Archives

Introduction to Sculpture: Getting to know Sculpture and its Performance (SCU2120.01)

What is sculpture and how does performance have anything to do with that? How do we talk about a thing that takes up 3-D space and time? What does it mean to make an object anyway? How does one develop an idea to make an object? And what materials are the best to realize this idea? This course invites students to investigate the fundamental principles of sculpture while encouraging exploration of classical and alternative contemporary approaches. The coursework will ask to dig into one’s personal histories while investigating materials that can articulate one’s lived experience. Our sessions are intensive explorations into a variety of techniques and materials including resin mold making, wood joinery, digital fabrications, and metal. There will be a strong emphasis on drawing and sketching your ideas before implementing them, along side finding ways to perform with the objects. Slide lectures and presentations compliment individual and group critiques.

The River, The Forest, The Glacier: Classics of American Environmental Literature (LIT4139.02)

How to take measure of place is a question that has long resonated in the American imagination, and thiw course considers both the geography and the voices that provide the foundation for current environmental writing. The Exploration of the Colorado River and its Canyons by John Wesley Powell, The Maine Woods by H. D. Thoreau, and Travels in Alaska by John Muir offer occasion to discuss the sublime, scientific discovery, and emerging ideas of the value of nature. A transcendentalist, Thoreau also appraised the natural world as a surveyor; the purpose of Powell’s river journey was geographic and geologic documentation, yet hardship made it something very different; and if Muir found the imprint of god’s hand across the natural world, he was also an early advocate of biocentric equality.  Students will be asked to consider how scientific inquiry and a view to the sublime coincided in the thinking of these writers; and explore those ways in which their divergent perspectives are the groundwork for American understanding—and misunderstanding—of our relations with the natural world.

Corequisite: Students are required to be in attendance at all Literature evenings and Poetry at Bennington events in the second half of the term (most Wednesday evenings at 7:00pm).

European Literature Between the Wars (LIT4170.01)

In the immediate aftermath of WWI, Europe found itself dramatically reshaped. In the place of the now-dead Dual Monarchy were six new nation states set between borders haphazardly drawn by victors of the war in order to smite the losers. An economic crisis swept the continent, leaving millions starving and rendering the German Mark nearly worthless. In the east, the Soviet Union emerged from the Revolution of 1917 to become the largest nation on earth. Amid all of this a set of striking new artistic idioms began to emerge. In nearly every medium, the tradition of 19th Century romanticism gave way to new expressions of grief and anomie and a brief but thrilling optimism. Within twenty years, all of this would be gone. Many of the debates around art and culture in this inter-war period mirror the conversations artists are having now about the purpose and future of the novel, the veracity and utility of literary realism, and whether or not the social worth of art can ever faithfully represent the horror of war. Students in this class will emerge with a portrait of Europe before before the cataclysm of the second World War and will trace how the aesthetic conversations then affect our own ideas of beauty and art. We will read Joseph Roth’s dispatches from Eastern Europe, short pieces by Fernando Pessoa, Stefan Zweig, Bruno Schultz, and Isaac Babel, Walter Benjamin’s Theses on the Philosophy of History, diary entries from Franz Kafka, philosophical critique by Hannah Arendt, and poetry by Anna Akhmatova and Nelly Sachs. Readings will be paired with music of the time, by Richard Strauss, Paul Hindemith, Arnold Schoenberg, Alban Berg, Anton Webern, Kurt Weil, and more.

Corequisites: Students are required to be in attendance at all Literature evenings and Poetry at Bennington events (most Wednesday evenings at 7:00pm).

Beyond the Boss: Organizational Models for the 21st Century (APA2247.02)

Almost all work in the world is performed in groups and all groups involve some kind of organization. Whether it’s a fast-food restaurant, a band, an activist group, or even a college class, we investigate ideas of organization — often invisible — that we picked up from somewhere: families, teachers, bad bosses, and/or movies just to name a few. This course offers the opportunity to survey recent non-traditional organizational concepts from both the business and non-profit world. Since a genuinely critical examination of organizations cannot occur in the absence of lived experience, we will use the class itself as a laboratory for exploring questions such as what does it mean to work without a boss, what is the role of facilitation and negotiation, and how can we use organizations as a vehicle for individual development. Source material will include Reinventing Organizations by Frederic Laloux, the work of Robert Kegan and Lisa Lahey (Immunity to Change, An Everyone Culture) among others.

(September 24, 27, October 1, 4, 8, 11)

Creating Field Guides to Bennington (APA2217.01)

In this 7-week workshop we will uncover aspects of Bennington, perform research, tell stories, and design booklets using the familiar form of the field guide. A field guide is a manual used to identify things (birds, trees, minerals and more) in their natural environment. It follows certain rules, such as an identification system, a grammar, a map, and a how-to use section. All of these structured “conventions” are designed to encourage participation. Because its form is recognizable, one can employ the field guide format to do all kinds of things in the world. For instance, there are field guides to civic participation, stereotypical high school types, and artisanal cheese.

With the Bennington campus and/or the town as our “field,” students will individually identify, design (or create) and produce a printed field guide to a system that is present in this environment. Focuses could include campus waste, town heroes, local ghosts, the library and more. As a group, these guides will form a collection of uniquely expressive, artistic approaches to the idea of “field guide,” while following tight constraints. In addition, students will observe participants using their field guides, and conduct public tours. In order to enlist a public, students must answer a fundamental question about participatory design: “What do you want your field guide to DO?”

Class final: Students will user test their field guides on the campus and in the area. Final printed guides will be submitted to the Crossett library. Learning outcomes: Students will be introduced to systems thinking, constraint-based design, semiotics, and participatory design, and will conduct research, play-testing, zine production, interface and graphic design.

Print and Process (PHO4246.01)

The focus of this course is preparing digital files for large inkjet printing. Starting with capture, students will learn how to make images with the intention of printing them larger than 20 inches. Students may work with analog negatives or digital RAW files and will learn how to properly scan and import. Students will learn how to appropriately organize and catalog their files with Adobe Bridge, as well as Photoshop techniques for dust spotting, color correction, and sharpening. Students will then learn the steps needed to make test prints on a smaller scale and finally how to print on the Epson 9890 44inch printer. Careful attention will be paid to paper choice and students will be expected to purchase their own paper for their final projects. We will cover options for handling, storing, and displaying large prints. Throughout this course students will be working to refine their eye for color, to make carefully considered editing and printing choices, and to hold themselves and their work to a higher standard.

Letterpress Printing from Metal, Wood, and Photopolymer (PRI4697.01)

In this intermediate level course, we will focus on learning letterpress printing within a framework of making visual art. This can be a precision process and it affords a huge range of possibilities for artists who wish to work with multiples and/or use text in their work. It is a rigorous course and each student will develop and design print projects that develop both their technical and conceptual skills. Reading will be assigned each week to expand on knowledge and give context for projects. By the end of term, participants should have the skills needed to make work in the Word and Image Lab, and a broader understanding of the history of printing and its relation to contemporary art practice.

Processes that will be covered include, press work on letterpress proofing machines, setting and printing metal type, printing type high wood blocks, and photopolymer letterpress.

Related topics that will be covered include the history of printing and letterforms, Typography, Book Design.

Piano Lab I (MIN2232.01, section 1)

Introductory course in basic keyboard skills. Topics include reading notation, rhythm, technique, and general musicianship.

The 2020 Election (APA2174.01)

This course looks at the Presidential candidates for 2020, their platforms, and how these platforms would impact American society. Additionally, the course will work to examine and conclude what issues are most important to Americans and how Americans view politics and the American Presidency at this time in the country’s history. In addition to required readings and writing assignments, student will be responsible for conducting significant research largely through the interview process.

The Scriptorium: Visual Culture (WRI2151.01)

This scriptorium, a “place for writing,” serves as a class for writers interested in improving their academic essay-writing skills. We will read to write and write to read. Much of our time will be occupied with writing and revising—essai means “trial” or “attempt”—as we work to create new habits and strategies for our analytical writing. As we practice various essay structures with the aim of developing a persuasive, well-supported thesis, we will also revise collaboratively, improve our research skills, and study grammar and style. Our aim is to learn to write with complexity, imagination, and clarity, as we read model examples of form and content in the field of Visual Culture. How do we organize and understand our perceptions of the world? How do we look at objects? At paintings and photographs, advertisements and films? What do we see, and not see, when we visit a new place, or when we encounter an animal or a monster? And, importantly, how do we perceive ourselves and others? Readings may include texts by Berger, Barthes, Rankine, Mulvey, Hall, Lorde, Keats, Douglas, Said, Butler, hooks, Chang, Halberstam, Gilman, Scarry, Plato, Sontag.

Improvisation: Somatic Nuance (DAN2143.01)

This is a class for those curious about their bodies’ potential for spontaneous, nuanced movement. We will begin with a slow warmup, emphasizing our natural desire to move. We will use varied improvisational structures or scores to create frames for attention. By gaining awareness in our bodies, we will improve our ability to move easily and articulately. We will explore dancing in small groups, alone and through partnership. We will aim for an expansive, expressive and joyful experience of moving.

Intermediate Voice (MVO4301.03, section 3)

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: Attendance and participation in Music Workshop (T 6:30-8:00)

Intermediate Voice (MVO4301.02, section 2)

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: Attendance and participation in Music Workshop (T 6:30-8:00)

Embracing Difference (ANT2107.01)

Why are cultures and societies so different, and simultaneously, so similar? This introductory course examines some of the theoretical and methodological approaches of anthropology in exploring human culture and society. We explore various ethnographic examples to develop an anthropological perspective on economy and politics, social organization, kinship and family life, ideology and ritual, ecology and adaptation, as well as a focus on the sources and dynamics of inequality. Further, we focus on the dynamics of change in contemporary life-globalization, migration, political collapse, environmental calamity and social reorganization-and how these processes challenge social scientists to construct appropriate paradigms to describe and understand the production of cultural meanings in the increasingly globalized world, and to identify cultural differences and human universals.

Form and Process: Investigations in Painting (PAI2107.02, section 2)

This course introduces a variety of materials, techniques and approaches to painting with oils. Emphasis is placed on developing and understanding of color, form and space as well as individual research and conceptual concerns. The daily experience of seeing, along with the history of art, provides a base from which investigations are made. Formal, poetic, and social implications within paintings both from class and from art history are examined and discussed. Students complete work weekly. There are regular group critiques, and individual reviews, reading assignments and lectures by visiting artists. A high degree of motivation is expected.

Digital Life (MS2104.01)

Digital technology is changing our understanding of what it means to be human, and rewriting our definitions of life, the body, love, death, and other concepts and embodied experiences. Through engaging contemporary narratives like The Circle and Black Mirror, we will explore the theory of technogenesis—the idea that humans have always coevolved with their tools. We will read key works in media studies to historically contextualize contemporary changes within a longer range of technological shifts, from the emergence of written alphabets to the invention of moveable type, from cave paintings to moving images. What effect have these media technologies had on human consciousness, cognition, sensation, and experience? How does digitization preserve or change the meaning of analog archives and objects? Now that scientists have managed to store digital images in strands of synthetic DNA, what is happening to the boundary between digital technology and what we might have previously called “life itself”?

Movement Practice: Beginning-Intermediate Dance Technique (DAN2119.01)

In this basic intermediate course, we will work with imagery to help explore potential in the body. We will practice kinesthetic exercises that will help expand movement range, strength, and specificity. Emphasis will be placed on understanding the feeling of movement, deeply, and trusting it. From this we can understand how this feeling moves the body, and eventually how this body moves the space and bodies around it.

There are different kinds of effort involved in moving. We will look at these specifics in order to understand our affinities for particular movement. Once understood, it may open up a wide vocabulary. We will work on duration and endurance, so that they are not a hindrance. From there we can redetermine our capacities.

Movement Practice: Advanced Dance Technique (DAN4344.01)

In this advanced level course, we will focus on tapping into the subtle connections in the body. We will be using improvisational scores and somatic exercises to hone these connections and increase self-awareness. Gentle focus can be used to achieve high intensity movement. Tracking what we are doing as we do it–we will acknowledge the nervous system’s role in our movement efforts. It is important that we are able to do this with a non-judgmental mindset. We will learn to watch openly, gathering information from others, to increase possibilities in performance.

Performance Project : Ephemeral Archive (DAN4138.01)

We will collectively generate a new work; each person will play an integral role in the development of the project.  We will amass a large kind of historical archive from which we choose how to stage the work.  Using the voice and text,  we will push into rigorous physicality, exploring range and nuance. We will perform this in a concert at the end of the term.

Traditional Music of North America (MHI2135.01)

This course explores music from early native music through contemporary singer-songwriters. Some of the traditions we draw from include African, Native American, Quebecois, Appalachian, Irish and Scottish, British Isle traditions, Cajun, Blues, Gospel, and Conjunto music. Instrumental, dance, and ballad traditions are explored. 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. Other instruments are possible, but the students must discuss this with the instructor.

Aluminum and Stainless Steel Fabrication (SCU4103.02)

In this course we will focus on cutting and welding non-ferrous metals. CNC assisted plasma cutting will pair with the more traditional methods of shaping the material The fabrication processes will begin through brazing methods (acetylene and oxygen) for connecting non-similar metals then we will advance to learning the skills involved in using the GTAW welders for non-ferrous welding. This is a project based foundation course on a more advanced level. The student must have practiced and comfortably understand the processes in basic gas and electric welding.

Metal casting: Iron and Aluminum (SCU2211.01)

This course is designed to introduce students to the processes involved in casting Iron and Aluminum. Students will work with foundry wax and learn how to produce a sculpted object either by hand or that of some other method covered in class. These additional methods could include machining parts, 3d printing objects or casting from the body. After a form has been produced the student will create molds that will be used for casting in both Iron and Aluminum. The first couple of weeks will be focused on producing molds that will be included in an intercollegiate iron pour in Salem New York. Participating among other Colleges allow for large scale participation experience to the world of artists casting in metal. This first pour at Salem shows rigid scheduling and teaches safety practices that we will then bring back to Bennington to prepare for our own Aluminum pour here at the College.

Processes used include but not limited to: Developing sand part molds with Silbond, casting wax with alginate and plaster , lost wax methods, and proper safety measures are taught through out each step.

The Physics of Light and Color (PHY2114.01)

The physics of light and color initially appears simple: light is a wave and the wavelength of light determines color. While this basic physical description of light is easy to state, going deeper quickly opens up large range of questions. How do different wavelengths of light combine to make colors? How does light from different sources interfere? How does light change path when it travels through different materials? How do humans sense light both in and outside of the visible spectrum? How does our perception of color affect how we interpret our world? Each question reveals a deeper level of detail and more complexity. While the fundamentals of this course will address the underlying physics of light and color, student interest will drive experimental projects in a variety of areas that extend the ideas of the course.

Students with an artistic interest in light and/or color who are interested in developing a deeper understanding of the physics that underlies our visual perception should find this class particularly interesting.

Hugh Crowl
T 8:30-12:10 (first seven weeks)
This course is categorized as All courses, Physics.

The Physics of Sound (PHY2278.02)

Physically, sound is simply the compression of air around us. However, this relatively simply description obscures a much richer understanding of sound. From how different sounds are generated and perceived to how different sounds can combine to make something new to how to design acoustically pleasant spaces, the physics of sound plays a key role. This course is about the fundamentals that underlie sound and is designed to serve as an introduction to those who are interested in going further. We will discuss wave theory, sound propagation, constructive and destructive interference, beats, and resonance, among other ideas. This course will be mixed between a lecture/discussion and a hands-on lab and students will be expected to design their own final project extending the ideas of the course.

Hugh Crowl
T 8:30-12:10 (second seven weeks)
This course is categorized as All courses, Physics.

Experimental Black Women Poetry (LIT4129.01)

Defining experimental poetry can be mystifying inasmuch as all writing can be considered experimenting with language. The notion of experimentation, however, has often been denied writers of African descent across the globe.  Often relegated to the margins in discussions of innovative and avant garde poetics, Black women have throughout time lead the charge of excavating from language once-unknown possibilities that lean into care and transgression as needed for survival and expression. In this class, students will explore how the ideas of experimental, innovative, and radical have been applied by Black women poets who, in their work, subvert notions of womanhood as domestic and tame, and disrupt notions of Blackness as commonplace and unimaginative. We will poetry and critical works by essential Black women poets such as M. Nourbese Philip, Harryette Mullen, Gwendolyn Brooks, Evie Shockley, Robin Coste Lewis, Duriel Harris, Ruth Ellen Kocher, Lillian Yvonne Bertram and others. Assignments may include weekly response papers, a midterm paper, and a final paper.

Co-requisites: Students are additionally required to attend all literature evenings and Poetry at Bennington events, held most Wednesdays at 7pm

Russian Jewish Literature and Film (LIT2203.01)

The roots of Russian Jewish literature reach back into the Pale of Settlement of the pre-revolutionary era. The vibrant cosmopolitan city of Odessa on the Black Sea provided an important cultural model for the style and political stance of Jewish literature written in Russian. Although Stalin’s purges and the second World War affected all social levels and ethnic groups within the Soviet Union, the Russian Jewish historical experience provided a highly distinctive perspective onto these tragic events, as reflected in the uncompromising poetry of Osip Mandelstam, and the path-breaking fiction and memoirs of Vasily Grossman and Yevgenia Ginzburg. The work of contemporary Russian Jewish authors and filmmakers reflects the complexity of the immigrant experience in Europe, North America, and the Middle East. We will also examine the diverse responses of writers to the present-day redrawing of the political map of Russia and Ukraine.

Introduction to Harmony (MTH2128.01)

A nuts-and-bolts overview of tonal harmony, from scales and chords to voice leading. At first we’ll focus on the harmonic practices of Classical and Baroque music, later broadening our focus to a variety of pop, jazz, and contemporary music. Emphasis will be placed on creative work, and students will be asked to compose (and perform) pieces in a variety of harmonic styles. Separately scheduled ear-training and sight-reading labs will help internalize these harmonic concepts. Students should be able to read music.

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. Students must have three to five years of instrument playing experience, and must have their own instrument or arrange for instrument use per term.

Fiddle (MIN2227.01)

For the experienced (2+years of playing) violinist. Lessons in traditional styles of fiddling – Quebecois, New England, Southern Appalachian, Cajun, Irish, and 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. Students will be expected to perform at Music Workshop, or as part of a concert, in ensemble and/or solo.

Mandolin (MIN2229.01)

Beginning, intermediate and advanced group or individual lessons on the mandolin will be offered. Students 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. Students will be expected to perform at Music Workshop, or as part of a concert, in ensemble and/or solo. Depending on scheduling, these will be individual or group lessons. Students must have their own instrument.

Corequisite: Must participate in Music Workshop (Tuesday, 6:30 – 8:00 pm).

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.

French Comedy (FRE4122.01)

This course will examine the comic in French theatre, literature, politics, and film in order to answer a deceptively simple question: What makes us laugh? In theoretical readings we will consider whether laughter is a universal, cross-cultural function. Additionally, we will look at special, sub-genres of the comic, such as satire and parody, in order to question the relationship between comic genres and the real world. Does comedy seek to change the world or does it merely want to point to its foibles? Is it a progressive or conservative mode? What is its role in bringing about political, social, or even literary change and innovation? We will conclude by considering whether comedy is dead today. Authors studied will include Rabelais, Corneille, Molière, Voltaire, Beaumarchais, Beckett, Bakhtin, Bergson, and Freud. Advanced level. Conducted in French.

Corequisites: Language Series

Diversity of Coral Reef Animals (BIO2339.01)

Coral reefs are among the most diverse, unique and beautiful of ecosystems on the planet. Alas, they are also quite vulnerable to various environmental assaults and most of the reefs on earth are in real jeopardy. Students will learn the taxonomy, identification and characteristics of the animals which live in coral reefs. We will discuss the major biological innovations that have permitted the evolution of these extraordinary ecosystems. This course can serve as a prerequisite for the winter Field Course in Coral Reef Biology in Grand Cayman.

Adaptation or Extinction: Animals & Climate Change (BIO4222.01)

Global climate change has been implicated in the extinction of some animal species, changes in the geographic ranges of others, and many species appear to be increasingly vulnerable to both biotic (e.g. disease, competitors) and abiotic (e.g. temperature, acidification, pollutants, drought) stressors. Will different animal species adapt to global climate change or disappear? What influences their survival? Is variation among individuals in a population a substrate for adapting to changes in the environment or are these changes occurring too rapidly? We will examine these questions in discussions of papers from the primary literature. Students will design and conduct research projects informed by the questions we discuss.

Applied Computing: Foundations of Python Programming (CS2119.01)

In this introduction to computer science, you will learn to design, implement, test, and analyze algorithms and programs using Python, currently one of the most widely used programming languages in the world. Within the context of programming, you will learn to formulate problems, think creatively about solutions, and express those solutions clearly and accurately. Problems will be chosen from practical examples such as graphics, image processing, cryptography, data analysis, astronomy, video games, and environmental simulation. The course will include remote video instruction, interactive media, as well as collaborative team projects. As part of the course, you will also hear from engineers from Google about their careers in the tech industry and how you can prepare yourself for a similar career. Prior programming experience is not a requirement for this course.

Students planning to continue studying in computer science can take either this course or CS 2124 , but they cannot enroll in both.

Science Fiction as Agent of Change (FV4223.01)

This is a seminar, screening and production half-semester course, based on themes within Science Fiction and Speculative Fiction as means to imagine a different future.  In the first half we will be viewing films, from big budget to experimental and performance-based video art, while also listening to music, audio plays, and reading experimental and theoretical texts to support weekly thematic discussions. We will contrast Hollywood narratives against historical films like Born in Flames, Space is the Place, Fresh Kill, and Flaming Creatures, alongside the work of many contemporary artists.  Further, we will be reading texts by Gayatri Spivak, José Esteban Muñoz, Laboria Cuboniks, and Fred Moten, among others – texts conceptualizing the urgency in reimagining the future to make room for identities in alterity in the present.  In the second half of the course students will work towards a short self-formed project in either film/video, script, or critical/experimental text.  Entry into the class is predicated on the professor’s permission, and those interested must submit a sample of recent work in either moving image or text.

Introduction to Cell Biology (with lab) (BIO4114.01)

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 synthesized 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.

Genome Jumpstart: An Introduction to Bioinformatic Analysis (BIO2117.01)

This course offers an immersive experience into the world of DNA, genes, and genomes in eukaryotic organisms. In addition to getting a grasp of the foundational biology, we will become familiar with the computational algorithms and methodologies used to analyze and mine the ever-increasing data generated from whole-genome sequencing, high-throughput proteomic analyses, and our improved understanding of evolutionary relationships between organisms based on their molecular fingerprints. For the project portion of the course, all students will utilize public genomic databases and software to contribute to an ongoing multi-institute analysis and annotation of understudied regions of Drosophila genomes. This project work makes students eligible for future co-author status on emerging publications by the Genomics Education Partnership consortium.

Rakugo: Art of Storytelling (JPN4505.01)

Rakugo is one of the traditional Japanese art and storytelling entertainment which became extremely popular during the Edo period (1603-1868). Rakugo is a rather unique storytelling performance because a storyteller sits on a seat on the stage called “kooza” and tells humorous stories without standing up from the seat. Moreover, the storyteller narrates and plays various characters by changing his voice, pitch, tone, facial expressions, physical movements, etc.

In this course students will 1) research the history and the essential elements of rakugo, 2) examine several rakugo scripts to learn new grammar points and kanji characters, and 3) analyze how speech patterns change based on age, social status, gender, occasions, and situations. They will also examine cultural elements that are reflected in the rakugo scripts. As a part of the course, students will practice rakugo performances and write their own rakugo scripts to perform. Intermediate Level.

Corequisites: Language Series

Monitoring the Paran Creek Watershed (ES2113.01)

Much discussion of environmental protection is based on the unit of a local watershed. Fully considering a watershed requires relating landscapes, land cover, and human land use to the waterways that we rely upon to live. This field-based class will work with community groups and environmental professionals to begin a long-term watershed monitoring system for Paran Creek. This will include discussion of which measureable parameters can be used to define the “health” of a natural water system, and practical field work, collecting data and installing equipment. Much of the coursework will be quantitative in nature, and fieldwork will require moderate physical activity.

Genesis (HIS2220.01)

Genesis is the first book in a compilation known collectively as the Bible. It is a text of enormous literary value, and one of our earliest historical chronicles, providing foundational material for Judaism, Christianity, and Islam. Yet how many of us know what it actually says? How did it come together, what is the narrative, and how does it relate to the ideas and events of the ancient world? We will not be considering Genesis in terms of its status as scripture. Instead, we consider it as a literary work, a case study in the History of the Book, and a primary source for the history of the ancient world.

Animation 1 (MA2105.01)

The class will be concerned with animating inanimate objects by stop motion, drawings, and cut out collages. A variety of filmmakers and techniques will be looked at during the course of the semester. Students will be expected to produce a variety of short projects followed by a longer more sustained project based on current events and environmental issues. Students will be instructed in using ‘Dragonframe’ Software, the Multiplane process, and video editing software. Experimentation with ways animation are presented will be undertaken; projection, web, etc.

Students are required to take History of Animation in conjunction with this class.

Corequisites: History of Animation

Chemistry 1: Chemical Principles (with Lab) (CHE2211.01)

This course is the first of a four-course chemistry sequence covering general, organic and biochemistry. Students do not need to take the entire sequence. We will focus on introductory chemical principles, including atomic theory, classical and quantum bonding concepts, molecular structure, organic functional groups, and the relationship between structure and properties. The class will have lecture/discussion meetings at which we will critically examine the major concepts of reading assignments, discuss articles, and review some of the current developments of the field. The aim of the laboratory will be to develop your experimental skills, especially your ability to design meaningful experiments, analyze data, and interpret observations. Some background in math (pre-calculus) would be helpful.

Corequisites: Lab

Foundations of Global Politics (POL2103.01)

In this wide-ranging introduction to the study of international politics, we will be exploring how states and non-state actors negotiate their interactions in an increasingly interconnected, interdependent and globalized world. Core themes will include: contending theoretical approaches to international relations (realism, liberalism/idealism, constructivism, structuralism, Marxism, feminism and post-colonialism); historical evolution of the international system; foreign policies of major global and regional powers; the growing roles of non-state transnational actors such as terrorist networks and humanitarian non-governmental organizations; multilateral organizations and other institutional architectures of global governance; alternative global futures; and case studies of policy responses and solutions to major global issues, including economic inequality, environmental challenges, armed conflicts and other forms of humanitarian crises.

The Actor’s Instrument (DRA2170.01, section 1)

An actor honors and bears witness to humanity by embodying and giving voice to the human element in the landscape of theatrical collaboration. Investigating the impulses and intuitions that make us unique as individuals can also identify that which constitutes our shared humanity. Through exploration of the fundamentals of performance, students address the actor’s body, voice, and imagination as instruments for creating drama, conflict, action and story. Course work includes: relaxation techniques, improvisation, basic sensory and imagination exercises, character analysis, and beginning text work. We will read and discuss several plays throughout the term, as well as theory.

Corequisites: Dance or Drama Lab Required

Kirk Jackson
T/F 10:30-12:20
This course is categorized as All courses, Drama.

Architecture I – Elements (ARC2101.01)

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, small architectural projects will be developed on a campus site, culminating in a final presentation of measured drawings and a scale model.

Corequisites: Architectural Graphics

*When you register for this course online, the Registrar’s Office will register you in the corequisite course ARC 2104 Architectural Graphics on Wednesday, May 15*