the end of the term.

Corequisites: Dance Workshop (Thursday 7 – 8:30 pm), and Dance or Drama lab assignment.

Terry Creach; Kota Yamazaki

Senior Projects in Dance (DAN4796.01)

This is an essential course for seniors in dance involved in making work for performance this term.  Attention is given to all of the elements involved in composition and production, including collaborative aspects.  Students are expected to show their work throughout stages of development, complete their projects, and perform them to the public by the end of the term.

Corequisites: Dance Workshop (Thursday 7 – 8:30 pm), and Dance or Drama lab assignment.

Amy Grubb

Genocide and Mass Violence (POL4212.01)

With the recent debates over how the international community should respond to the use of chemical weapons in Syria, the horrific occurrence of mass murder of civilians in war is again brought to the forefront of public consciousness. The phenomenon of large-scale killings continues its plague on humanity, joining a huge list of tragic events that can be considered genocide. This course explores theoretical and empirical research on genocide and mass violence in order to understand its historical and contemporary occurrence. We examine the various conceptualizations of “genocide,” causal factors ranging from the psychological basis of individual participation to societal level conditions, and a range of historical episodes. Examples of topics include the definition of genocide, psychological and cultural factors, situational factors, political processes, state-sponsored murder, ethnic mass murder, and intervention. Students will research historical cases to present in class and write an analytical paper on their case or a comparison of cases.

Amy Grubb

Global Politics (POL2206.01)

Why do countries decide to go to war? What is the purpose of the United Nations? Does trade reduce poverty? Can international agreements help solve environmental problems? Why does genocide occur? This course introduces you to the major theories, concepts, and issues in international politics in order to understand and begin answering vital questions about our world. The course goes beyond examining relations between nation-states to focus on the globalizing aspect of the world system, asking how globalization processes may be changing the nature of politics. Through lectures, readings, discussions and group activities, this course is designed to help you become a more informed citizen of the world, lay a foundation of knowledge regarding the field of international politics, and provide the tools necessary to analyze today’s various global problems.

Elizabeth Coleman

CAPA Workshop: Rethinking Education (APA4208.01)

*** Time Change ***

We start with as deep and thoughtful an exploration as we can manage of what education should be, then look at what it is in order to take on the challenge of what it will take to close the gap between the two. We focus initially on the United States where its historic position as a model to the world with respect to public education has radically altered. Despite having a research establishment that is the envy of the world more than half of the American public does not believe in evolution. Outcries about global warming are ignored for decades. Indifference to the dire implications of a radical change in the world’s consumption of fossil fuels defies reason and sanity. Mastery of basic skills, and bare minimum of cultural literacy increasingly eludes vast numbers of our students. Schools are often experienced as cold, grim and lifeless places. The vital connection between education, democracy and a vibrant citizenship, once the bedrock of public education in this country, has atrophied making the perpetuation of that democracy increasingly precarious. The challenges of reversing these trends are sobering for sure, but that does not diminish the need to do so. Nothing approaches the capacity of education to transform possibilities for realizing a better life and a better world; there is a wealth of powerful ideas to be mined; the resourcefulness of the human imagination and intellect to change the world is formidable. The intent of this workshop is to focus those resources on this intriguing, and urgent issue.

Susie Ibarra

Cities Arts Forum (APA2117.01)

Cities Art Forum will explore and discuss the current trajectories of cities through the relationships and works of artists with cities. Cities have defined many artist’s work, while artists have also defined and help build cities. Art has transformed public spaces and created economic growth. It has provided a critical eye and ear for what is not being seen or heard. While collaborating with health programs and supporting children’s education, art also grapples with poverty, and speaks out on human rights issues. Art has demonstrated against violence and wars, interacted with media and technology, and provided experiences of great beauty. Art in cities continues to demand however loud or quiet cultural growth in preserving heritage and cutting the edge. Who are some of these artists and what do their works look and sound like? What are some of the creative methods? What are some of the examples of how the creative process has served as a change agent? What are some of the possibilities?

This Monday night series will include several guest speakers and performers in residence with Bennington during the spring term.

Michael Cohen

Conflict Resolution: The Ideas and Practice (MED2112.01)

*** Time Change ***

This course will present an interdisciplinary approach to the theory of conflict resolution. Theories of conflict resolution will be introduced and then explored through a number of different prisms.  These will include the nature of peace, the Arab-Israeli Conflict, the Bible, Rock ‘n Roll, the arts, and the environment. The course will culminate during its last two sessions with students sharing and discussing their own personal conflict resolution philosophy and statements.

Nicholas Brooke

Room Tone (MCO4106.01)

As part of the Room Tone Festival (mid-April), students will work on projects that explore the juncture of sound and space, listening and location. In this workshop, students will develop a location-specific toolkit with sound artist Michelle Nagai ’97. As a group, we will examine daily practices of observation, recording, and research. The end goal can be an installation, collaboration, or the chronicling of a daily practice, though students will be asked to share their work at the festival in late April. Students will be expected to do background readings, develop a wiki for communication and documentation, and collaborate with other students and artists. Students are expected to have previous work in sonic mediums and/or related arts.

This course will be offered the first seven weeks of the term.

John Kirk

Mountain Dulcimer (Lap Dulcimer) (MIN2224.01)

A comprehensive course on learning personal music making skills on the Mountain (aka Lap) Dulcimer. History of the Dulcimer and many different styles will be learned both traditional and contemporary. Music theory and playing techniques will be covered and students will be expected to perform ( as a group or individually) at Music Workshop.

Corequisites: Students must also participate in Music Workshop.

John Kirk

Ukulele Comprehensive (MIN2230.01)

A comprehensive course on learning personal music making skills on the ukulele. History of Uke and many different styles will be learned both traditional and contemporary. Music theory and playing techniques will be covered and students will be expected to perform ( as a group or individually) at Music Workshop.

Corequisites: Students must participate in Music Workshop.

David De Simone

Environmental Geology (ES2102.01)

This course will focus on the planets internal and surficial processes and how they both affect humans and are impacted by humans. The scope of environmental geology is broad and represents applied geology in a very practical sense. A basic understanding of minerals, rocks & the modern plate tectonics paradigm is the foundation for appreciating internal processes and such hazards as earthquakes & volcanism. Properties of minerals & rocks affect surficial processes such as weathering, erosion and the formation of soil. Hydrologic processes in ground and surface waters and the contamination of soil, sediment and water resources will be studied using local case studies from the Instructors files. Flooding and flood control along nearby rivers will be closely examined. There will be a mixture of lectures, indoor lab-type exercises and outdoor local field exercises.

Leon Rothenberg

Basic Design Techniques of Theatrical Sound (DRA2245.01)

Over four intensive sessions we will discuss the creative process of designing sound for plays and will look at the hardware and software tools used to express these designs. In the first two classes students will be introduced to the recording, editing and mixing techniques used in preparing music and sounds for theatrical productions. In the second weekend we will look at basic theatrical sound playback and reinforcement systems and examine how we approach programming our recorded sources for use in dramatic productions. After the introductory session, members of the class will have access to the Greenwall sound design studio for their projects throughout the term.

This course will meet on over three weekends. Saturday, March 1, 2:00 – 6:00pm and Sunday, March 2, 12:00 – 3:00pm and Sunday, March 9, 1:00 – 5:00pm and Sunday, March 16, 1:00 – 4:00pm.

Mary Lum

Library City: A New Atlas for Crossett (VA4109.01)

This course will inhabit the library as a 21st century city of knowledge. After introductory lectures and readings about contemporary cities and libraries, students will spend the term mapping highly individual paths of research through the collections of Crossett Library. Intensive directed reading and looking, will result in the creation of written and visual essays, through which relationships will be built between a range of subjects and forms. Each student’s inquiry will be iterative, and research methods idiosyncratic. The results of this research will take form in small books and zines, made regularly throughout the course, and weekly group discussions of findings. In the way that much research today contains many voices, a collaborative atlas of the Crossett Library/city will be made, in addition to the individual bodies of work. Students taking this course should be highly self-motivated, curious, have a good familiarity with image making, and be ready to read, write/make and speak weekly.

Stephen Shapiro

Latin: Katabasis (FLE4326.01)

This intermediate Latin course will examine the theme of katabasis — descent into the underworld. Special attention will be paid to book six of Virgil’s Aeneid and its relationship to Homeric precedents. We will read selections from Ovid (Orpheus and Eurydice) and examine Lucretius’ philosophical vision in De rerum natura. Lucan’s unique adaptation of epic katabsis in the Pharsalia will serve as a basis for a consideration of epic’s transformation in the Silver Age. We will conclude by looking at katabasis in European literature, particularly in Dante. Grammar review, vocabulary development, and the fundamentals of Latin metrics will be important focus points.

Stephen Shapiro

Paris on Screen: Tradition and Modernity (FRE4117.01)

In this course, we will study the representation of the city of Paris on film in order to examine modernity’s challenges to tradition. In particular, we will focus on the question of how urban communities and city dwellers react to increasing disconnectedness, anonymity, and solitude. Films will include Le Fabuleux destin d’Amelie Poulain, La Haine, Chacun cherche son chat Paris, Playtime, and Paris, je t’aime. Class discussions, activities, written assignments, and oral presentations will allow students to improve their linguistic proficiency and analytical skills. Conducted in French. Intermediate-low level.

Stephen Shapiro

Absolutism and its Discontents (FRE4715.01)

This course will examine the relationship between cultural forms (architecture, garden design, art, music, opera, ballet, literature, etc.) and power at the court of Louis XIV.  We will focus our attentions on primary texts and cultural artifacts from the period while examining modern perspectives (including film) on the Golden Age of French Classicism at Versailles. We will also examine the counterculture that questioned the royal cultural machine in order to place the monolithic century of Louis XIV in a new perspective.  Our study of seventeenth-century France will draw us into important contemporary debates concerning the relationship between art and power as well as dissent and public action. Conducted in French. Advanced level.

David Edelman

Stimulus, Sensation, and the Brain: Psychophysical Investigations of Perception (BIO4126.01)

How do animals extract information that is critical for survival from an often complex and ambiguous world? When an octopus sees a crab, what features and behaviors of that crab are capturing the octopus attention? How can we investigate sensory percepts in animals that cant report those percepts to us via natural language? What are the neural correlates of perception?
In this course, well cover the foundations of the science of psychophysics, which seeks to identify the relationship between the physical world and the sensory percepts informed by that world. Well explore experimental design and review psychophysical studies of perception in humans and a variety of non-human animals. Finally, we’ll deploy simple psychophysical experiments in the lab to investigate certain fundamental aspects of visual perception in a large-brained marine invertebrate: the octopus.

Andrew McIntyre

Mathematics of Fundamental Laws (MAT4120.01)

This is a course in advanced calculus, including vector calculus (div, grad, curl), ordinary differential equations, and partial differential equations. The goal is to learn enough mathematics to understand the formulation of the fundamental physical laws, and their most important solutions: Newtons laws and planetary motion; Maxwells laws and electromagnetic waves; Einstein’s special relativity and the energy-mass relation; and Schroedingers equation in quantum mechanics and the structure of the hydrogen atom. This is an ambitious list of topics to cover in one term; we will manage it by skipping over any mathematics that does not lead directly to the goal. We will also skip over any subtleties of real life physics, to concentrate on the mathematics of the idealized equations.

Music Faculty

Music Workshop (MUS2001.01)

Workshop provides a weekly student-led forum for students to perform prepared works and/ or present their compositions, and receive feedback from the music faculty, instrumental teachers, and students. In addition, lectures and performances will be presented by the music faculty and occasional visiting artists.

Corequisites: Students taking performance classes are requested to show work during the term at Music Workshop. Students choosing Music as a primary area of study are expected to attend regularly.

Noelle Rouxel-Cubberly

Insider Perspectives on the Francophone World II (FRE2104.01)

Viewed from the outside, the French-speaking world offers enticing images of beauty, pleasure, and freedom. From the inside, however, it is a complicated, often contradictory world where implicit codes and values shape the most basic aspects of daily life. This course will give you an insider’s perspective on a cultural and communicative system whose ideas, customs, and belief systems are surprisingly different from your own. Together, we will examine how daily life and activities reflect culturally specific ideologies and values. Emphasis will be placed on developing ease, fluency, and sophistication in oral and written expression. Class will be conducted in French and revolve around authentic materials from the Francophone world (video, music, advertisements, literary texts). Conducted in French. Introductory level.

Noelle Rouxel-Cubberly

Chocolat (FRE4223.01)

Introduced in France after a complex trajectory from the New World, chocolate constituted, when it arrived in Paris, a medical and cultural catalyst for the French seventeenth-century aristocracy and haute-bourgeoisie. In this course, students will explore the economic, historical, social, political, artistic and cultural legacy of chocolate production and consumption in French-speaking contexts to understand how the “food of the gods” has shaped societies throughout the world. Students will hone their linguistic skills using films, videos, literary excerpts, ads, and articles. Written assignments, oral presentations will help develop students their listening and speaking, reading and writing as well as their critical skills. Conducted in French. Intermediate-high level.

Noelle Rouxel-Cubberly

Your French Films (FRE2112.01)

Never seen a Godard film? You couldn’t name a French female filmmaker? You wonder what French-speaking Arabic films look like? In this exploratory course on French cinema, each student will select, with the help of the instructor, the film they want to include in the syllabus. Critique and theoretical readings will be included in the analysis of the films. Group work and scene analysis as well as work on cultural specificities will allow students to shape their understanding of French cinema in its cultural context. Some French preferred. Conducted in English.

Among the films suggested: Zéro de conduite, Un chien andalou, Boudu sauvé des eaux, A bout de soufflé, Les 400 coups, Mon Oncle, Trafic, Bled Number One, La Noire de …, Les Plages d’Agnès, Prête-moi ta main, L’Emploi du temps, Mon Oncle d’Amérique, White Material, De l’autre côté, Bab el Oued City, White Material, La Folie Almeyer, Xala

Yoko Inoue

Social Life of Sculpture (SCU4106.01)

This class aims to explore opportunities for making and locating sculpture in a broader socio-cultural context. In-class presentations and discussions are structured to identify important examples of contemporary art practice and serve as a platform for the exchange of ideas and debate. Students will pursue projects that expand considerations of public audience engagement. We will investigate various approaches including public service, distribution, object dispatch, wearable sculpture, performative work, site-specific temporary structure and mobile phenomena, among others.

While exercising material experimentation and learning inter-disciplinary practices, students are encouraged to work collaboratively and to develop strategies to pursue off-campus projects.

Barbara Alfano

Italian Genius Through the Centuries (ITA2110.01)

This course will be taught in English.

The course focuses on a few accomplishments of the Italian genius that have had a strong impact on the development of world civilization. Italy as a nation did not exist either when the city of Cremona produced the first violins, or when Michelangelo painted the Sistine Chapel. There was no Italy as such when Dante was imagining his “Italia,” nor when Da Vinci painted La gioconda. The nation had existed only for twenty years when Carlo Collodi set out to write Pinocchio in 1881 — not all Italian children could understand his language. Yet, for centuries the world had had no doubt about who and what was Italian.

We will explore the lives and works of figures recognized and acclaimed world wide, and the Italy(ies) they lived in; particular attention will be given to the Renaissance. The following is only a short list of the personalities with whom we will get acquainted: Dante and Boccaccio (literature), Monteverdi (music), Brunelleschi (architecture), Leonardo Da Vinci (arts and sciences), Saint Francis of Assisi and Saint Catherine of Siena (religious activism), Saint Thomas Aquinae (philosophy), The Medici family (artistic patronage and the banking system in the Renaissance), Federico Fellini (film), Dario Fo (Nobel for literature), Maria Montessori (pedagogy), Rita Levi-Montalcini (Nobel for medicine).

David Bond

The Social Life of Crude Oil (ANT4118.01)

Crude oil keeps the contemporary in motion. This basic fact has become as bland a platitude as it is an unexamined process. From plastic bags to electricity, from synthetic fertilizers to the passenger plane, from heat for our homes to fuel for our cars, our world is cultivated, packaged, transported, and consumed in the general momentum of hydrocarbon expenditures. These well-worn facts are so ingrained in our everyday lives that they rarely rise to the level of sustained scrutiny. This seminar aims to change that. Over the course the semester, we will work out a more deliberate, a more vivid, and a more critical anthropology of crude oil. This means taking what crude oil does as seriously as what is done with crude oil. In this course, we will learn about the basic shape of crude oils formation, refinement, and combustion. We will read different perspectives on hydrocarbon development, hearing from company workers, environmental scientists, and impacted local communities. And we will reflect more critically on the social worlds of crude oil: the tangle and tenure of hydrocarbon infrastructure, the ways and means of hydrocarbon pollution, and the technical domains of knowledge and governance authorized by hydrocarbon development like the economy and the environment.

David Bond

How to Study a Disaster (ANT2136.01)

Disasters loom large in the contemporary. In films and front-page news, images of societies splintering apart proliferate. Surely one of the most remarkable things about social life in the present is the ease with which we can conjure up its spectacular destruction. The point of this seminar is to take disaster seriously. We will do this both by reviewing historical and ethnographic accounts of actual events of profound disruption and by reflecting on how knowledge of disaster moves through pubic policy, critical theory, and big-budget entertainment. Taking a close look at the Dust Bowl, nuclear weapon tests, DDT, Chernobyl, Hurricane Katrina, the BP Oil Spill, Fukushima, and global climate change, we will learn about the technical, ecological, and social dimensions of real disasters. Taking a step back, we will follow images and ideas of disaster as they emerge from such events and move into problems of governance, questions of power, and popular representations of the very fragility of social life. Most readings will be in anthropology with a few fieldtrips into environmental history and science and technology studies.

Paul Voice

Topics in Applied Philosophy: Privacy (PHI2126.01)

Privacy has long been regarded as important and yet claims to privacy have been frequently challenged and often overridden by political, economic, and technological considerations. Do we have a right to privacy? If so, what is its philosophical justification and what essential human goods and capacities does it protect? In what circumstances and for what reasons can we be asked to forfeit our privacy? This course examines these questions via a close reading of the philosophical literature.

This course will be offered the first seven weeks of term.

Dan Hofstadter

Turgenev and Flaubert (LIT4204.01)

Ivan Sergeyevich Turgenev (1818-1883), the great Russian novelist, left his homeland in 1854 and spent most of the rest of his life in Paris, where he died. Though he wrote in Russian, he was also a writer of pan-European cultural connections, his closest friends being Pauline (García) Viardot, a distinguished Spanish-born opera singer and composer, and Gustave Flaubert (1821-1880), the novelist. Our study is devoted to Turgenev and Flaubert in the belief that their ideas about technique, their personal papers, their shared values – and also their conflicts – illuminate both figures. The major works of the two friends will be closely read, as well as diaries, literary reviews, and correspondence, including Flaubert’s letters to Louise Colet, in which he discusses the composition of Madame Bovary, and his exchange with George Sand, the central female writer of the period.

Dan Hofstadter

Greek Historians as Literature (LIT4187.01)

Precisely where the accounts of the major Greek historians stand in relation to fact is a matter of massive, ongoing scholarly inquiry. However that may be, the works of Herodotus, Thucydides, and Plutarch have always been regarded as brilliant contributions to literary art, albeit in different ways. Herodotus is a raconteur, venturing into the realm of folktale, fantasy, and homespun ethnography. Thucydides (whom we might call a journalist) reconstructs diplomatic overtures and public speeches, fashioning thereby not only a picture of the doubts and ethical quandaries of people in conflict but also a subtle portrait of himself. Plutarch, coming much later, studies character, notably in the case of Alcibiades, the intellectual general whose interests, or vanity, or ideals led him to switch sides in wartime. How is truth established in such accounts? Who is to be believed? How is a story-telling style maintained, and how does it help or undermine the writer’s authority? Influential texts by such authors as Sophocles and Plato will also be discussed, especially those bearing on clashes between the citizen and the state.

Jason Middlebrook

Projects in Sculpture: Making it Personal (SCU4797.01)

The question is what do you want to say? As we develop our interests in sculpture it becomes more and more imperative to find our own voice. The role of the artist is to interpret personal conditions and experiences and find the most affecting expression for them. This course provides the opportunity for a self-directed study in sculpture. Students are expected to produce a significant amount of work outside of regular class meetings. The goal is for students to become fully versed in the issues that define traditional and contemporary sculpture. Regular individual and bi-weekly group critiques will be complemented by student presentations of issues pertaining to their work. Students will be expected to attend field trips to museums and galleries. A final exhibition and a self-evaluation are required.

Barry Bartlett; Guy Snover

The Language of Material and Process through Analog/ Digital Investigation (CER4250.01)

This course will investigate the unique material nature of clay by integrating digital tools and concepts. A paradigm shift occurs when a robot replaces the hand and a 3D digital model replaces the sketch.  A Cartesian robot moves in three-dimensional space, but giving this movement purpose is still the job of an artist. We will look at applying computer-controlled robots towards the formation of ceramic objects. Investigation will cover 3D printing with wet slip extrusion, 3D printed objects to cast ceramic through traditional plaster molds, CNC carved plaster molds and laser etching into glaze surfaces. Rhino 3D modeling will complement each process.

Annabel Davis-Goff

Incarceration in America (APA2108.01)

7 million Americans are under correctional supervision. The United States of America has the highest documented rate of incarceration in the world. Too many people are in prison, and in many cases the current system doesn’t work. It is inefficient, inhumane, and does not accomplish rehabilitation. It also costs too much – financially as well as in terms of human suffering – the current $74 billion spent each year does not include either other incalculable associated costs or the far greater future resulting social and financial consequences.

There are alternatives and they work better and cost less. We will listen to experts on several aspects of incarceration, and will explore and discuss such questions as alternatives to incarceration, race and incarceration, drugs and incarceration, incarceration and the mentally ill, children of incarcerated parents, probation, and other alternatives to incarceration.

There will be at least one mandatory Thursday evening lecture. Students will write one essay and a number of papers.

This course will be offered the second seven weeks of term.

Michael Schweikardt

Demystifying Scenic Design (DRA2135.01)

Creating set designs for plays and musicals may seem like a great mystery, but the key to successful set design is always found in the authors original text. An understanding of that text is vital to creating an imaginative performance space that serves the storytelling. Once the essence of the original work is understood, the set designers creative process can begin. Students in this course will learn how to utilize the text to inspire their own set designs, through a series of group and individual creative projects. This is an introductory course in set design and is open to all students interested in the fundamental dynamics of theater.

Corequisites: Dance or drama lab assignment.

Terry Creach

Moving/ Forming/ Partnering (DAN2118.01)

This beginning level course is for any students interested and/or curious about the dance-making process, whether or not they have previous dance experience. We will first work to develop physical awareness and physical facility and work to unearth movement ideas, images, and memories. In the partnering practices we will deal with many of the same questions found in Contact Improvisation that involve touch, weight taking and giving, momentum, force, and trust, but we will also attend to the forms, images, meanings and metaphors that emerge and work to frame those interests. We will develop improvisational scores as well as set pieces – solos, duets, and group works – giving particular attention to partnering skills and collaborative processes. Projects will be shown in both theatrical and site-specific settings.

Corequisites: Dance Workshop (Thursdays 7:00-8:30 PM) and Dance or Drama Lab Assignment.

Kota Yamazaki

Dance Improvisation Ensemble (DAN4311.01)

For students with extensive experience with dance improvisation. Our practice will involve developing scores by the participants using both solo and ensemble forms. Students may then show their work-on-progress in Workshops and/or in public performances.

Karen Gover

Text Seminar: Plato’s Erotic Dialogues (PHI4128.01)

In this course we will study in close detail Plato’s two great dialogues on the subject of erotic love. In the first seven weeks, we will focus on The Symposium, and in the second seven weeks we will read The Phaedrus. Our engagement with the primary texts will be supplemented with readings on the history, cultural context, and interpretations of these works. In addition to the readings, writing assignments of different kinds and lengths will be assigned throughout the term, culminating in a substantial interpretive essay.

Ronald Cohen

Spaces, Places, and Identities (PSY4190.01)

“Spaces” have geographical coordinates, “places” are territories of meaning, and “identities” are the senses we have of ourselves and others. This course will examine links among these through (1) reading theory and research in several social science disciplines, (2) writing short essays, and (3) completing one or two research papers.

Robert Ransick

The Fine Art of Physical Computing (DA4261.01)

This course aims to extend our notions of the creative fine art potential of computers by exploring uses beyond standard mouse/keyboard/screen interaction. Moving away from these restrictions the course introduces students to basic electronics and programming an Arduino (microcontroller) to read sensors placed in physical objects or the environment. Projects are designed to provide students with basic skills that can be applied to creative projects. Idea development is a critical component of this course, along with readings, discussions, and the creation of individual and collaborative projects.

Hugh Crowl; Andrew Cencini

How to Build a Radio Telescope (PHY4203.01)

Astronomy has gained great insights from Radio Astronomy – details of star formation, the first evidence for Dark Matter, evidence for massive galactic central black holes, and star formation in the early universe are all examples of things we have learned from observations of radio light.

In this course, students will build an eight-foot radio telescope to be used in this (and future) courses. Students will learn enough radio astronomy, engineering, computational thinking, and computer programming to effectively build and operate a small radio telescope. Some previous experience with astronomy, electronics, and/or programming is expected.

This class will only be offered as pass/ fail.

John Umphlett; Guy Snover

Field Research of Closed Cells – Part 2 (SCU4119.01)

This class will be fabricating a large inflatable structure (ultimate synthesis of the first seven weeks). The first two classes will be dedicated to critical discussions on form, membrane properties, and the final showing environment. The chosen form will be digitized and the 3D model will be used to leverage logistics of the large form and patterning. The digital model will then be transferred to an analog construction process. The size and complexity of the large cell will be a function of student participation. The more fabricators we have, the bigger we go. This intensive compilation of group research and collaborative manufacturing will culminate in a public celebration of the cell at the end of term.

This course will be offered the second seven weeks of term.

John Umphlett; Guy Snover

Field Research of Closed Cells – Part 1 (SCU2119.01)

This class will push the envelope of closed membrane structure design. A membrane is more than an impermeable skin; it can selectively filter particles, chemicals, light, sound, and smell. A balloon has an expandable latex surface easily manipulated by air and water pressure. However, a rigid fabric material that has a less forgiving response to pressure forced on its walls affords more control of form through the fabrication methods within its structure. What is the process to develop a form with an inner structure that primarily exists as an environment shifted slightly from its exterior? In the prototyping stages, it will be important to experiment in the regulation of these pressures along with changes in the material structure of the forms themselves.

The first seven weeks will be focused primarily on hand building fabrication methods, including Origami folding, adaptive creasing, casting flexible materials, and welding methods for a variety of plastics. Along with understanding the material properties in practice, we will be researching pattern design and skinning techniques by using 3D modeling and digital fabrication techniques to push patterning beyond analog capabilities and to visualize forms. The final project is a result of all that was learned in the class and for each student to have designed and made a flexible space “cell”.

This course will be offered the first seven weeks of term.

Jonathan Kline

Big: Exploring Large Scale Photography (PHO4236.01)

Photographically derived imagery is increasingly seen in public spaces in addition to gallery and museum settings. This course offers students an opportunity to work with both digital and traditional means of attaining large scale photographs for installations in and out of doors. Through readings and presentations we will explore the issues of scale in contemporary photography both here in the United States and abroad. Students are expected to do presentations, assignments and a final project.

Each student will be offered the opportunity to generate 30×40″” black and white murals, 17″” wide digital prints from the Epson 3800, 20×24 fiber prints and 16×20 RC prints. The medium format and large format camera will be introduced, along with electronic flash and an introduction to scanning and image manipulation using Photoshop CS.

Ronald Cohen

Persons, Groups, and Environments (PSY2141.01)

We spend much of our time in the presence of others, and all of our time in particular spaces. In this course we’ll examine several psychological and sociological perspectives on social interaction, that is, how people think, feel, and act in the presence of others, and how the particular spaces in which interaction occurs affect social interaction. Attention will focus on issues such as obedience, disobedience, and authority; social perception and cognition; attributions of causality and responsibility; conformity and resistance; social and commons dilemmas; interaction as exchange and performance; and the consequences of various forms of social organization. Students write four papers on selected topics, one that analyzes original data they have collected. Students are expected to attend all classes, participate in occasional class?based research (both in?and outside of class), complete reading assignments for each class, conduct research for their papers, and submit four papers, three of approximately five pages and one of ten pages. Students will be evaluated on the basis of their participation in discussions and the four required papers.

Nicholas Brooke

Senior Projects (MPF4104.01)

Salon-style, seniors will meet to discuss advanced work, whether composition and performance related to senior concerts or other culminating work. Critical exchange and support between salon members is required, along with practical help in planning productions. Students must submit their proposed spring schedules to Nick Brooke by November 13 for schedule coordination.

Corequisites: Students must also participate in Music Workshop Tuesdays 6:30-8:00pm.

Elizabeth Sherman; Janet Foley

Field Course in Coral Reef Science (BIO4239.01)

The biodiversity of coral reefs has been declining rapidly in the last 20 years due in large part to human activities. In this field course students will have an opportunity to confront this problem directly and contribute to our understanding of reef biodiversity. This course will take place on the island of Grand Cayman, British West Indies (Latitude 18 23′ N, Longitude 81 24′ W) for one week during January or February of 2014. Students will have an opportunity to become certified scuba divers and gain first hand experience with the taxonomy, identification and characteristics of the animals that live in coral reefs as they dive and snorkel in the extraordinary fringing reefs of Grand Cayman. Students will also engage in underwater research and contribute fish diversity data to an international repository for such data.

This course will be offered over FWT (January 4 – February 11, 2014). Interested students should register for this course in spring 2013; credits earned will count towards the credit requirements for spring 2014. Registered students will receive a partial waiver for the number of hours normally required during FWT, and will be expected to work a minimum of 160 hours (at least 140 at a primary site) during FWT 2014.

Donald Sherefkin; Dan Hofstadter

Drawing Intensive Rome – FWT 2014 (AH4309.01)

Dan Hofstadter and Donald Sherefkin will be offering a three week drawing intensive in Rome, Italy for FWT 2014. The focus of the studio will be the art and architecture of Rome. Mornings will be spent doing on-site sketching, and afternoon studio sessions will be organized around specific workshops.

The cost of the class is still being calculated, but will be around $2,726. This does not include airfare or meals in Rome. This covers airport transfers, 20 nights in an apartment shared with classmates, trips to Tivoli and Ostia, plus the use of an architecture studio at the University of Arkansas Rome Center. There is a Wi-Fi in the studio. It also covers up to $200 for entry fees.

This course will be offered over FWT. Interested students should register for this course in spring 2013; credits earned will count towards the credit requirements for spring 2014. Contact Donald Sherefkin for course details. (Note: Registered students who are eligible will receive a partial waiver for the number of hours normally required during FWT. Please contact the FWT Office for details.)

Elizabeth White

Exploring the White Cube: A New York Intensive (VA4125.01)

This class will meet weekly to explore contemporary art exhibitions in New York. We will visit commercial galleries and non-profit art spaces in Midtown, Chelsea, the Lower East Side, and Brooklyn, as well as major museums. Relevant readings will be assigned and short response papers will be required. Students will be responsible for their own expenses, including transportation and museum admissions, however efforts will be made to keep admission costs at a minimum. Additional exhibitions, events, and performances will be recommended.

This course will be offered over FWT (January 2 – February 14, 2014). Interested students should register for this course in spring 2013; credits earned will count towards the credit requirements for spring 2014. Registered students will receive a partial waiver for the number of hours normally required during FWT, and will be expected to work a minimum of 126 hours at a primary site during FWT 2014.

Guy Snover

Introduction to Rhino 3-D Modeling (SCU2112.01)

Rhino 3D Modeling is a foundation course in Rhinoceros modeling software. Rhinoceros, used by architects, artists, and designers, is now standard software for anyone modeling three-dimensional form.  As an accurate and flexible tool, Rhino provides users with workflows for solid modeling, polygonal modeling, and organic NURBS surface modeling. This course covers a broad range of modeling techniques and lays a strong foundation for continued work in 3D modeling. Students complete predefined modeling tasks, as well as create original works of their own design. The term will culminate with a final project that is fully modeled in Rhino and fabricated using laser cutting and 3D printing.

Kota Yamazaki

Dance Performance Project: “Here, There, and Where” (DAN4213.01)

This performance project examines contradicting or opposing movement qualities, such as stillness/activity and fluidity/awkwardness, in both pedestrian and technical movements. Using delicate images to heighten perception, we will explore the sense of time and space as experienced internally (i.e. with memories) as well as the sense of time and space experienced externally.

Materials will be developed and composed by both the instructor and the participants in the rehearsals scheduled twice a week in the first seven weeks, and then these materials will be refined for a public performance during the second half of the term.

This course will be held the first seven weeks of term with a public performance during the second half.

Daniel Roberts

Dance Performance Project: “Further Afield” (DAN4205.01)

For this performance project, Roberts will be making and teaching movement material, and experimenting with solo, duet, and group forms. The dancers will play an integral part in the shaping of dynamics and phrasing of the piece, working throughout to develop their performance of set material. Coaching will focus on individual musicality and phrasing, ‘group timing,’ and rhythmic scores. The class will take place twice a week during the first 7 weeks, with brush-up rehearsal to be scheduled prior to performance.

This class will be held the first seven weeks of term.

Elliot Caplan

Working with Movement: Cinema & Dance (DAN2116.01)

A hands-on seminar conducted by Elliot Caplan to teach film/video and digital arts as collaborative tools for exploration of movement in dance, theatre, and the visual arts. It is intended for those interested in developing their aesthetic of the moving image rather than learning primarily the technical aspects of filmmaking.

We work to clarify space in the frame. The dynamic of the process is informed by observation and utilization of both small and large detail in the natural world. Movement of the body provides the context.

Utilizing moving camera exercises, combined with selected film screenings and photographic and painting examples, students will have the opportunity to explore and refine their own visual sensibilities. Camera instruction will be integrated with charcoal drawing to more clearly and quickly illustrate visual points discussed in class.

Students will work through a series of assignments using learned camera techniques to develop a new skill set, which can be applied toward the making of their own work.Lectures on filmic ideas, art history and contemporary thinking will be given weekly. Student work will be screened and critiqued.

Michael Giannitti

Drama Faculty Production: Backstage (DRA4179.01)

Working back stage on the Drama Faculty production provides an opportunity to learn what is involved in putting on a performance, and to observe the creative process of the director, designers and actors first hand. Students will fill a role through the week of technical rehearsals and performances, either as general run crew, light or sound board operator, or wardrobe crew, and will be expected to submit a journal reflecting on the experience at the conclusion of the production.

The Spring 2014 production will be HOW WATER BEHAVES by Sherry Kramer, directed by DIna Janis. The approximate schedule will be: April 28-May 1 (Mon-Thurs) 6:30-11:30 pm; May 2-3 (Fri-Sat) 6:30-10:30 pm; May 4 (Sun) 6:30-11:30 pm. It is likely that a few additional sessions will be scheduled during the preceding week. ALL PARTICIPANTS MUST BE AVAILABLE AT ALL OF THE TIMES LISTED ABOVE. This course will meet intensively during the times listed, and not for the entire term. Taking this course will fulfill any drama or dance lab requirement.

No previous technical theater experience is required.

Robin Kemkes

Redefining Economic Development (PEC4103.01)

Using both theory and empirical analysis, this course will explore the diversity of economic progress across developing nations, confront existing challenges and consider multiple perspectives on desirable policy approaches. We will begin with an introduction to traditional measures of development including income, health and education, followed by a comparison of domestic policies on poverty, inequality, social welfare and trends in rural-urban migration and the informal sector. We will address questions such as: Why have the Millenium Development Goals remained elusive, and what comes next? What role do women play in economic development? How are resource endowments leveraged? The second half of the semester will be devoted to an analysis of the limitations of traditional measures of development, particularly Gross Domestic Product as a measure of progress. From there, the course will explore new views on development, including the capabilities approach, measures of happiness, sustainability and related alternative indicators. This course entails a significant quantitative component. Students will be expected to retrieve, interpret and present economic data on a country of their choice.

Robin Kemkes

Communities and the Environment (PEC2112.01)

From the Himalayas to Mexico to New England communities past and present have served as stewards of the forests, fisheries and water resources upon which they depend for their livelihoods. This course will explore how communities retain, regain or form new governance structures for managing critical natural resources. We will begin by introducing a theoretical basis for institutional arrangements for community management. Thereafter, we will reflect on questions such as: What makes community? What role do ethnicity, gender and state play in community management? What are the local heterogeneities in community structures? Throughout the course, we will consider a variety of community management regimes and their broader institutional settings, including the history of community forest management in New England, India’s Joint Implementation program and Mexico’s government-supported community timber enterprises; fisheries management in Japan and Chile and by First Nations in British Columbia; and acequias in the American southwest. We will assess whether cases achieve ecological integrity, poverty alleviation and equitable distribution. Finally, the course will analyze U.S. policies and international programs that support or inhibit community management.

Andrew Cencini; Guy Snover

Systemic & Generative Visual Investigations (CS4160.01)

What is possible when the work of art is a computational system and the means of production are robotic? This advanced computation course will lead students from abstract computational structures to physical two and three dimensional forms. The conceptual artist Sol Lewitt stated, “The system is the work of art; the visual work of art is the proof of the System.” Our platform will be to drive the NURBS modeling software Rhino using Python. Automating Rhino through Python is new, but well documented. Our research will add to the field and be made public. We will conduct a series of framed exercises with 2D and 3D digital outputs including CNC drawing, laser cutting, 3D printing, and digital projection. Students are expected to creatively respond to project conditions and undertake self-directed research to realize their artistic goals.

Terry Creach

Graduate Research in Dance (DAN5305.01)

This class is designed for MFA students to show works-in-progress, try out ideas with their colleagues, and discuss issues involved in the development of new work. The weekly format is determined with the students. Outside of class, students develop their own independent creative projects that will be presented to the public, either formally or informally, by the end of the term.

Corequisites: Dance Workshop (Thursday 7 – 8:30 pm).

Terry Creach

Movement Practice: Yoga, Gymnastics, and Dance (DAN2213.01)

For students interested in “moving-through” or flowing yoga asanas informed by attention to alignment, along with basic gymnastic floor-exercise skills that deal with momentum and more complex coordinated actions. We will warm-up with the stretching/strengthening poses and sequences from yoga and apply the alignment principles to rolls, handstands, and cartwheels in order to build gymnastic dance sequences.

Julie Last

Beginning Workshop in Recording (MSR2152.01)

Each class will have a discussion of a particular aspect of the music-recording process and a hands-on working session illustrating the focus of that class. Classes will include an introduction to Pro Tools computer audio recording, basic recording acoustics, microphone theory and technique, audio signal path, tonal and dynamic control, and creating spatial ambience. Assignments will be geared toward gaining hands-on familiarity with the areas covered while approaching recording as a creative process.

Janis Young

Masks (DRA4331.01)

Masks’ is dedicated to the opening up of physical and vocal expression. To further that goal, this advanced performance class works with several groups of masks. In general masks can be used to hide and reveal, to disguise and transform, to attract, arouse and fire the imagination. Beginning with Jacques Lecoq’s neutral mask exercises involving economy of effort and Mexican mask improvisations, the work extends to personal clown statements and verse expression. The second half of the term branches into two parts: spontaneous build up of a fantasy community and careful development of two individual monologues taken from a medieval play, which focus on such personages as Pride, Mercy, Avarice, Envy and Truth. Storytelling combines selected physical gestures and medieval text in site-specific monologues.

Required: reading of a medieval play and selected hand outs, and development of source material.

Corequisites: Dance or Drama lab assignment.

 

Julie Last

Advanced Workshop in Recording (MSR4152.01)

Continuing studies in modern recording and production techniques. We will incorporate detail oriented listening and analysis of a variety of commercial and noncommercial recordings to discover technical and musical processes. All students will be expected to spend time in the studio each week and to bring works-in-progress to each class for listening and discussion. Members of the class will be expected to show work at Music Workshop.

Stephen Higa

Rediscovering Early American Vocal Music (MPF2203.01)

In this workshop, we will form a performance group to explore ancient Americana:  17th-century psalmody, shape-note music, Shaker chants, revival and gospel tunes, Victorian hymns, spirituals, music of California and the Southwest, etc.  Some of this music will come directly from forgotten, crumbling 19th-century songbooks, so we must resurrect this music quickly before it literally dissolves away!  Everyone must sing;  acoustic instruments are optional but welcome.  Ability to read music is helpful but not required.

Stephen Higa

Music of Medieval Spain (MPF2162.01)

In the Middle Ages, Spain was a fascinating confluence of Christian, Muslim, and Jewish cultures. At times antagonistic, at times cooperative, at times positively cozy, the chemistry between these three cultures was red-hot, gorgeous, and endlessly creative. In this course, we will form a medieval Spanish band to investigate medieval Spain’s musical traditions, particularly as revealed in the massive collection of songs known as the Cantigas de Santa Maria. Although we will focus on the Cantigas de Santa Maria, we will also look at sister traditions such as Hispano-Arabic song, troubadour song, and the secular cantigas de amigo. Everyone must sing; acoustic instruments are optional but welcome. A willingness to experiment with performance techniques for voices and instruments is necessary.

Internet access is also necessary for the course.

Stephen Higa

Medieval Ritual (MHI4132.01)

Music always has its context.  Sacred music would not “work” unless buttressed and enhanced by other sacred sounds as well as sacred sights, tastes, smells, places, gestures, texts, and objects.  In this course, we will place Christian music in its context by examining the various ritual, performative, sensual, interpretive, literary, and theological experiences that surrounded it.  In doing so, we will also come to understand sacred music’s larger context:  that is, the social, political, and economic forces that also contribute to making the music “work.”  Any study of ritual must involve performance (bodily knowledge).  So, in addition to reading and writing assignments, students will be asked to partake in performance work that engages with the topics and themes of the class.

Terry Creach

Graduate Assistantship in Dance (DAN5301.01)

Graduate students in Dance are integrated into the dance program as teaching assistants, production assistants or dance archival assistants. In consultation with their academic advisor and the dance faculty, MFA candidates develop an assistantship schedule of approximately ten hours weekly.

Prerequisites: Teaching Fellowship or Assistantship in Dance.

Susie Ibarra

Drums, Gongs and Bamboo (MPF2252.01)

Drums, Gongs and Bamboo is an introduction to Southeast and South Asian Percussion. This workshop will offer an overview and opportunity to listen to, learn and play percussion music from several countries in these regions. This ensemble will listen to, learn and adapt traditional music from countries such as Korea, Japan, Philippines, Indonesia, Tibet, Nepal, Bhutan, India, Iran.

Michael Wimberly

Space is the Place: The Music and Life of Sun Ra (MPF2146.01)

This course takes a look at the life of Herman Blount, a prolific jazz composer, pioneer of electronic music and creator of the Sun Ra Arkestra. Blount, aka Sun Ra, was quite controversial because of his eclectic music, “theatrical” live performances and unorthodox lifestyle. He claimed that he was of the “Angel Race” and not from Earth, but from Saturn (after experiencing an alien abduction). Sun Ra’s music touched on the entire history of jazz, from ragtime to swing and bebop to free-jazz.

Michael Wimberly

African Music Ensemble (MHI4134.01)

African Music Ensemble explores the music, drumming and songs of West Africa and Mozambique. This performance ensemble will explore traditional bala (West African xylophone), djembe, dundunba, kpanlogo, n’todje, shakere, and songs in Wolof, Manding, Yoruba.

Nicholas Brooke

The Key to Songs (MTH4419.01)

A seminar on advanced harmony, based on in-class analyses of a broad range of classical, pop, and jazz songs. Students will learn about chromaticism, pivot chords, modulation, and extended triadic harmonies, while composing songs in a variety of styles. Songwriters studied will include Mozart, Schubert, Mahler, Strauss, Weill, The Beatles, Radiohead, Gershwin, Monk, and other songwriters related to students’ interests. Students must have a good knowledge of notation and harmony, be willing to tackle in-depth harmonic analyses and aural transcriptions, and be eager to compose and perform new songs.

Elisabeth Goodman

Emerging Constitutional Issues in Environmental Law (ENV2208.01)

Lines are being drawn for a battle over who will control environmental problems now and in the future, and the U.S. Constitution is the ammunition.  Our Constitution has a profound influence on laws and policies that address the most pressing environmental issues of our time: climate change, species and biodiversity conservation, pollution control, sustainability, rights to a quality environment, individual property rights and liberty interests, to name a few. These environmental issues are molded by features of our federal Constitution, including the Commerce, Supremacy, Takings, and Due Process Clauses; the Tenth and Eleventh Amendments; and principles and doctrines such as standing, executive authority and federalism.  For a document that almost no one has read, everyone seems to have an opinion about the Constitution.  Through in-class analysis and discussion, individual research and writing, and reading cases, legal analysis, and current reports, we will endeavor to understand and be prepared to take part in this national debate.

Donald Sherefkin

Nature and Artifice – A History of Architecture (ARC2112.01)

Because architecture seeks to establish a degree of permanence in the world, it is by definition, not natural, a work of human artifice. But our structures are very much of the earth, and the history of architecture is a record of the manifold ways in which cultures have understood, and responded to, their relationship to nature.

This course will explore the ways in which the natural world has been interpereted and modeled through slides and lectures. Weekly readings on the history of architecture are required. Students will be expected to participate in class discussion. Weekly responses to the readings are required, in addition to a comprehesive final presentation.

Kathryn Montovan

Statistics and Their Presentation (MAT2236.01)

Statistics is the art of finding meaning in spite of unavoidable uncertainties. Statistics is an important part of modern society — with politicians, businessmen, economists, and all kinds of scientists depending on statistics and statistical models to estimate and confirm patterns within their data. In this course, we will focus on using basic statistical methods to understand data-sets and presenting the results to others. We will use regression, correlation analysis, probability and inference, and ANOVA testing to analyse real data sets. For each statistical method, we will develop clear ways to present our results and practice communicating these results in writing and presentations. This is an introductory course. No formal prerequisites are required, but a comfort/ ability with mathematics including algebra is a necessity.

Peter Jones
John Gould

Through Syntax to Style: A Grammar of Writing (LIT2169.01)

“Syntax” is the aspect of grammar concerned with the relationships of words in a language, with how they fit together to create meaning.  By exploring various English syntactical structures, we will discover a variety of ways to combine the same words to say slightly different things.  The course will rely heavily on the linguistic work of Noam Chomsky.  We will write a number of short, pithy essays in which syntax and punctuation will make a great difference.  The ability to control syntax is critical for all writing, both expository and, more importantly, creative.

This course will be offered the second seven weeks of term.

Kelli Horton
Kelli Horton
Polly van der Linde
Yoshiko Sato
Camille Guthrie

The Scriptorium: Ekphrasis (LIT2225.01)

Defined as a “place for writing,” our scriptorium will function as a class to explore the many manifestations of ekphrasis, which can be simply defined as an artistic description of a work of art, a rhetorical device in which one medium of art responds to another. In this writing-intensive course, we will study examples of ekphrasis—from the Classical era to Postmodernism—and create our own responses to works of art. While we develop our reading and writing skills, we will learn new ways to do research, integrate evidence, and argue a persuasive thesis. We will ask ourselves these pressing questions: In which ways can we accurately and imaginatively describe a work of art? How can we capture a work’s meaning, form, and effect on the audience? What are the conflicts and possibilities between literature and the visual arts? Texts may include readings from Homer, Ovid, Freud, Keats, Shelley, Wilde, Rilke, Auden, Williams, Loy, Stevens, Barthes, Ashbery, Sontag, Young.

Peter Jones

Sociolinguistic Voices: Identities in Text and Talk (EDU2120.01)

Identity has become an inevitable concept in social theory. Theorizing identity and examining how identity becomes relevant in communication contributes to understanding power, culture and agency. This course looks into identity from a sociolinguistic perspective, where identities are seen as coming into being through semiotic practices entailing gender, ethnicity and class, as well as emergent blends that may have enduring consequences. We look into how identities may be generated, ratified, reformulated or resisted using tools drawn from a range of approaches to talk, text and other semiotic modes, including interactional sociolinguistics and micro-ethnography. Course projects can focus on identity work in a range of contexts, including schooling.

Peter Pagnucco

Conflict Confident (MOD2143.02)

Conflict is a natural and inevitable part of life. How we deal with it can make all the difference. This course is designed to impact fundamental skills necessary for individuals to productively engage conflict: in short, to become conflict confident. Major themes will include: an effective intellectual approach to techniques. Students will participate in role plays and other exercises, read classic texts and prepare a project or reflection essay.

This course will be held Tuesday, March 18 – Friday, April 4.

Peter Pagnucco

Advanced Mediation (MOD4101.01)

This course is an advanced level of training in mediation. Advanced mediator skills are featured including effective neutral intervention, constructive communication, reframing, problem framing, interest-based negotiation and agreement writing. Students will participate in daily role-play exercises, read and present articles, and write a reflection essay or short project.

Based on prior course credit, a certificate for a 24-hour training will be issued to each student who completes this course.

This course will be held Tuesday, February 18 – Friday, March 7.

Visual Arts Faculty

Visual Arts Lecture Series (VA2999.01)

This is a series of lectures given by visiting artists and critics invited by the Visual Arts faculty.

You will attend lectures on Tuesday evenings at 7:30 pm as well as gallery exhibitions. The number of lectures and exhibitions you must attend will vary according to how many are scheduled in any term.

You are required to take notes during the lectures and exhibitions and produce a one page analytical summary of each event. All papers must be typewritten and turned in at the Visual Arts office two weeks before the end of the term.

Josef Mundt

Entry to Mathematics (MAT2100.01)

Mathematics is inherent across all disciplines and undertakings. It is necessary for building structures, assessing risk in everyday life, mixing paint for specific shades, creating business models of growth and decay, setting traffic lights, and can even help assess the correct time to propose. This course will show how math has evolved from counting to the combination of abstract symbols and numbers it appears as today. Covering algebra, geometry, ratios, patterns, series, graphing, probability, and more we will focus on the foundations of mathematics and the basic skills and reasoning needed for mathematical success. Our goal will be to become conversant in the language of mathematics and understand how it affects our specific disciplines and work as well as strengthen our mathematical skills. This is a basic course, covering most of high school mathematics, and will be accessible to all interested and willing students.

Thorsten Dennerline

Projects in Lithography (PRI4203.01)

This course is an introduction to lithographic processes. Students will start by processing and printing images from limestone and end the semester by exploring the possibilities of making positive films to expose modern lithographic plates. This studio class is structured around a number of projects each one ending with a group critique. Students should find the parameters of these assignments broad enough to allow for customization to their own artistic interests and are expected to bring additional content to their work from outside the classroom. At the end of the term, students will have the skills and visual vocabulary to continue making lithographs.

Thorsten Dennerline

Introduction to Intaglio (PRI2109.01)

This course is an introduction to Intaglio printing.  This will include drypoint, various etching techniques, and basic color intaglio.  Students will learn about Intaglio through demonstrations of techniques, hands-on experience, and critiques.  Further study will occur through a series of projects outside of class.  Students should find the parameters of these assignments broad enough to allow for customization to their own artistic interests.  At the end of the semester, students will have the skills and a visual vocabulary necessary to create unique and editioned prints that combine technique and content coherently.

Sarah Pike

Silkscreen/Serigraphy Workshop (PRI2112.02)

This course will focus on the basic technical processes of screen printing including, screen preparation, image development, registration, paper handling, and printing multi run prints. Through demonstrations and hands on experiences students will complete a series of projects using block out methods and photo emulsion by creating hand-drawn and digital films. Particular emphasis will be placed on color interaction, mixing, and layering. Students should expect to be working on both independent and collaborative projects.

This course will be offered the second seven weeks of the term.

Jonathan Barber

Lighting for Portraits (PHO2137.01)

Created for students who have done previous course-work in basic photographic tools and technique, this hands-on lab will provide instruction and practice in continuous and strobe lighting equipment and provide an overview of lighting techniques for portraiture. Class work will include demonstrations and small group assignments in and out of the studio. The instructor will also provide technical support for self-designed projects.

Thomas Bogdan

Intermediate Voice (MVO4301.04)

For students of varying levels of singing ability. Vocal production and physiology will be discussed. Group warm-ups and vocalizations will incorporate exercises to develop breath control, resonance, projection, range, color, and agility. The fundamental concepts of singing will be explored in the preparation of specific song assignments. Personalization of text and emotional expression will be addressed. Students will study and perform traditional classical song literature (including early Italian songs, 17-18th century arias and repertoire in several languages) to strengthen and to facilitate technical growth before moving on to other contemporary styles. Students will have half-hour repertory sessions every other week with an accompanist. Students must have previous voice experience and/or study, and some music literacy.

Corequisites: Must participate in Music Workshop (Tuesdays, 6:30 – 8pm).

Thomas Bogdan

Intermediate Voice (MVO4301.03)

For students of varying levels of singing ability. Vocal production and physiology will be discussed. Group warm-ups and vocalizations will incorporate exercises to develop breath control, resonance, projection, range, color, and agility. The fundamental concepts of singing will be explored in the preparation of specific song assignments. Personalization of text and emotional expression will be addressed. Students will study and perform traditional classical song literature (including early Italian songs, 17-18th century arias and repertoire in several languages) to strengthen and to facilitate technical growth before moving on to other contemporary styles. Students will have half-hour repertory sessions every other week with an accompanist. Students must have previous voice experience and/or study, and some music literacy.

Corequisites: Must participate in Music Workshop (Tuesdays, 6:30 – 8pm).

Peter Pagnucco

And Process for All (MED2110.01)

In American society, conflict resolution need not mean a punch in the nose-instead, we have process.  This course is an experiential examination of two primary conflict resolution processes, litigation and mediation; and is intended for students willing to try things out.  First, we will explore what society might want from a conflict resolution process and examine some of the sources of our wisdom on process.  Then we will embark on an experiential study of litigation and mediation.  Throughout the course, students will have many opportunities, through readings, written assignments, class exercises, and mediation and litigation/trial role plays, to learn about these processes from the inside out and practice skills employed by various process participants (lawyers, judges, mediators, disputants, etc.).  Ultimately students will develop a richer understanding of these processes which will help inform their decisions and actions when confronted with conflict.

Mary Lum

Markmaking and Representation (DRW2149.01)

The fundamentals of drawing are the basic tools for this investigation into seeing and translation. Using simple methods and means, the practice of drawing is approached from both traditional and experimental directions. The focus of this inquiry is on drawing from observation, broadly defined. In class drawing sessions are complemented by independent, outside of class work and occasional assigned readings. The goals of the course include the development of individual confidence in observational drawing skills, a working knowledge of the rich histories and contemporary concerns of drawing, and a practical basis for further inquiry into all the visual arts. Previous drawing experience may be helpful, but is not required of students enrolling in this course.

Daniel Roberts

Movement Practice: Intermediate Dance Technique (DAN4314.01)

This class will be based in the technique developed by Merce Cunningham for the purposes of his choreographic work, and address the articulations of the spine, codified exercises, complex foot/leg combinations, and jump training.  The Cunningham Technique is known for its ability to strengthen the dancer’s individual awareness of space.  The class aims to enhance the dancer’s resilience when dealing with change and stillness, as well as develop complex coordinations between the torso and leg work.  Musicality and rhythm are inherent to the work, and will be the nuclei of all work performed in class.  Alignment, coordination, and phrasing will be the main themes of this intermediate class.

Kota Yamazaki

Movement Practice: Advanced Dance Technique (DAN4344.01)

This advanced movement class will develop from simple skeletal mobility sequences to expansive movement forms. The warm-up will examine the joints and how their range of motion relates to alignment, readiness to move, and articulation. These principles will then become the foundation for traveling sequences and longer movement phrases. Distinguishing between tempo, rhythm, and phrasing will also be a priority. Our goal will be to find a way of working that makes technique central to our daily movement practice without it inhibiting our individual approaches to dancing and making work.

Mina Nishimura

Movement Practice: Beginning Dance Technique (DAN2214.01)

For those looking for a basic movement class. We begin with a slow warm-up focused on anatomical landmarks, muscular systems and basic alignment principles, but then progress to vigorous, rhythmic movement patterns and group forms. We work to strengthen, stretch, and articulate the body through longer movement phrases focused on weight shifting, changes of direction, and dynamic changes of energy.

We will aim for a multi-dimensional, voluminous way of moving from the internal knowing rather than from external shaping. The class will serve as a laboratory where we observe form, strength, weaknesses, habits, and patterns, and will offer a variety of movement situations: emphasizing awareness, expanding self-perception, and our ability to carry out our intentions.

Kota Yamazaki

Butoh (DAN2105.01)

Class starts with quiet and soft warm-up exercises with the intention of letting all tension go from your body and mind. A relaxed body with no expectation will allow you to be open and available to whatever comes to you.

In Butoh, by accepting both what’s surrounding you and what’s happening inside yourself, using imagination and establishing a sense of presence, your body will keep transforming and inviting dance. Unique and imaginative terms such as “sneezing body,” “swallow pollen,” “dead bird,” “heavy face,” etc. will sometimes be offered in class exercises. However, this class will encourage you to recognize and discover the uniqueness of your own physicality without allegiance to any particular form or style.

Robert Ransick

The Web as Artistic Platform (DA2110.01)

This course is an introduction to creative practices within digital technologies specifically focused on Internet based fine art projects. A broad survey of web-based digital arts is examined in tandem with an overview of tools necessary to create your own work. These include HTML, CSS, Photoshop, content management systems, and a basic introduction to JavaScript. Students apply knowledge and skills to web-based creative projects throughout the term. There are lectures, reading assignments, studio projects, and critiques during the course designed to aid the student in developing visual literacy and critical thinking skills in relation to the digital arts.

Peter Jones

Discourse & Learning (EDU2106.01)

We will look at learning taking place in and through interaction, talk, & text in a range of settings, out of school and in. We will explore theories and models of learning and observe activity in classrooms and other social spaces, generating data to hold up to theory, exploring and theorizing congruence between theory and observed practices. Students will observe learning in classrooms, though they can also propose an alternative location for observation of learning activity, subject to approval by instructor.

Andrew Spence

Painting in Context (PAI2110.01)

There are many reasons Painting continues to be relevant over the long course of its history. This history and its consequential styles are the focus for art making and discussion in this class. Students develop their own visual thinking in the context of specific periods in Painting.

Weekly projects and reading assignments, group critiques and other art related discussions are the format of this class.

Andrew Spence

Subject and Meaning in Painting (PAI4202.01)

Since the 1960s, art styles and trends have become increasingly diverse. This may make it easier for more artists to find acceptable venues of expression, but as the options increase, it may be more difficult for artists who are still in their formative stage of development to find their own way of expression.

This course is designed for students who are starting to develop their own identity as painters. Experimenting with painting materials, techniques, and styles in painting will be encouraged. Both assigned projects and independent projects will be completed outside of class time in assigned studio areas. Group critiques, art-related discussions, slide presentations, and written assignments will be the format of this class. Individual critiques with the instructor will also occur.

Carol Pal

Witchcraft and Magic in Pre-Modern Europe (HIS4104.01)

What is a witch? Who is a witch? And in the increasingly rational culture of Europe after the Renaissance, how and why did nearly 100,000 people, predominantly women, come to be tried for the crime of witchcraft? In many ways, the investigation of these questions hangs on another question: how do we differentiate science, magic, and religion? In pre-modern Europe, there were no clear boundaries separating these ways of knowing. This course investigates these questions, mapping them onto the interplay of old and new ideas about magic, alchemy, gender, the heavens, and the occult in pre-modern Europe.

Carol Pal

History of Medicine: From Hippocrates to Harvey (HIS2183.01)

How did pre-modern culture understand the human body? How did it work? Where did it fit in the Great Chain of Being, and what differentiated men from women? Medicine has always been a hybrid of thinking, seeing, knowing, and doing. But what defined medicine in the past? Was it a science, an art, or a random assortment of practices? Between the age of Hippocrates and the age of Enlightenment, medicine very slowly detached itself from philosophy to become empirical and experimental. Using documents, art, and images, we follow patients and practitioners from Hippocrates to Harvey. As we trace the history of healing, we chart changing perceptions of the body in early modern culture.

Susan Sgorbati; Erika Mijlin

Advanced Workshop in CAPA (APA4124.01)

This workshop is designed to enable students to pursue work they have already begun that is focused on public action regardless of the particular issue/s they are addressing and to integrate Field Work Term into that work. Students will be presenting their own work to the workshop as it unfolds. Some portion of the workshop will be dedicated to common experience in particular exploring those concepts and methods that inform this work including: multiple aspects of effective presentation writing, visual mapping, speaking; mediation and negotiation skills, the design and development of proposals. Bennington faculty and staff, CAPA Fellows and guests will participate throughout the workshop. Admission to the workshop requires a written statement outlining ones plans for how it will be used and an interview by the instructor. A year long course.

Erika Mijlin

Narrative Cinema: Century One (FV2113.01)

A broad view of narrative cinema history : from the very origins of film genres, through the definitions of style in the ‘classical’ film era, to the institution of ‘master’ narratives provided by the studio system. The course will take on both the legacy of a century of formal innovations as well as outright challenges to the medium, including: New Wave cinema, the Dogma filmmakers, the various waves of the American ‘indie’ film movements, and contemporary forms that push the edges of the genre. Our goal is to break away from a strict chronology, to find the larger formal and thematic patterns of narrative film history from inside and outside the margins, and perhaps to imagine the future of the medium itself.

Charles Schoonmaker
Kate Purdie; Erika Mijlin

Global Activist Video Production (FV4226.01)

This course will involve real-time, interactive dialogue between artists and social activists in the classroom and across the globe. Students will interact with international filmmakers and advocates in both real and virtual spaces. They will also explore the boundaries of group and individual documentary production through the examination of story structure, interview techniques, collage editing, video installation displays and other areas of creative opportunity.

Corequisites: A screening in Kinoteca, Mondays 7:00pm – 9:00pm.

Ikuko Yoshida

Social Expectations for Japanese Children (JPN2107.01)

This course is designed for students to learn Japanese through Japanese children’s books and animation. In this course, students will read Japanese children’s books and watch Japanese animation that is based on children’s books to examine how Japanese children are expected to behave and communicate with others. Students will also analyze cultural values in Japan, how those cultural values are taught, and how gender differences are depicted in children’s books and animation. Students will continue to develop their skills by interacting in Japanese through stating and supporting their opinions during discussions that focus on narrative texts. Approximately 60 new Kanji will be introduced. As a part of the course, students are required to read/perform Japanese children’s books to children at the Albany Japanese Language School, Schenectady, New York. As the final project of the course, students will write their own children’s book in Japanese.Conducted in Japanese. Introductory level.

Hugh Crowl
Kaori Washiyama
Hugh Crowl

Observational and Stellar Astronomy (PHY2108.01)

All information that astronomers are able to gather about the universe comes in the form of light. In this class, we will learn the details of observational astronomy and how what we learn from light can tell us about the size, structure, and evolution of stars. This class will involve significant nighttime observing, including observing at Stickney Observatory, so students are expected to have flexible evening schedules.

Kaori Washiyama

Beginning Violin and Viola (MIN2241.01)

Basic techniques to include the reading of music in treble and/or alto clefs and in various “easy” keys. The study of left-hand position and fingering and the simple use of the bow will lead to short ensemble performances by the end of the term.

David Anderegg

Seminar in Clinical/Developmental Psychology (PSY4106.01)

This course serves as a platform for senior work in clinical or developmental psychology. Students will work together as a group and also independently under supervision of the instructor. The final product will be a research paper or other project which demonstrates critical thinking and research in psychology at an advanced level. Projects may be one-term projects or the second term of a two-term project.

David Anderegg

Psychology of Creativity: Making & Using Metaphors (PSY4226.01)

This course will address two large areas in the psychology of creativity: (1) special creativity, that is, the study of creative persons and the specific characteristics of high-level creative thinkers. We will look at how creativity is measured, what personal characteristics or life circumstances seem to foster creative achievement, and the contributions of history in making decisions about who is creative and who is not. (2) general creativity, or the ordinary experience of creativity in everyday life. We will look at metaphoric and figurative language, how it is used and understood, and other experiences of normal creative leaps made by all human thinkers.

Sarah Harris

Wounded Literature: Trauma and Representation (LIT2262.01)

This course will be a study of the paradox of trauma literature. Stories that compel their telling, yet are unassimilated and unspeakable, these works grow out of disasters on an individual and/or collective scale. To better understand Anne Whitehead’s assertion that writers “have frequently found that the impact of trauma can only adequately be represented by mimicking its forms and symptoms, so that temporality and chronology collapse, and narratives are characterized by repetition and indirection,” we will read representative narratives by authors including Toni Morrison, Juan Goytisolo, Art Spiegelman, Slavoj Zizek, and W.G. Sebald, in conversation with major theoretical contributions by Freud, Herman, Caruth, LaCapra, and Whitehead. This will be a reading and writing-intensive course.

Benjamin Anastas

The Jazz Age Revisited (LIT2304.01)

“It was an age of miracles, it was an age of art, it was an age of excess, and it was an age of satire,” F. Scott Fitzgerald wrote in his epitaph to the Jazz Age. It was something else too: a social and literary revolution, fueled by new communications technology, music, popular entertainment, the end of racial segregation, and a creative renaissance in a neighborhood in Upper Manhattan called Harlem. Modernism, the Bohemians of Greenwich Village and Montparnasse, the lawlessness of the Prohibition era are all a part of the cultural backdrop. We’ll read the leading lights of the literary scene in New York and in Paris (Fitzgerald, Ernest Hemingway, Gertrude Stein, Djuna Barnes) and their counterparts in booming Harlem: Countee Cullen, Jean Toomer, James Weldon Johnson, and Nella Larsen.

David Anderegg

Developmental Psychology After the Grand Theories (PSY2207.01)

Comprehensive theories in developmental psychology posited relatively abrupt structural changes in children’s thinking in the course of childhood. These theories have been supplanted, in large part, by basic research (largely from brain imaging techniques), documenting gradual changes in children’s development. In this course the grand theories (Piaget, Freud, and Vygotsky, as well as attachment theory and evolutionary psychology) will be reviewed along with current findings which challenge their scope and reach. Topics will include cognitive, emotional and social development from infancy through adolescence.

Amie McClellan
Jean Randich

Otherness in Performance (DRA2218.01)

This course examines dramatic texts that thematize otherness as a concern. Why has difference served as a compelling way of defining the normative? What role does stereotype play? How do artists of color respond to the dominant culture and create alternate identifications? We will consider plays, films, and musicals that feature the representation of difference in gender, race, religion, ethnicity, class, and sexuality. Potential authors: Euripides, Shakespeare, Buechner, Ping Chong, Suzan-Lori Parks, Young Jean Lee, Anna Deavere Smith, among others.

Amie McClellan

Introduction to Cell Biology (BIO2111.01)

Cells are the fundamental units that organize life. In this class we will investigate cell structure and function, learn about DNA replication and transcription, find out how proteins are made and transported, and come to understand how interfering with cell biological processes can result in disease. In the lab, students will gain experience with both prokaryotic and eukaryotic cells and learn methods of cell biological research.

Corequisites: Must register for lab, BIO2111L.01

Kathryn Montovan

Introduction to Game Theory (MAT2242.01)

We typically think of games (like football, scrabble, and bridge) as entertaining competitions where each player or team tries to outsmart, outrun, or generally be better than their opponent. In this course, we will broaden this definition of a game to be any interaction between individuals where there are well-defined rewards that depend on what the opponent decides to do. In this context, we will learn how to frame social, economic, political, and evolutionary dilemmas as a mathematically defined game, then we will learn how to analyze these games to determine the best way to respond. We will also use this framework to understand how we can create rewards and punishments that should produce certain desired behaviors from individuals. Topics will include dominance, backward induction, Nash equilibria, evolutionary stability, asymmetric information and signaling.

Jonathan Pitcher

Theories of Revolution (SPA4119.01)

Over the past two centuries, in an apparently perpetual movement towards democratic independence, Latin America has confronted ruptures in tradition and experimented with a variety of revolutionary discourses to project its multiple pasts into the future. This course will read the postcolonial back into the European and US epistemai, and vice-versa, exploring how Latin Americans have given voice to their views on political transitions, both democratic and otherwise. Discussions and presentations will facilitate the development of oral fluency. Students will expand their descriptive, analytical, and polemical vocabulary, not to mention their sense of dignity. Conducted in Spanish, at the low- to mid-intermediate level.

Jonathan Pitcher

The Textual City (SPA4704.01)

This course will chart the development of identity within the postcolonial Latin American city, focusing on (though by no means limited to) Buenos Aires as a touchstone case. The latter will be read both literally and as a guiding metaphor, as a reality ordered by ideas. We will use interdisciplinary theoretical models as discursive markers, selected from history, architecture, politics, philosophy, literature, and photography, in order to problematize urban design, the site of real dystopia, as the organizer of symbolic space, and vice versa. Spatio-cultural discussion will focus on the dominant narratives of public topography, most notably that of capitalism, and private, individualized responses to them, not least in the work of Carriego, Girondo, Borges, Arlt, Cortázar, Walsh, Sebreli, Piglia and Schweblin. Conducted in advanced Spanish, with some secondary / tertiary reading in English.

Warren Cockerham

Collage/ Montage/ Essay: Found Material and the Moving Image (FV4141.01)

*** Description Change ***

This intermediate studio/seminar course centers on the history, theory, and technique of using found footage material in essayistic moving image work. Students will complete a series of essayistic film and video projects exploring approaches and techniques including but not limited to non-narrative, political, personal, abstract, structural, and materialist forms. The course will contextualize contemporary practice within the history of avant-garde, underground, and “non-fiction” film through screenings, theoretical and historical readings, and discussions.

Corequisites: Must also participate in screenings in Kinoteca, Thursdays 7:00pm – 10:00pm.

John Bullock

Biochemistry (CHE4335.01)

Biochemistry is an intermediate chemistry course in which students apply principles from general and organic chemistry, as well as general biology, to understand the molecular processes that characterize life. Biochemistry is a broad discipline that is growing rapidly in its scope – new developments and discoveries are being made daily. The goal of this class will be to give students a solid background with which they can appreciate the latest developments and research reports. We will begin with fundamental principles, but quickly move into a detailed look at metabolism – the specific means by which organisms use chemical energy to drive cell functions and how they convert simple molecules to complex biological molecules. This approach will provide a context to illustrate many of the core ideas we will cover. Students will also have the opportunity for independent work which will allow them to apply these ideas to topics of their own specific interests. Students will have weekly review assignments and at least two independent projects, including an oral presentation of a final project.

John Bullock

Chemistry 2: Organic Structure and Bonding Lab (CHE4212L.01)

This laboratory course is a co-requisite of Chemistry 2. Lab investigations will likely include the following topics: thermochemistry, spectroscopy, reactivity patterns, techniques of chemical analysis, organic synthesis, and physical studies of equilibria. Students will design some lab investigations themselves.

John Bullock

Chemistry 2: Organic Structure and Bonding (CHE4212.01)

Students will explore stoichiometric relationships in solution and gas systems which are the basis of quantifying results of chemical reactions. Understanding chemical reactivity leads directly into discussion of equilibrium and thermodynamics, two of the most important ideas in chemistry. Equilibrium, especially acid/base applications, explores the extent of reactions while thermodynamics helps us understand if a reaction will happen. Students will be introduced to new lab techniques and ways to measure progress of reactions. They will also devise their own questions and experiments. Kinetics (rates of reaction) provides information about how reactions work and, along with thermodynamics, provides the basis for evaluating the viability of a reaction. This concept will be explored particularly with respect to substitution reactions. Research articles will relate these ideas to current topics in the literature such as solar-enhanced fuels, rates of atmospheric reactions, and using chemistry for remediation. Taking CHE2211 Chemistry 1 and CHE4212 Chemistry 2 provides a good background for students interested in environmental applications.

Corequisites: Students must also register for the lab, CHE4212L.01.

Allen Shawn

Music Since 1968 (MHI2228.01)

In this course we focus our attention on a few of the most exciting and influential composers of the late twentieth century. Works by such composers as Elliott Carter, Toru Takemitsu, Olivier Messiaen, Pierre Boulez, Alfred Schnittke, Luciano Berio, Charles Wuorinen, Frederick Rzewski, John Adams, John Harbison, Galina Ustvolskaya, Gyorgi Kurtag, Gyorgi Ligeti, Sofia Gubaidulina, Louis Andriessen, and Kaija Saariaho are listened to and discussed in class. The course is open to students from all disciplines and without prerequisites, but a high level of work is required. There are assigned readings and listening assignments. Music students are expected to write a substantial paper on one composer and to make a presentation on that composer in class. They are responsible for helping to explain the musical approaches and techniques we discuss to the non-music students. Students without a music background are also expected to write a substantial paper on a composer and to give a presentation in class, but are encouraged to draw analogies between the music we study and work in the other arts, and to place the music studied in a historical, philosophical, or scientific context.

Nicholas Brooke

Music History Lecture Series (MHI2000.01)

The class will meet weekly for twelve lectures on varied topics, given by music faculty on a rotating basis. The lectures will be arranged chronologically, focusing on a diversity of musical traditions. Lecture topics will include, among others: discussions of Medieval and Renaissance Music; gamelan and other Asian traditions, Bach, Mozart, Beethoven, the Romantic era, the 20th century, and the explosion of jazz styles in the 1960s. Students will be expected to do the reading and listening work by each class, and follow-up written assignments. Nicholas Brooke will coordinate the series and be present at all sessions.

Michael Dumanis

This is Not a Novel: Experimental American Fiction (LIT2211.01)

In this course, we will examine the attempts of various American writers to come up with alternatives to the conventions of realist narrative fiction that have dominated American literary history. We will read writers from the last half-century that have employed with modernist and postmodern techniques as metafiction, resistance of closure, authorial intrusion, collage, indeterminacy, pastiche, stream of consciousness, surrealism, defamiliarization, paradox, and hybridity. Selected writers will include John Barth, Donald Barthelme, Sarah Shun-Lien Bynum, Lydia Davis, Ben Marcus, David Markson, Carole Maso, Tim O’Brien, Thomas Pynchon, and David Foster Wallace, among others. Students will be responsible for weekly critical responses, two longer analytical papers, and several experimental fictions.

Michael Dumanis

Reading and Writing Poetry (LIT4313.01)

Students will examine the choices other writers make in their work, through reading a range of selections in contemporary and 20th-century poetry. We will also devote time to discussions of prosody, poetic form, and structure. We will then examine the choices we ourselves make in our work and turn in a new poem every week, each generated through a assignment or prompt. Students will read an average of one poetry collection every week, write weekly critical response papers, and prepare a final portfolio of poems at the end of the term.

Corequisites: Students are required to attend Literature Evenings (Wednesdays, 7 – 8pm).

Hui Cox

Modern Guitar (MIN4224.01)

Individual training is available in jazz, modern, and classical guitar. Emphasis will be on technique, repertoire, song accompaniment (finger style), improvisation, arranging and composing for the guitar. Course material is tailored to the interests and level of the individual student.

Corequisites: Must also participate in Music Workshop (Tuesdays, 6:30 – 8pm).

David Edelman

The Science of Consciousness (BIO4123.01)

Most of us have an intuitive sense of what consciousness is. It is what slips away when we fall asleep and returns when we awaken. It is the awareness of a particular word, object, or scene. It is the feeling of an internal presence. For centuries, nearly all thought about the nature of consciousness was the sole preserve of philosophers, most notably Rene Descartes, John Locke, and David Hume. Although William James had expressed the brilliant and timely insight that consciousness is a process whose function is knowing–i.e., a process and not a thing–as early as 1904, it wasn’t until well into the 20th Century that consciousness emerged as a legitimate area of scientific inquiry. In this course, we will review the most prominent theories of consciousness within neuroscience, psychology, and philosophy, explore the means by which consciousness can be assessed and measured in humans and non-human animals, and discuss the known brain and behavioral correlates and properties of conscious experience. What is the distinction between sensory consciousness and higher-order consciousness (e.g., self-awareness)? What is the effect of embodiment (i.e., what it is like to be a human vs. what it is like to be a bat or other animal) on conscious experience? Which animals experience conscious states? How and when did consciousness evolve and what is its function, if any? We will try to answer these questions as we explore the nature of consciousness: a mysterious and compelling process that is, today, a tractable object of scientific study.

David Edelman

How Do Animals Learn and Remember? (BIO2108.01)

For more than 60 years, modern experimental psychology has focused on characterizing the intimately linked processes of learning and memory. At the same time, neuroscientists have worked doggedly since the birth of their field to unravel the neural mechanisms underlying these fundamental processes. How does an animal acquire information about its world and access and recall this information over hours, days, months, or even an entire lifetime? In particular, what anatomical and physiological changes occurring in the brain can account for the processes of learning and memory? Is animal memory a form of static information storage, akin to that of a digital computer, or something else entirely? In this course, we will survey the properties of learning and memory across diverse animals, from marine snails to insects to birds and non-human mammals to humans. We will explore the neuroanatomical and physiological underpinnings of these processes. We will also review traditional views of learning and memory, as well as evaluate the most current findings and the theories they support.

Wayne Hoffmann-Ogier

Writing Essays about Literature (LIT2102.01)

Writing Essays is an introduction to writing clearly-constructed and logically-argued essays in response to reading, analyzing, and appreciating literary genre, including poetry, short stories, essays, plays, and novels. The course offers an analysis of the technical elements in literature: imagery, symbolism, metaphor, point of view, tone, structure, and prosody. The class reviews a variety of strategies for exploring both substance and style through close readings, for effectively incorporating quotations, scholarly research, and critical theories, and, finally, for writing with vividness, energy, and economy. The workshop setting emphasizes collaborative editing and substantial rewriting. Individual conferences are included.

Wayne Hoffmann-Ogier

Style and Tone in Nonfiction Writing (LIT2104.01)

This introductory course focuses on the weekly writing of extended essays, including nonfiction narrative, personal essay, literary criticism, research writing, and the analytical essay. It gives particular attention to developing individual voice and command of the elements of style. The class incorporates group editing in a workshop setting with an emphasis on re-writing. It also involves the analysis and interpretation of a variety of texts and explores writing across the curriculum. The course concentrates on the effective use of logic and rhetorical patterns in developing a thesis. The schedule includes individual tutorials.

Wayne Hoffmann-Ogier

English as a Second Language (LIT2101.01)

Individually designed tutorials provide the opportunity to review grammar, punctuation, diction, and sentence structure with an emphasis on paragraph and essay construction. Additional work is offered in oral expression, aural comprehension, and analytical reading. Tutorials may also introduce the interpretation of literature and the writing of critical essays.

Kate Purdie

Introduction to Video (FV2101.01)

This course teaches techniques fundamental to the craft of moving image creation, including cinematography, lighting, sound recording, and editing. It also provides a conceptual framework for video as an art medium. Students will build individual technical skills while developing an aesthetic vocabulary based on medium-specific audiovisual qualities. Throughout the term we will screen a broad range of examples of film and video works of genres both familiar and perhaps alien. We will address ideas and techniques spanning storytelling and nonnarrative approaches, fiction and nonfiction, linear and nonlinear structures (such as web-based projects), abstraction and representation. We’ll spend equal time on the technical skills and the creative possibilities of sound and image editing.

Jonathan Kline

Documentary Practice: Ethics of the Photographer (PHO4109.01)

This course will investigate our understanding of the role photography has played in representing recent conflicts, disasters, and social upheaval from around the world. Readings include Martha Rosler, Susan Sontag, AD Coleman, David Levi-Strauss, and others. Films will also be scheduled to articulate particular points of view.

Students are expected to complete either two photo projects or two seven-page papers in addition to weekly responses to the readings, films, and guests

Andrew McIntyre

Real Analysis (MAT4128.01)

Differential and integral calculus – nowadays referred to together as simply “calculus” – were developed in the late 1600s and early 1700s to allow infinitely small numbers and formulas with infinitely many terms. These techniques turned out to be immensely powerful, and it is impossible to imagine modern physics, engineering or mathematics without them. However, for almost two hundred years the theory was plagued by inconsistencies and a complete lack of logical foundation – it gave correct answers when it had no right to do so. In the mid 1800s, a logical framework was constructed which put calculus on a solid footing, and which allowed it to be greatly extended and melded with linear algebra and topology in the twentieth century, becoming even more powerful. (This process continues even today: physicists are finding startling results with “functional integrals”, apparently by magic, but no one yet knows how to logically justify their methods.)

This class will introduce real analysis in its modern form, with motivation from history.

Andrew McIntyre

Calculus: Analysis of the Infinite (MAT4145.01)

Calculus is the mathematics of quantities that are infinitely small or infinitely many in number. For example, in physics, the curved trajectory of a planet can be understood by splitting it into infinitely many, infinitely short straight line pieces. An area can be computed by splitting the shape into infinitely many, infinitely small squares or triangles. The paradox of Achilles and the Tortoise asks us to sum infinitely many diminishing numbers. Talking vaguely about infinity of course quickly leads to confusion or paradox; calculus is the art of handling infinity safely. It finds application in any situation involving continuous change.

This course is an introduction to calculus. However, it will cover more than a typical first course, including some integral calculus, infinite series and differential equations. The approach will be historically motivated, and will be organized around a few key problems and major applications. Note that this course is not a repetition of AP calculus.

Ann Pibal

Chromophilia: Explorations in Color (VA4215.01)

Chromophilia, a term coined by contemporary aesthetic philosopher David Batchelor, refers to intense passion and love for color. What is it about color that has the power to induce reverie, and conversely to manipulate, or disgust? How de we understand and respond to color from philosophical, phenomenological, and cultural vantage points? How as artists can we become the master of our passionately-loved and yet ever-shifting chroma?

In this class, we look carefully at and discuss the work of many artists and the implications of color in their images. Readings from Goethe, Wittgenstein, Baudelaire, Albers, Batchelor, and others serve as a base for discussion and artistic response.

Visual work using a variety of materials including cut paper, water-based paint, and mixed-media will be the primary focus of the class. In addition, reading assignments as well as written responses will be assigned weekly. Class time is primarily used for discussion and critique, presentations, and demonstration of materials. Although assignments are given, it is the objective of this class to provide the skills necessary for the student to confidently pursue self-designed projects. A high degree of motivation is expected.

Ann Pibal

Advanced Workshop for Painting and Drawing (VA4404.01)

This course is for experienced student artists with a firm commitment to serious work in the studio. Students will work primarily on self-directed projects in an effort to refine individual concerns and subject matter. Students will present work regularly for critique in class as well as for individual studio meetings with the instructor. Development of a strong work ethic will be crucial. There will be an emphasis on the growth of each student’s critical abilities, the skills to think clearly and speak articulately about one’s own work and the work of others. There will be supplemental readings, student research and presentations about the work of 20th and 21st century artists.

Barry Bartlett

The Hollow Form (CER2221.01)

This objective of this class is to help students learn the breadth of handbuilding techniques in the ceramic arts that have given rise to a vast history of ideas observed using hollow forms.

Unlike traditional sculptural techniques used in wood, stone and metal, ceramic forms have depended on the interior space, the void, to define both symbolic meaning and formal structure. This class will help students gain confidence in their capacity to build what they see in their mind’s eye. Projects will be conceptually geared around issues surrounding vessels, figures and abstract sculpture and will require personal investigation and resolution. Students will be involved in the development of presentations covering these issues from various historical perspectives. Students will be expected to participate in all aspects of the ceramic process that include, but are not limited to mixing their own clay, slip and glaze preparation, and the loading and firing of kilns. Some books will be required to be purchased as text for this course.

Jenny Rohn

The Concentrated Moment: The Art of Auditioning (DRA4103.01)

Auditions are an opportunity to develop your artistic voice and your confidence in that voice through self-critique. In this class we will work to demystify the process of auditioning and understand how to prepare and present work under challenging circumstances. We will cover cold readings, monologue and prepared scenes, with an in depth look at each step of the process, from the artist’s point of view. We will address physical movement, text analysis, making choices, taking direction, interviewing, prep and post audition activity in order to experience the entire audition as a work of artistic expression. We will work towards developing a sense of self-evaluation that allows us to be independent of the need for feedback as well as the skills to participate in constructive feedback sessions. Students present work weekly.

Sarah Harris

Metafiction and Authorship (SPA4213.01)

This course will be an exploration of metafiction and authorship in Spanish literature, film, and other arts. Through a careful consideration of several important, often playful, yet sharply critical works in Spanish, as well as their most significant theoretical underpinnings, students will read and discuss text that calls attention to itself as an artifice, and therefore, highlights broad questions of reality and fiction. This will also be a course on the socio-historical context that has surrounded the production and consumption of specific canonical works. The focus of the course will be on student-generated discussion and critical thinking about texts and concepts. Students will develop and defend ideas in spoken and written language. Conducted in Spanish. Intermediate-high level.

Sarah Harris

Contemporary Issues on Film (SPA2109.01)

Students in this course will continue to learn the Spanish language through an examination of contemporary issues in films in Spanish. While there will be some necessary discussion about cinematographic components, the focus of discussion will be on social and political issues present in the films. A consideration, for instance, of national and regional identity, violence, border crossing, intolerance, and gender issues, will drive the student-generated conversation. The course will also provide specific and explicit support for the linguistic development necessary to communicate in increasingly complex ways, in both written and oral Spanish. Conducted in Spanish. Introductory level.

Tom Bogdan; Kerry Ryer-Parke

Advanced Voice (MVO4401.02)

Advanced study of vocal technique and the interpretation of the vocal repertoire, designed for advanced students who have music as a plan concentration and to assist graduating seniors with preparation for senior recitals. Students are required to study and to perform a varied spectrum of vocal repertory for performance and as preparation for further study or graduate school. A class maximum of five voice students will meet for one-hour individual session/coachings with the instructor each week (to be scheduled with the instructor). Students will also have an individual half-hour session with a pianist each week to work on repertory.

Corequisites: Must participate in Music Workshop (Tuesday, 6:30 – 8pm).

Kerry Ryer-Parke

Intermediate Voice (MVO4301.02)

For students of varying levels of singing ability. Vocal production and physiology will be discussed. Group warm-ups and vocalizations will incorporate exercises to develop breath control, resonance, projection, range, color, and agility. The fundamental concepts of singing will be explored in the preparation of specific song assignments. Personalization of text and emotional expression will be addressed. Students will study and perform traditional classical song literature (including early Italian songs, 17-18th century arias and repertoire in several languages) to strengthen and to facilitate technical growth before moving on to other contemporary styles. Students will have half-hour repertory sessions every other week with an accompanist. Students must have previous voice experience and/or study, and some music literacy.

Corequisites: Must participate in Music Workshop (Tuesday, 6:30 – 8pm).

Sherry Kramer

New Play Development – Rewriting in Company (DRA4213.01)

For students with completed first drafts of plays. We will create a workshop environment, and all students in the class will make contributions to each play, serving as actors, directors, and dramaturges in turn. Different models for generating new work and presenting it will be studied and sampled. Two full drafts of plays are expected, culminating in a finished draft and a staged reading.

Corequisites: Dance or Drama lab assignment.

Sherry Kramer

Adaptation (DRA2111.01)

Adaptation: A writer is a reader moved to imitation.

Appropriation, repurpose, pastiche, hybrid, sampling, remix, in conversation, mash up. Everyone knows that when you steal, steal from the best. When we write we may borrow the structure of a sonata, the plot from a story, the tang and tone of a novel, and characters from our own lives. Is everything we write adaptation? We will read 3-5 works of literature, watch movie and musical adaptations, adapt a fairy tale, a poem, a news item, an inanimate object, a song, and a short story.

 

Sherry Kramer

The Magical Object – Visual Metaphor (DRA2116.01)

There is a great difference between a prop and an object on stage that is built or filled with the dramatic forces of a play. Such objects become metaphors, they become fresh comprehensions of the world. In the theater, we believe in magic. Our gaze is focused on ordinary objects…a glass figurine, a pair of shoes, a wedding dress…and then our attention is shaped, and charged, and we watch the everyday grow in meaning and power. Most of our greatest plays, written by our most poetic playwrights, contain a visual metaphor, an object with metaphorical weight that we can see on stage, not just in our mind’s eye.

How do we make the ordinary into the extraordinary? How do we create something that can carry meaning across the stage, into the audience and then out of the theater, all the way home, and into the lives of these strangers who come to sit together in the dark? How do we generate a magical object on stage?

Students will read five plays, write a small play that contains a magical object, and, as their final project, build/create that magical object.

Nathaniel Parke
Nathaniel Parke
Sarah Pike

Silkscreen / Serigraphy Workshop (PRI2112.01)

This course will focus on the basic technical processes of screen printing including, screen preparation, image development, registration, paper handling, and printing multi run prints. Through demonstrations and hands on experiences students will complete a series of projects using block out methods and photo emulsion by creating hand-drawn and digital films. Particular emphasis will be placed on color interaction, mixing, and layering. Students should expect to be working on both independent and collaborative projects.

This course will be offered the first seven weeks of the term.

Jean Randich

Belarusian Dream: Human Rights and Performance (DRA4182.01)

This course will be part of an international festival of short plays commemorating Belarusian Freedom Day, 25 March, the unofficial holiday invoked to express opposition to the current regime (referred to as the last dictatorship in Europe). The eight plays, four Belarusian and four international, explore human rights issues and promote social action. We will rehearse and stage the plays over the course of the spring term, with several debuting on 25 March 2014. Other venues throughout the world will be producing the same 8 plays on the same day; an international documentary film chronicling this event is planned. Production style will reflect the constraints under which artists standing up to repressive regimes must work: censorship, movable performances, ensemble work, and spare production elements. Student actors, directors, designers, and those interested in exploring theater for social action and the transformation of conflict are all encouraged to participate.

Corequisites: Dance or Drama lab assignment.

Jean Randich

Directing I: The Director’s Vision (DRA4332.01)

What is action? What is character? What are gesture, timing, rhythm, and stakes? How do actors, playwrights, and directors collaborate in the creation of a story that happens in time and space? This seminar offers theater artists the chance to examine their craft from the inside out. In the first half of this course, non-writers make up stories, non-actors act, and those who have never directed direct. We begin by exploring the energy in the body, focusing on stillness and release. We continue with physical exercises from both the eastern and western traditions leading into improvisation as a method for tapping the sources of true impulses. We consider the Viewpoints as a tool for creating kinetic compositions spontaneously in space. In the text analysis section, we study the expression of action and character through structure and dialogue. We hone our verbal skills through warm-up, dropping in, and imaging exercises. By midterm, everyone directs a short scene from Chekhov. At the same time, students learn to express character/action through costume, spatial, and sound design. In the second half of the term, the students direct and perform a series of scenes from one contemporary play. Directors and actors work together to rehearse, design, stage, and present a public performance of this event.

Brooke Allen

Hans Christian Andersen (LIT2285.01)

Hans Christian Andersen (1805-75) is one of the most famous names in world literature, but the Hollywoodization of his most famous stories–not to mention of his own biography–have obscured, for many, the delicate, painful artistry of his incomparable tales. In this class we will read a wide selection of Andersen’s stories, including classics like “The Emperor’s New Clothes,” “The Steadfast Tin Soldier,” “The Little Mermaid,” and “The Snow Queen” as well as many lesser-known ones. We will also read Andersen’s autobiographical “Fairy Tale of My Life” and selections from his diaries.

This course will be offered the first seven weeks of the term.

Brooke Allen

Voltaire and Rousseau (LIT4143.01)

Francois Marie Arouet de Voltaire and Jean-Jacques Rousseau were towering figures not only of the age of Enlightenment but of all Western intellectual history. Their subjects ranged from philosophy to politics to religion to history to education; their works remain as readable and provocative as they were 250 years ago. Great radicals in their time who are still politically polarizing today, they did as much as any thinkers have done to bring the modern world into being.

In this class we will read a broad range of works, including Voltaire’s “Letters From England,” “Philosophical Dictionary,” “Treatise on Tolerance,” “Candide,” “Zadig,” and “Micromegas,” and Rousseau’s “Confessions,” “Emile,” parts of “Julie,” and the major political essays. There will be two papers.

Mark Wunderlich

Walt Whitman and Emily Dickinson (LIT2199.01)

In this course we will examine the work and worlds of these two canonical American poets. We will read the poems and letters of Dickinson and the poems and prose of Whitman, paying special attention to his lifelong masterwork, Leaves of Grass. We will also dip into the biographies of these authors and attempt to place them within the context of 19th century literature and culture. Students will also read, discuss and write critical prose, present research in class and complete creative assignments.

Elizabeth Sherman
Elizabeth Sherman

Neurons, Networks, and Behavior (BIO4202.01)

How does light energy falling on the back of our eye get interpreted as a particular image of our friend or a painting or a leaf? How does a cockroach escape imminent predation by a toad? How does a slug remember that a recent poke wasn’t dangerous? How do we remember? A rigorous consideration of general principles of neural integration at the cellular, sensory, central, and motor levels of organization serves as the groundwork for an examination of such questions of integration. Then we apply those principles to particular systems including: locust flight, cockroach escape, the role of giant fibers in crayfish behavior, memory and learning in invertebrates and vertebrates, and vertebrate visual systems (from light transduction in the retina through integration in the visual cortex). Students read appropriate primary literature and conduct their own research projects.

Corequisites: Must register for lab, BIO4202L.

Aysha Peltz

Contained – Lidded Jars (CER4126.01)

In this ceramics class we will explore utilitarian and metaphorical concepts of containment through the making of lidded jars. These forms offer students the opportunity to solve the engineering problem of having two forms come together to make one while also presenting the wonderful challenge of making an interactive art object that requires the hand to engage with the piece to enter the inside. There will be a focus the history of lidded jars for use and ritual.

Students will be expected to learn the ideas, skills and formal vocabulary associated with lidded jars and to engage their “engineering mind” in translating their ideas into successful jars.  Discussions and readings will address formal and conceptual issues in the work including scale, audience and use. Students will be expected to engage more fully in the whole ceramic process by choosing their building methods and firing their own work, in groups, under faculty supervision.

Aysha Peltz

Beginning Potters Wheel (CER2107.01)

This class is an introduction to using the potters wheel as a tool for generating clay forms with an emphasis on pottery making. While focusing on the development of throwing skills, students will explore various possibilities for assembling wheel-thrown elements and will experiment with both functional and non-functional formats. Students will be introduced to the whole ceramic process from wet working, to glazing and finally firing. Slide lectures and discussions will contribute to the projects.

Noah Coburn

Ethnography and Writing Across Cultures (ANT4213.01)

This course is an advanced exploration of theory and the history of anthropology by using the most basic of anthropological texts: the ethnography. By carefully analyzing a series of classic and more current ethnographies, students will look at the relationship between theoretical approaches, how ethnographic data is presented to the reader and how the shape of the text determines how the material is being understood. Students will explore concepts of subjectivity, the construction of narrative and the relationship between the anthropologist, the reader and the text. Students will be required to participate actively in the analysis of each text as well as to analyze texts outside of class.

Noah Coburn

Participating in Politics: The Anthropology of Democracy (ANT2204.01)

This course challenges students to think beyond basic institutional definitions of democracy. It will provide an introduction to some basic anthropological tools that approach political systems more holistically through participant-observation research, studying the ways in which people experience concepts such as civil society. By looking at a series of non-Western political systems it will critique terms such as representative governance and democracy, and ask how political legitimacy is created in different settings. In the first half of the class, examples will draw from the Middle East, the Americas and Oceania. The course will then use these critiques to turn the lens back on our own political systems and ask how we create (or fail to create) political change and more democratic governance. The final part of this class will look particularly at the case of several democracy-promotion projects in Afghanistan. Invited speakers will lead the class through a series of workshops on the role of artists in encouraging more democratic practices.

Kerry Woods

Natural History of Plants (BIO2107.01)

Plants define the biological environment. All other organisms depend on plants’ capacity for photosynthesis. Plant structure and chemistry have shaped animal (including human) evolution, and we depend on plant products for food, medicine, structural materials, and many other things. Yet few people can name even the dominant plants in their environment and what determines their distribution, can recognize the role of vegetation in controlling the living landscape, or are aware of the particulars (and vulnerabilities) of our dependence on plants. This course is a general exploration of the adaptive structure, habits, and diversity of plants, with strong emphases on the study of plants in habitat and development of taxonomic repertoire and observational skills. Themes include: basic plant structure and function; taxonomy and identification of plants, particularly local flora; ecology of plant distribution and abundance, and the history and nature of human use of and dependence on plants. In addition to classroom and written work, the course includes lab time and extensive fieldwork in diverse terrain and weather, and there will probably be one weekend field trip. All class meeting may include field or lab work, but Thursday meetings will generally be of this nature.

Kerry Woods

Evolution (BIO4104.01)

Evolutionary theory provides conceptual unity for biology; Darwin’s concept and its derivatives inform every area of life science, from paleontology to molecular biology to physiology to plant and animal behavior to human nature. This course will establish deep grounding in basic selective theory (including some exploration of population genetics) and explore selected current questions through readings in the primary literature. Particular topics may include: evolution of reproductive systems and behaviors, evolutionarily stable strategies and game theory; competing models of sexual selection; inclusive fitness and the evolution of sociality and altruistic behavior; coevolution in mutualistic and predator-prey (parasite-host) systems; evolution of disease and evolutionary medicine; and the (multiple) origin and loss of sex. There will be extensive reading in primary literature as well as both critical and synthetic writing.

Dina Janis

The Actor’s Instrument (DRA2170.01)

The craft of acting will be the main focus of this class. Through physical and vocal warm-up exercises, sensory exploration, improvisation, scene work, and extensive reading students will be asked to develop an awareness of their own unique instrument as actors and learn to trust their inner impulses where this is concerned. Extensive out of class preparation of specific exercises as well as rehearsal with scene partners will constitute the bulk of expected work. Students can expect this to amount to six hours of required rehearsal time per week. In addition students will read several plays throughout the term, as well as weekly theory handouts. The writings, exercises, and work of such theater artists as Anne Bogart, Constantin Stanislavski, Sanford Meisner, Uta Hagen, Jerzy Grotowski among others will be researched and discussed in class.

Corequisites: Dance or Drama lab assignment.

Dina Janis

How Water Behaves (DRA4216.01)

This class will be a Production Performance class designed to develop, explore and present this new work by playwright Sherry Kramer. It will be audition based and will have room for various ensemble members in addition to assistant directors, dramaturgs, and designers.

Ginger Lin

The Visual Art of China (CHI4496.01)

Whether it is the serenity of a classical Chinese landscape, the heroism of a CCP propaganda poster, or the humor of “The history of Chinese painting and the history of modern western art washed in the washing machine for two minutes”, art is always somehow a reflection of the culture. In this class we will explore the ways in which art expresses culture. Each class or every other class, students will be given a packet with visual and written information on a particular work of art with a vocabulary list and grammar points for that material. Students will be expected to prepare to discuss it in Chinese with the teacher and classmates during the next class meeting.

Ginger Lin

24 Stories of Filial Piety vs The Daoist Tales of Zhuang Zi (CHI4213.01)

The Twenty-four Stories of Filial Piety are well known Chinese stories that exemplify the devotion of children to their parents that is the chief virtue in Confucianism. The Daoist Tales of Zhuangzi on the other hand offer a much different set of values. These tales “translated” from classical Chinese into modern Mandarin at the student’s language level will serve as a starting point for an exploration into two complimentary and competing schools of thought that have shaped the character and culture of the Chinese. Students will learn basic vocabulary and grammar through a four skills approach while comparing and contrasting the basic concepts of these two important Chinese philosophies.

Ginger Lin

Contemporary Chinese Poetry (CHI4119.01)

While the language of classical Chinese poetry is practically inaccessible to even today’s native speakers of Chinese, the poetry of the five contemporary poets studied in this course is written in the vernacular and serves as a rich source of authentic texts for this course, which integrates language learning with poetry study. The five poets, all born after 1980, each offer a unique perspective into the changing society and culture of modern China. Each lesson or two, students will receive a packet with poems and information on the poet along with a vocabulary list, and grammar worksheets.Through reading and discussing these poets as well as writing their own poems in Chinese, students will gain insights into the changing culture of modern China, while building on their competencies in listening, speaking, reading and writing. Mandarin Chinese.

Barbara Alfano

America in Italy (ITA4602.01)

Whether as a myth, or as a geopolitical space, the United States of America hold a unique place in the history and in the collective imagery of Italians. How does Italian culture confront its own cultural construct of the U.S.A. and what is it that makes Italians rediscover and reinvent America still today? What is the myth made of? This course focuses on ideas of America through Italian literature and film, exploring also TV productions and journalistic reportage, in particular for the section devoted to the post-9/11 years. Students will expand their knowledge of Italian culture, history, and literature while improving their critical analysis, writing, and research skills. Conducted in Italian. Intermediate-high and advanced levels combined.

Barbara Alfano

Unlocking Italian Culture II (ITA2108.01)

Entering the worlds of Italy is an integral part of learning the language. Students will continue exploring Italian culture through ideas of space, supported by role-play, music, film, videos, and the Internet, along with different authentic materials. In this course, we will focus in particular on public spaces and their social activities. Meanwhile, students will also advance in the study of the language by continuing to develop their ability to carry out everyday and more complex tasks in Italian. By the end of the term, they will engage in discourse that moves beyond the sentence level and steps into the linguistic production of abstract thought, with an emphasis on oral communication and performance. Conducted in Italian. Introductory level.

Music Faculty

Sage City Symphony (MPF4100.01)

Sage City Symphony is a community orchestra which invites student participation. The Symphony is noted for the policy of commissioning new works by major composers, in some instances student composers, as well as playing the classics. There are openings in the string sections, and occasionally by audition for solo winds and percussion. There will be two concerts each term.

Susan Sgorbati; Allen Shawn

Music and Dance Collaboration (DAN4132.01)

This course brings together intermediate and advanced choreographer-dancers with student composer counterparts, for a group of assigned collaborative projects. After some preliminary exercises and discussions, choreographers and composers will be paired off for three two-week projects that deliberately explore different ways of working. They will make a piece in which the dance is created first; another in which the music is created first; and a third in which they work entirely independently and only agree on the duration of their work. In the second half of the term composers and choreographers will work on a longer piece as a team, planning and creating the piece together from scratch. The course will include discussions and lectures on historical models for these approaches, and one paper. Music compositions will emphasize notation.

Jenny Rohn

Meisner Technique (DRA4268.01)

“If you are really doing it, you don’t have time to watch yourself doing it.” Sanford Meisner was an actor and founding member of the Group Theater. He went on to become a Master Teacher of Acting who sought to give students an organized approach to the creation of truthful behavior on stage within the imaginary circumstances of a play. The class focuses on developing an actor’s ability to listen, follow their impulses, trust their instincts, and work from moment to moment off of an acting partner. We will explore repetition, indepedent activities, emotional preparation and text work. The class will require extensive out-of-class preparation, with a minimum of six hours a week for rehearsals and the crafting of exercises. In addition we will be reading Eleanora Duse’s biography, A Mystic in the Theater.

Jenny Rohn

American Theater Now (DRA2151.01)

This non-performance based course will focus on a detailed, coast-to-coast examination of the state of the American Theater in 2013-2014. Who are the playwrights, directors, designers, actors, and producers that are shaping the landscape? Who is making theater? How and why are they making it? We will explore the history of theater in America, specifically the regional theater movement of the 1950s, and then turn our focus to the not-for-profit resident theaters and the for-profit theaters currently in operation. We will have a variety of guest speakers and visit several theaters. Students will collaborate weekly on the presentation of group research. There will be a mid-term quiz and a final paper.

Andrew Cencini

Operating Systems (CS4152.01)

Students will study the theory and practice of operating system development. Topics will include processes, memory management, threads, i/o, file systems, scheduling, naming, security, and current trends in operating system design (low-power systems, mobile computing, hardware disaggregation). Students will read key research in the field, as well as engage in several moderate-intensity programming projects to solidify core concepts in the systems programming space. Students will also have the opportunity to work in groups to specify their own “dream OS”, which they will defend as part of a group critique.

Andrew Cencini

Intensive Introduction to Computer Science (CS2137.01)

In this class, students will be exposed to the main areas and questions related to computer science, while beginning their journey towards becoming skilled practitioners in the field. A large part of this process will include learning basic programming skills (C, C++, or Python), computational thinking and algorithm design. In addition, students will also formulate and explore questions of their own related to computer science.

Hugh Crowl

Physics II: Fields (PHY4325.01)

How does influence travel from one thing to another? In Newton’s mechanics of particles and forces, influences travel instantaneously across arbitrarily far distances. Newton himself felt this to be incorrect, but he did not suggest a solution to this problem of “action at a distance.” To solve this problem, we need a richer ontology: The world is made not only of particles, but also of fields. As in-depth examples of the field concept, we study the theory and applications of the electric field and the magnetic field, including Maxwell’s explanation of light as an electromagnetic wave. The surprising resolution of the dichotomy of particle vs. field will be the wave-particle duality of quantum theory.

Corequisites: Must also register for the lab, PHY4325L.01.

Elizabeth White

Digital Darkroom Essentials: Processing+Production (PHO4235.01)

Designed for students who have experience working with manual cameras, this seven-week course provides instruction in the processing of raw files with Lightroom and Photoshop, and the production of digital portfolios and high quality inkjet prints. Class time will include technical demonstrations and group critiques, as well as slide presentations and discussions. Selfdirected final projects will allow students to explore their own questions and concerns.

This course will be offered the second seven weeks of the term.

Elizabeth White

Foundations of Photography: Darkroom to Digital (PHO2138.01)

The objective of this course is to provide the student with basic skills in shooting with both 35mm and DSLR cameras, and to offer experiences developing and printing black and white film in the darkroom. (Students interested in learning more about digital processing and production with Lightroom and Photoshop can co-register for the seven- week course Digital Darkroom Essentials, which will run in the second half of the term.) Class time will be spent working in the darkroom, on lab demonstrations, and in discussion of student work. In addition to technical lectures and reviews, a selection of images from the history of photography will be shown and discussed throughout the term. The slide presentations will introduce students to various photographic genres with an emphasis on contemporary practice. Short reading and writing assignments will be required.

Elizabeth White; Warren Cockerham

Hold Still, Keep Going (PHO4211.01)

This advanced studio/seminar course examines the intersection between still and moving photography and provides a rigorous environment for cross-disciplinary dialogue. Students will pursue self-directed photo and/or video projects while developing a common critical vocabulary and communicative tools. Regular group discussion will challenge, complicate, clarify and deepen students understanding of their work in progress as they resolve its production both formally and conceptually.

In addition to studio work outside of class, course members will engage with assigned readings and spend time writing about their own and each others art making practices. Students should emerge from this course with the ability to situate their work in relation to that of other artists, both contemporary and historical, as well as to some important critical texts. Class time will be devoted to large and small group critiques, artist presentations, discussions of texts, and the workshopping of writing.

Eileen Scully
Eileen Scully

Journey: 1890s (HIS2126.01)

Students sign on to travel the world in the world-changing decade of the 1890s. In early weeks, students each create an historically credible persona, whom they will then lead and follow around the globe, starting out in Chicago at the World’s Columbian Exposition of 1893.

Eileen Scully

Special Projects (HIS4750.01)

This course is an opportunity for students to pursue individual and collaborative interdisciplinary independent projects, whether in the exploratory phase or already underway. In early weeks, we workshop and finalize project ideas to produce individual contracts. These contracts include arrangements for each student to receive preliminary consultation on proposals and culminating review of completed work by recognized experts here in the Bennington College community or beyond. Class meetings thereafter are opportunities to learn and hone project-centered capacities, to present and discuss work-in-progress, and to consult one-on-one with the instructor. Recent projects have included sixth-term thesis proposals, seventh- and eight-term research papers, historically grounded short stories and animations, curatorial guides, and video documentaries.

Nicholas Brooke

Introduction to Counterpoint (MTH2118.01)

Composers throughout the ages have cut their teeth on the study of counterpoint – the intricate practice of writing melodies for several voices sounding at once. In this course, we’ll look mainly at 16th-century composers of counterpoint, and sing through pieces from Palestrina to Weelkes, while learning to compose in a variety of practices such as canons, the motet, and familiar style. We’ll gradually work our way from two-voice to four-voice counterpoint, and set texts in a variety of harmonic styles. Emphasis will be placed on creative work, and student pieces will be performed in class throughout the term. Students must be able to read music fluently.

Ikuko Yoshida

Life and Death: Buddhism in Modern Japanese Films (JPN4117.01)

In this course, students will examine how Buddhism influenced Japanese thought on the after-life and analyze how Japanese views on the relationship between life and death are depicted in recent Japanese films. In the first seven weeks of the course, students will examine and discuss the history, beliefs, and deities of Buddhism and their influences on society. In the second half of the term, students will analyze how death and a common theme, reincarnation, are depicted in different genres of Japanese films such as love stories and fantasy. Throughout the course, students will develop both their linguistic skills and cognitive skills by discussing their understanding of Buddhist beliefs and analyzing Japanese perspectives on death and reincarnation. Individual projects are required. Conducted in Japanese. Intermediate-low level.

Janet Foley

Chemistry 4 Lab: Independent Research Projects (CHE4216.01)

Students will apply the principles of Chemistry 1, 2, and 3 to the execution of substantive research projects of their own design. They will also be responsible for independently analyzing their data and publicly presenting their findings. Enrollment is limited to those students who have had a project proposal approved as part of Chemistry 3.

Janet Foley

Chemistry 4 – The Nature of Materials (CHE4215.01)

This course represents the culmination of the two-year integrated general/organic chemistry sequence and will introduce special topics that go beyond those traditionally covered in those courses. Material presented will focus on functional materials such as semiconductors and structures involved in energy transfer and storage. Topics such as electrochemistry, molecular orbital theory, and transition metal chemistry will be introduced to provide a solid theoretical foundation for the applications we will cover. Students will write several papers related to the material; there will also be review assignments and exams.

Annabel Davis-Goff

Shakespeare: The Tragedies (LIT2217.01)

We will read and watch six of Shakespeare’s Tragedies, and will read the sources from which Shakespeare drew his material. Students will write two essays, and are expected to participate in discussion based on careful reading of the plays. Please note there will be two evening film screenings, times to be arranged.

Michael Bisio
Susan Sgorbati

Point of Criticality: Problems of Complexity (APA4203.01)

This is a course on the relationship of complex systems to conflict analysis. Concepts such as self-organization and improvisation, emergence, pattern recognition and complexity, feedback loops, nesting and topologies will all be examined as aspects of how complex problems are constructed. By looking at the 10 Step Complexity CR Model, we will analyze two case studies of current conflicts, one of high stakes distribution related to resources, and one that the class will decide on while making recommendations for action.

Kelli Horton
Karen Gover

Aesthetics (PHI2253.01)

Why do we care about art? Why and how do artworks move us? What, if anything, do artworks mean, and how do we know? This course takes up these and other questions relating to the philosophy of art and artworks. This course will look at the philosophical tradition of aesthetics, including Plato, Aristotle, Kant, and Hegel, up to the present day. We will also look at the role of aesthetic theories in case studies of art-world controversies.

Karen Gover

Nietzsche and His Followers (PHI4137.01)

Postmodernism, for better or worse, is often traced back to the thought of Friedrich Nietzche. But what is postmodernism? Keeping this question in mind, we will ground ourselves in Nietzche’s thought, with an eye to his critique of the Western philosophical tradition. We will then turn to some of the important and influential philosophers of the 20th century as inheritors of the Nietzschean legacy.

Nathan Botts

Brass Instruments (MIN4218.01)

Individual instruction for brass players with some previous experience (including trumpet, French horn, trombone, and tuba). Strategies will be developed for each student to enhance their technique and musicianship. Course work will include the study and practice of music in a variety of styles including baroque, classical/romantic, contemporary, and jazz/improvisation, depending on the level and specific interests of the student. The physical and technical aspects of brass playing will be developed through the regular practice of various exercises. At least one public performance is required each term.

Nathan Botts

Brass Chamber Ensemble (MPF4237.01)

The Brass Ensemble, directed by Nathan Botts explores the wide breadth of music and expression available to instruments made of brass. From antiquity, where the terrifying sounds of brass instruments heralded war and communicated power, to the gaudy wobble of medieval dance music; the beautiful introspection of renaissance wind music, or the beautifully ornamented architecture of baroque music; the melodic balance of classical music — we’ll explore brass music as it developed using original scores when applicable, or arrangements as necessary. Additionally, we’ll explore brass music in its most contemporary forms, including the jazz/funk street bands of New Orleans and the rhythmically twisted Roma bands of Eastern Europe.

Christopher Lewis
Michael Giannitti

Stage Management (DRA2241.01)

Students explore the role of the stage manager in the production process in this class. Readings, discussions, and projects on topics including scheduling, play breakdowns, prompt book preparation, blocking notation, ground plan and theatre layout, and the running of rehearsals and performances are included. The relationship of the stage manager to others involved in the process is also addressed. A significant and required part of the coursework is work as stage manager or assistant stage manager on a College production to gain first-hand knowledge and experience. This production component lasts from two to eight weeks, and may include attendance at all rehearsals held for the particular production. Adjustments are made regarding other assignments for this class due to the production demands.

Corequisites: Stage Management Lab assignment.

Miroslava Prazak

Cultural Localities II: Writing Culture (ANT4136.01)

This advanced research seminar offers the opportunity for the student to implement an advanced study of a specific culture and issue as it is shaped by various social, political, religious and economic contexts. The course will begin with a discussion of contemporary issues in anthropological field research and the writing process, and will include issues such as ethics, the impact of research on public policy, the framing of data and matters of style in the presentation of work. The majority of the course is devoted to individual pursuit of a topic, as relevant to a specific peoples or culture. Students will build on the frame that they constructed in Cultural Localities I by analyzing field research data. Building on work from the previous term, the length of the final paper is expected to be 60+ pages. Students will also work collaboratively to comment on each other’s work.

Charles Schoonmaker; Richard MacPike

Making Yesterday New (DRA4189.01)

Ever had an interest in vintage clothing? Have you ever contemplated the fashion trends of decades past? Ever see a vintage dress that you thought you’d love to reproduce? In this course students will explore and research the fashions of 3 iconic decades; the 1920’s, 1930’s and 1940’s. Students will then design a dress which fits into the silhouette of the period and construct these designs through draping and/or flat pattern manipulation.

Bruce Williamson; Susie Ibarra

Bennington Marching Band (MPF4217.01)

The time has come. Bennington College needs a marching band, our own breed. This ensemble will explore traditions of music-to-move-by from the rural and city landscapes of Eastern Europe, Middle East, Southeast Asia, Africa, South America, and our own American cities such as New Orleans. We will examine village, town and city bands, school bands and parade bands, plus the music and ritual processions connected with weddings, funerals and harvest time. From this, students will collaborate and create new music and movement for the Bennington Marching Band to play, dance to and move with as a mass. A field trip will be planned.

Accepting instrumentalists in brass, woodwinds, percussion, voice and strings.

Bruce Williamson; Tom Bogdan

Jazz Vocal Workshop (MPF4273.01)

This will be a repertoire/performance class where vocalists will have the opportunity to work with both a vocal coach and jazz pianist. Bass and drums will be added towards the end of the term. Songs will be selected from the standard jazz repertoire, which will then be interpreted in a number of different jazz styles (swing, latin, ballad, blues, etc.). Emphasis will be on phrasing, microphone technique, transposing songs to fit one’s vocal range, and learning the definitions of commonly used introductions and endings. There will also be a small amount of ensemble singing, with an emphasis on group blend and phrasing, and a “”practice”” approach to scatting (vocal improvisation). The class will culminate in a performance at the end of term (to be scheduled). Students must have singing experience and the ability to match pitch.

Corequisites: Must also participate in Music Workshop (Tuesdays, 6:30 – 8pm).

Bruce Williamson

Odd Times (MPF4103.01)

This will be a performance-oriented ensemble exploring the rich and varied tradition of music written in odd time signatures (3/4, 5/4, 7/4, 9/8, 11/8 to name a few). We will choose songs from the folk traditions of Turkey, Bulgaria and other parts of the world, then look at how jazz composers started to embrace these non-duple meters (and still do so today). By examining and feeling these rhythmic patterns in units of 2 and 3 (simple, right?), we will learn to feel more comfortable playing and improvising (and who knows — maybe even dancing!) to these exotic pulses.

Bruce Williamson

Shorter Songs (MTH4110.01)

What elements set certain composers apart from their contemporaries? In any genre, there are those who “raise the bar” and gain respect both for being prolific and breaking traditions of harmony and form. Jazz saxophonist Wayne Shorter took his cue from ground-breaking composers before him such as Duke Ellington and Thelonius Monk, helping to create new directions in jazz while being a member of the bands Art Blakey and the Jazz Messengers, Miles Davis Quintet and Weather Report in the 1960s and 1970s. We will examine many of the songs written for these groups, as well as those written for his many albums as a leader (for Blue Note Records), looking at his unique way of combining melody, harmony and rhythm. Students will also be encouraged to compose and arrange “short” songs, using some of the techniques learned. Compositions will be performed in Music Workshop.

Bruce Williamson

Saxophone (MIN4237.01)

Study of saxophone technique and standard repertoire (jazz or classical), with an emphasis on tone production, dexterity, reading skills, and improvisation. This course is for intermediate-advanced students only.

Corequisites: Students will be requested to perform at Music Workshop during the term (Tuesday, 6:30 – 8 pm).

Bruce Williamson
Paul Voice

Global Ethics/Global Justice (PHI2110.01)

What do we owe to distant others? What responsibilities do we have to address the misfortunes of citizens of other countries? What, if anything, do we owe future generations? Does the idea of global justice make sense? These and other questions are addressed through a careful readings and analysis of a variety of philosophical arguments. You will be expected to write two papers and present your work to the class.

Paul Voice

Environmental Ethics (PHI2103.01)

What ethical responsibilities do individuals have towards the environment? What does environmental justice require of national and international institutions? This course examines the philosophical issues and arguments that underlie these questions. Our complex relationship to the environment, as nature, as resource, and as shared world, invites questions concerning our ethical obligations to others, to parts of the world itself, to non-human animals, and to future generations.

Rebecca Godwin

Honors Seminar on Twain (LIT4527.01)

According to Sam Clemens himself, “The man who does not read good books has no advantage over the man who can’t read them.” In this course, we’ll read several “good books”—along with stories, essays, and letters—penned by one of the most prolific and complex of American writers. One of the funniest, too, so expect to have a good time, in the midst of a rigorous reading and writing load. Among the works we’ll read are The Adventures of Tom Sawyer, Adventures of Huckleberry Finn, Pudd’nhead Wilson, A Connecticut Yankee in King Arthur’s Court, and portions of Roughing It, Innocents Abroad, and Life on the Mississippi, as well as selected shorter works of fiction and nonfiction. Students will keep reading journals, give presentations, and write critically and creatively, including an extended critical paper.

Rebecca Godwin

Reading and Writing Short Stories (LIT4211.01)

We’ll read some 40 stories in this class-mostly contemporary, although we will include a few glorious others-and look for what makes them, well, stories. That’s part one. Part two is writing: first bits and pieces, scenes and dialogue and narrative explorations, and then a couple of polished stories to discuss in workshops and revise. Intensive engagement in reading, writing, and talking is an absolute requirement.

Ronald Cohen; Elizabeth Sherman

Human Nature(s) (PSY4209.01)

This course will address recent developments in several fields (evolutionary biology and evolutionary psychology among them) which have reinvigorated fundamental questions about humans, their conduct, and the cultures and societies they produce. We will examine several of these questions in detail: what is the nature of altruism? of aggression? of conflict? of reconciliation? What can be learned about human manifestations of these processes from examining them in non-human animals? What constraints does our evolutionary history place on current and future development, on individual persons and the societies they inhabit? What are the advantages, and what are the risks, in posing these questions?

Randall Neal

Advanced Projects in E-Music (MCO4139.01)

This course will focus on composition in the electro-acoustic medium. Students may choose to develop their technical skills in any of the following areas: sound synthesis, digital signal processing, digital audio recording and surround sound 5.1 spatialization.

Students are expected to complete an electro-acoustic composition in surround sound to be presented in concert at term’s end. Students are also expected to complete short readings, participate in class discussions and to present their creative work on a regular basis in class sessions. An intermediate to advanced level tutorial.

Randall Neal

Electronic Music: Creativity and Sound (MCO2109.01)

How do you compose when any sound can be used in music? This course provides a wide-ranging exploration into strategies for sound-based composition and the digital transformation of sound. Students will create original sounds and compositions in the electronic music studio. Students are expected to complete short readings, participate in discussions, present their creative work on a regular basis in class sessions and complete two studio projects. The afternoon lab session will cover digital audio recording, digital signal processing, and compositional practice in the electronic music studio.

Sue Rees

Animation Projects (MA4201.01)

The course will be for sustained work on an animation. Students will be expected to create a complete animation, or project. The expectation is that students will be fully engaged in their project, and with critiques. Student will work with sound effects and sound scores to complete their final animation.

A public showing will be required.

Sue Rees

Advanced Digital Modeling (MA4204.01)

This course introduces students to the basic language of 3D animation and modeling. Students will be expected to become familiar with the basic principles of the Maya program and to produce a short animation by the end of the term, or a series of modeled objects and spaces.

Additionally, during the course we will print forms, utilizing 3D printers.

This course will be held the first seven weeks of the term.

Donald Sherefkin

Advanced Architecture (ARC4401.01)

This is an advanced studio class for students who have a proficient understanding of architectural concepts, history, and theory.

Donald Sherefkin

Architecture I – Elements (ARC4115.01)

Introduction to the discipline of architectural exploration. Architecture I focuses on the formation of architectural concepts through the development of spatial investigations. using scale models and drawings.

We begin with a series of abstract exercises which explore ways in which meaning is embedded in form, space and movement. These exercises gradually build into more complex architectural programs organized around particular problems.

In the second half of the term, a small architectural project will be developed on a campus site, with the final presentation of measured drawings and a scale model.

Miroslava Prazak; Susan Sgorbati

Reading the Body (ANT4208.01)

Should boys be robust and ruddy? Should girls be wan, lithe and prone to vapors? Unlike the Western scientific, biomedical constructions of the body, a cultural constructionist approach accepts the body, the self, and the person as culturally shaped, constrained, and invented. In this course, we will explore how social values and hierarchies are written in, on, and through the body, the relationship between body and (gender) identity; and the experiences and images of the body cross culturally. Our bodies and our perception of them constitute an important part of our sociocultural heritage, and throughout life we undergo a process of collectively sanctioned bodily modification that serves as an important instrument for our socialization. Alternating between discussion and experiential classes, students will read and discuss texts that address the social construction of the body, and examine the basis for movement, our anatomical structure, and how this is socially modified.

Kaori Washiyama

Violin/Viola (MIN4345.01)

Studies in all left-hand positions and shifting, and an exploration of various bow techniques. Students can select from the concerto and sonata repertoire, short pieces and etudes for study designed to develop technique, advance musicianship and prepare for performance.

Kelli Horton
Hui Cox

Beginning Guitar (MIN2247.01)

Introduces the fundamentals of acoustic guitar playing, including hand positions, tuning, reading music, major and pentatonic scales, major, minor, and seventh chords, chord progressions, blues progressions, and simple arrangements of songs.

Tom Bogdan

Intermediate Voice (MVO4301.01)

For students of varying levels of singing ability. Vocal production and physiology will be discussed. Group warm-ups and vocalizations will incorporate exercises to develop breath control, resonance, projection, range, color, and agility. The fundamental concepts of singing will be explored in the preparation of specific song assignments. Personalization of text and emotional expression will be addressed. Students will study and perform traditional classical song literature (including early Italian songs, 17-18th century arias and repertoire in several languages) to strengthen and to facilitate technical growth before moving on to other contemporary styles. Students will have half-hour repertory sessions every other week with an accompanist. Students must have previous voice experience and/or study, and some music literacy.

Corequisites: Must participate in Music Workshop (Tuesdays, 6:30 – 8pm).

John Kirk

Song for Ireland and Celtic Connections (MHI2251.01)

Celtic music from Ireland, Scotland, Bretagne, Galacia, and Cape Breton will be experienced, studied, and performed using instruments and voices. We’ll find and cross the musical bridges between regions–from the ballads of Ireland, Scotland and Wales to the Alalas of Spain and dance tunes of Brittany. An end-of-term presentation will be prepared drawing on inspiration from traditional forms. Students must bring a guitar, banjo, mandolin, or fiddle (or other social instrument) to class for purposes of furthering personal music making through traditional forms. We will practice and perform as a group, improving our reading and aural skills.

John Kirk

Traditional Music Ensemble (MPF4221.01)

We will study and perform from the string band traditions of rural America. Nova Scotia, Quebecois, Irish, New England, Scandinavian, African American, dance and ballad traditions will also be experienced with listening, practice (weekly group rehearsals outside of class) and performing components. Emphasis on ensemble intuition, playing by ear, and lifetime personal music making skills (transposition, harmonizing, etc.). Previous playing experience required on one or more of the following instruments: violin, guitar, banjo, mandolin, bass accordion, concertina, penny whistle, flute, bodhran, harp, ukulele, or piano.

John Kirk

Mandolin (MIN2229.01)

Beginning, intermediate, or advanced group lessons on the mandolin will be offered. Student will learn classical technique on the mandolin and start to develop a repertoire of classical and traditional folk pieces. Simple song sheets with chords, tablature, and standard notation, chord theory, and scale work will all be used to further skills. Student will be expected to perform at a music gathering, or as part of a concert, in ensemble and/or solo. Depending on scheduling, these will be individual or group lessons.

John Kirk

Fiddle (MIN2227.01)

For the experienced (2+years of playing) violinist. Lessons in traditional styles of fiddling – Quebecois, New England, Southern Appalachian, Cajun, Irish & Scottish. This tutorial is designed to heighten awareness of the variety of ways the violin is played regionally and socially in North America (and indeed around the world these days) and to give practical music skills for furthering personal music making. Student will be expected to perform at a music gathering, or as part of a concert, in ensemble and/or solo. Student must have their own instrument or make arrangements for renting one from the music department. This will be a group lesson.

John Kirk

Banjo (MIN2215.01)

Beginning, intermediate, or advanced group lessons on the 5-string banjo in the claw-hammer/frailing style. Student will learn to play using simple song sheets with chords, tablature, and standard notation. Using chord theory and scale work, personal music-making skills will be enhanced. Awareness of traditional styles of playing the instrument will be furthered through a listening component and ensemble playing with other instrumentalists.

Thomas Bogdan

Advanced Voice (MVO4401.01)

Advanced study of vocal technique and the interpretation of the vocal repertoire, designed for advanced students who have music as a plan concentration and to assist graduating seniors with preparation for senior recitals. Students are required to study and to perform a varied spectrum of vocal repertory for performance and as preparation for further study or graduate school. A class maximum of five voice students will meet for one-hour individual session/coachings with the instructor each week (to be scheduled with the instructor). Students will also have an individual half-hour session with a pianist each week to work on repertory.

Corequisites: Must also participate in Music Workshop (Tuesdays, 6:30 – 8pm).