Archives

The New Hampshire Primary (POP2266.04)

What is it like to be a part of a massive effort to win the office of the President of the United States? Focusing on the New Hampshire primary, this class will let you explore the process that is currently underway by candidates to win the Presidency. The class will comprise two field trips to New Hampshire (Saturday, November 16 and Saturday, December 7) where you’ll choose the candidate of your choice to work with and research. Upon completion, students will produce a written reflection on the American primary process, its origins, how politicians work within this process, and whether or not there are reasons to reform the path to the presidency.

The Plan as Portfolio (PLN2101.02)

This course is a critical look at the use of electronic portfolios (or e-portfolios) in higher education, and the unique opportunity here at Bennington to develop an e-portfolio system that will supplement and extend the Plan process. Through readings, discussions, workshops, and a culminating portfolio project, we will look at the history and current use of e-portfolios today; options for documentation and display of student work; the process of curation; and the use of e-portfolios as engagement tools for audiences both on- and off-campus (e.g. faculty, peers, collaborators, and potential employers). The course will also serve as an incubator space for the development of an e-portfolio system for use here at Bennington. Evaluation in the course will be based on both the assessment of various types of portfolios and curation processes, as well as the portfolio ultimately designed by the student.

Beginning Guitar (MIN2247.02, section 2)

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.

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

The 5 Threads of Participatory Organizing in the Workplace: Practical Applications and Prototypes (APA2243.02)

For more than a century, assumptions about how the workplace is best organized to optimize production or profits have not been challenged – and neither has the definition of ‘value’. It’s clear that the ‘workplace of the future’ is not the workplace of the past. Whether through automation, decentralization, or an intention to grow awareness of the workplace as a dynamic psycho-social entity, the opportunity exists to start practicing the skills and capacities that will bring about the human future of work. This course offers a practical exploration of the hypothesis that 5 elements are necessary to build and nurture to unleash the potential of the collective: Making Decisions, Building Connection, Allocating Resources, Gathering Together, and Coordinating Action. In the two-day workshop, participants will have an authentic experience of each of these five threads’ and create prototypes to explore over the ensuing virtual sessions. Source material will include Better Work Together: How the Power of Community Can Transform your Business (published by the Enspiral Foundation) among others.

Ethical Community Collaborations (APA2161.02)

This course uses case studies from socially-engaged art projects along with in-class work and research on how to collaborate with specific communities in an ethical, mutually beneficial way. We will explore how to use a strategic planning process, transparent communications and realistic expectations around time and money in partnerships that cross boundaries of race, class, geography, gender identity or age. Together we will map out a framework to help artists make gracious invitations, equitable agreements, stable and resonant artistic productions and build lasting relationships after the show or exhibition ends.

In-class work focuses on effective listening and communications, conflict resolution and sharing power. Students will work together to begin envisioning their own collaborative projects, make effective invitations to the communities they want to engage, and begin planning for how to work together.

Piano Lab I (MIN2232.03, section 3)

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

Gender and Agriculture: Market and Subsistence (APA2244.01)

This course examines the intersections of gender and agriculture, focusing on feminist and queer theories of agriculture. Students will examine international and local examples, queer agricultural movements, women farmers, capitalism, agrarianism, and the spectrum from subsistence to market-based to commodity agriculture. We will observe trends toward urbanization and consider the question of whether peasant farmers can feed the world. Students will explore the integration of subsistence through “DIY” and homesteading practices as they connect to food sovereignty. As a service learning component, students will develop a workshop that teaches a subsistence skill that relates to food or farming in the community.

Introduction to Food Studies (APA2245.01)

This course is an introduction to food studies, which takes a humanities and social science approach to understanding the food and agriculture and how it connects to society and the environment. Students will examine a variety of food studies topics including agricultural movements, food sovereignty, food justice, food ethics, and aesthetics. The course will also engage in a mapping project to understand the food system of Bennington County, laying the foundation for future student/community collaborations. Through reading, writing, and discussion, as well as engagement with the local community, students will gain an understanding of the complexity and the promise of food as a locus for community and environmental flourishing.

Feminist Philosophy (PHI2102.01)

Contemporary feminism is a multi-faceted social justice movement to end gender-based oppression. Feminist movements have deep and interesting intellectual roots. In this course, we will excavate and investigate these roots. Throughout the course we will explore various contested conceptual terrains, such as: agency, affinity, body, equality, difference, desire, freedom, power, sexuality, and work. We will use philosophical tools and methods to come to grips with some of feminism’s perennially critical questions: What is gender difference? How is agency exercised under oppression? What is feminist freedom? What change does feminism imagine in the world? We will use feminist texts from the 18th-20th c. as the basis for our inquiry, with attention to how these texts are situated in historical, social, and political contexts.

Thinking Like A Greek (PHI2122.01)

The Mediterranean Greeks of the 4th-6th c. BCE powerfully shaped the political, cultural, and intellectual worlds we inhabit today. The Greeks are credited with inventing democracy, drama, spectator sports, and astronomy, physics, biology, musical theory, history, and philosophy as areas of study. Various Greek thinkers championed free inquiry, global citizenship, radical equality, and vegetarianism. At the same time, the Greek world included male supremacy, slavery, and imperialism. In this course, we will immerse ourselves in the intellectual ferment of Classical Greece. We will engage with Greek thinkers on a range of topics related to nature, culture, reality, and the divine. Readings will include primary texts (in English translation) by Plato, Aristotle, and representatives of the atomist, Stoic, Epicurean, Pythagorean, and Eleatic intellectual movements.

Gender and Security in the 21st Century (SCT2130.01)

This course is designed to critically examine twenty-first century security discourse and the ways it interacts with the gendered constructions of people’s lives. Combining the interdisciplinary approaches of feminist studies, cultural political economy, and critical security studies, we will examine the meanings of “security,” its manifestations around the world, and the ways in which gender scripts are constitutive of the global discourse of security. Subtopics covered by the course include case studies of gender in conflict situations in the United States, Europe, Africa, Latin America, and East Asia; gender and the global war on terror; masculinities and global security; security and neoliberal reforms; visions of alternative security frameworks; and proposed normative changes.

The Anti-Imperialist Century in Latin America: From Sandino to Chávez and Beyond (SCT2129.01)

With the shift away from expansionism at the end of the 19th century, U.S. foreign policy assumed new forms. Marine occupations, dollar diplomacy, covert action, and economic interventions took the place of territorial annexations. How were these policies experienced on the ground? In what ways did they shape debates about Latin American identity, sovereignty, and the role of resistance movements? We will examine the genealogy of anti-imperialism from the armed to the unarmed, from the statist to the grassroots, and set the stage for where these resistant currents might flow in Latin America’s current turn to the right.

Markmaking and Representation (DRW2149.02, section 2)

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.

Note: A portion of this class will be spent drawing the nude human figure.

Beginning Guitar (MIN2247.01, section 1)

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.

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

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.

Social Kitchen Ceramics Lab (APA2219.01)

Social Kitchen project links a community service organization (Greater Bennington Interfaith Community Services or GBICS) and local residents with students, staff and faculty of Bennington College through various workshops and collective activities that includes the fundraising supper, 2019 Empty Bowls Bennington. To achieve high volume production of ceramic bowls which will be used at the fundraiser, a series of weekend ceramics workshop sessions will be conducted in studios where diverse and cross-generational population of local residents and Bennington College students can work collaboratively. These Saturday sessions also require students’ participation in the community lunch discussions which topics focus on local and global issues in the context of food studies. On some Saturdays students will work at Kitchen Cupboard, a food distribution program of the GBICS. This Lab is a space for on-site collective leaning and it aims to further our sustainable community building.

For ceramics production, the workshops will mainly teach hand-building techniques. Previous experience in ceramics is not required but a high level of commitment in the weekly production schedule is expected. 

(September 14, 21, October 5, 12, 26, November 2, 9)

2019 Empty Bowls Bennington event is tentatively scheduled for Sunday, November 17 5- 8 pm.

Corequisites: All students must also register for Social Kitchen: Ceramics, Food and Community (APA2269.01).

**When you register for Social Kitchen: Ceramics, Food and Community (APA2269.01) online, the Registrar’s Office will register you in this corequisite course on Wednesday, May 15**

Reading into Refuge: Stories of Migration (LIT2340.01)

The repercussions of the refugee crisis in Syria and at our southern border have once again thrust the politics of migration and refuge into the public discussion. In this course we will investigate the literature of forced exile and resettlement in order to understand how our collective narratives about emigration are formed, and to ask what it means for a writer to superimpose the personal onto the political. We will read Viet Than Nguyen, Edward Said, Uwem Akpan, Mohsin Hamid, Sara Novic, Jenny Erpenbeck. Students in this class will write weekly responses to the readings, a midterm paper, and a final essay.

Songlines: One Thousand Years of Music and Poetry (MHI2229.01)

Uniting text and music has been a continuous and vital expression of musical creativity for millennia. In this course we will investigate how composers and songwriters have set poetry to music for nearly one thousand years. What can we as contemporary songwriters, poets, and music listeners learn from these histories? How does a musical setting function as a composer’s reading of a text? How do compositional choices express cultural bias as well as philosophical and political concerns? What about the poet’s perspective? We will listen to, watch, and sometimes sing famous and lesser known Western vocal works from the Middle Ages to the 21st century, reading the texts that inspired them. We will also explore many examples from around the world, such as epic storytelling, ballads, rap, folk, pop, spirituals and ring shouts of the American South, along with other material of interest to class members. Students will have the option to develop a final creative project or write a research paper based on the work of the class.

Music and Culture: An Introduction to Ethnomusicology (MHI2206.01)

This course will be a hands-on introduction to ethnomusicology, the study of music in its social and cultural contexts. Ethnomusicologists think about the role music plays in everyday life. How do music and musicians build community, ignite protest and revolution, articulate racial identity, express and complicate gender and sexuality, or affirm faith? Some ethnomusicologists do research halfway across the world, while others study music in their own cities and towns. One of our classes each week will focus on developing applied techniques in research and fieldwork, including preparing questions, giving and transcribing interviews, field recording, listening exercises, writing an ethnography of a live performance, and many other activities. In our second session, we’ll learn about the study of music and culture itself, reading from a range of texts that explore ethnomusicology’s intersections with fields like anthropology, African American studies, environmental studies, religion, and gender studies. What we do in class will also be guided by the interests and backgrounds of our members. This course is open to all students.

Climate Under Siege: Public Policy Forums@CAPA (APA2179.01)

Whether it’s in your community, your state, your country or in the world, understanding the impacts of global warming and how to participate in future policy decisions has become an essential role of the citizen.  This Fall 2019’s Public Policy Forum @ CAPA presents an opportunity to learn from policy makers, academics, and leading thinkers and activists on many aspects of the climate crisis from energy and food to water, and soils. 

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)

Ideas Arrangements Effects (APA2178.02)

How do we come to understand what we are doing when attempting to change or interfere with a messy complex social problem? How can we know if the thing we want to do to improve a social problem will work or backfire? There are many lessons from psychiatrists like RD Laing to cultural heroes like Hermès on this topic. Ideas Arrangements Effects will overview several lessons from a variety of schools of practice of solving human centered social problems. The course will help socially engaged artists find where their own thought habits and beliefs can get in the way of their attempts to improve social problems. The class will also offer students a genealogy of the schools of thought that informed the Design Studio for Social Intervention’s take on addressing social problems. As part of the course, students will set a problem they are intending to address and use the class as a design intensive to devise their own social intervention.

DS4SI’s book, Ideas Arrangements Effects would be the primary text, supplemented with readings that were critical in shaping our take on design and social change.

Investing in Futures: The Art of Worlding (APA2218.02)

Futures studies—also known as futurology—has been used by businesses and the military as part of a strategic planning toolkit. This framework of speculating about the future in systemic ways has been adopted by many contemporary artist collectives, in order to challenge assumptions of the present about outcomes in the future. These futuristic models are based on constraints—design limitations— that can spark wild imaginaries liberated from business-as- usual predictions. In this 7-week workshop we will create possible future scenarios in the forms of invented artifacts, writing, and framing devices. The features of these futures will draw from Investing in Futures, the artist-created constraint-design card deck (Mattu/Rothberg/Zurkow) which explores topics such as governance, living conditions, food, climate, technology, and range from possible to absurd.

In weeks 1-5, students in group collaborations will design and prototype pieces of specific future scenarios. In weeks 6-7 students will focus on collectively designing a futuristic EPCOT- like exhibit, which will be open to the community.

References and readings about future scenario design thinking, speculative design, and design fiction will also be explored in class. Learning outcomes: Introduction to futurology, speculative design, and systems thinking. Students will participate across media in constraint-based design, writing, and prototyping in a variety of media in rotating groups.

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.

Markmaking and Representation (DRW2149.01, section 1)

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.

Note: A portion of this class will be spent drawing the nude human figure.

Life Drawing Lab (DRW2118.01)

Drawing Lab provides an opportunity for student artists of all experience levels to further develop their skills with observational-based drawing. Working primarily with the human figure, students build increased understanding of the poetic, dynamic, and inherently abstract nature of drawing, while paying close attention to the potential of formal elements such as shape, line, form, and the creation of pictorial space. Although each class period provides structures and activities within which students work, the ultimate aim of this class to allow students the time and space necessary to further develop their drawing skills so as to best support individual projects and concerns. Class time is divided between drawing from life, discussing student work, and examining the use of the figure in visual art, using both contemporary and historical examples. Please note that this course may require additional materials to be purchased by the student.

Note: Much of this class will be spent drawing the nude human form.

Practicing Discernment in Social Practice Art (APA2177.01)

How do you discern if your desired social practice art project is ethically sound as well as aesthetically relevant? This class will survey a series of social practice art projects, from high profile “art world” ones to small community-generated gestures, with the goal of evaluating if the project was properly thought through ethically and aesthetically. The class will also include diverse perspectives from the field of social practice art, social activism and art / literary criticism. The goal is not to supply students with a simple framework as much as it is to surface debates about the ways intended or unintended social practice art could exploit the populations or communities it intends to benefit.

The Room Where it Happens: Introduction to Costume Design (DRA2150.01)

This class will serve to introduce and build skills as a costume designer. We will read, analyze and chart scripts, develop research skills and build a fluency in rendering design ideas by working on graphic skills. We will also work on some non-scripted projects, and in various genres of performance possibly including ballet, opera, television and film. We will have in class work sessions, so the class will have a studio element. Work will be discussed and developed in class critiques.

Charles Schoonmaker
M/Th 3:40-5:30
This course is categorized as All courses, Drama.

Organizational Structure & Enterprise Law (APA2175.02)

The common startup mythologies tend to promote the glamor of entrepreneurship. You will work hard in a basement or a garage with no money, but the brilliance of your idea will make you into a heroic (wind-swept) figure to whom investors, customers, and clients (and the popular press) will all be irresistibly attracted. These stories don’t map to reality for most.

In contrast, you need to get out of the garage, think more creatively so that you are adequately capitalized and can attract the talent you need for your enterprise development team. Competition and sustainable growth in the 21st century are enormous challenges which require your creativity and passion. They also require innovation, an equitable organizational structure, and a functional understanding of the regulations and law which either empower your enterprise to acquire (a) the capital in amounts and forms you can best utilize, (b) promote equity in compensation and ownership within your organization, and (c) maintain sufficiently control over the goals and direction of your venture.

During this 7-week course, we will quickly review and interrogate all common legal organizational form choices. We will then examine better choices in organizational legal form, their character and details, and learn how to create and utilize them and how they optimize and facilitate your ability to raise capital (which you will likely have to do over and over again). We will examine organizational designs which meet compensation equity and employee ownership goals, build the competitive and re-invention capacities of an enterprise, enable collaborative management and control, and sustainability. You will create your own innovative design and apply it to the preceding set of outcome metrics as part of the course.  Further, we will examine pertinent enterprise law and regulation, like Reg. CF (Crowdfunding) and OPO (Online Public Offering) requirements and adapt our choices in organizational design and structure to make those options available.

Silkscreen Printmaking (PRI2122.02)

Screen printing is an extremely versatile means of reproducing a 2-D image onto a variety of objects. Hand-drawn, painted, photographic and digital images can be used singularly and in combination with each other. Preparation and processing is relatively simple and multiples can be produced quickly. In this class, we will print with non-toxic, water based inks.

We will begin by covering the basics: how to stretch a screen, coat it with photo-sensitive emulsion, expose and re-expose a variety of artwork. From there, we will delve into ink modification and color mixing, printing a single color, blending colors in split-fountain printing and clean-up.

After mastering these fundamental methods, students will learn registration techniques for printing multiple colors/layers and best practices for overprinting on paper. Additional areas of exploration may include printing on fabric and the use of repeated patterns, printing on other substrates and monotype printing (producing unique images).

The Body Acoustic: Toward a Sense of Place (DAN2112.01)

How do we physically understand the spaces we are in?  How is each of us affected by them?  How do we develop a deeper sense of place? The Body Acoustic aims to heighten awareness of the reciprocal relationship between the built environment and our senses. Light and sound, distances, height, volume, surfaces, angles/curves and a/symmetries all affect one’s movement through interior and exterior spaces; one’s movement, in turn, affects the perception of these spaces.

Using methodologies from visual and movement-based art forms, The Body Acoustic provides an opportunity for students of any discipline to engage in trans-disciplinary research and practice. Throughout the course, students will graphically articulate their experiences inhabiting multiple spaces (i.e. drawing, photo collage), design and make simple situations/spaces to move through and will determine short scenes/movement studies to influence our sense of place. Students will form teams to complete short on-site exercises and will share results of other assigned exercises through discussion and presentation.  Criteria for evaluation include participation in all class sessions and discussions, satisfactory completion of all assignments and active participation in all reviews of student work.

Technical Topics: Moving Image Equipment (FV2128.02)

This seven-week course is an opportunity to gain hands-on experience with the entire video and animation equipment inventory. In class we will use a wide variety of cameras, set up audio and lighting equipment, learn about camera stabilization, capture drone footage, and experiment with projectors. Throughout the course students will be asked to give live demonstrations and apply what they have learned to their discipline.

Visual Arts Lecture Series (VA2999.01)

Each term, Bennington offers a program of five-six lectures by visiting arts professionals: artists, curators, historians and critics, selected to showcase the diversity of contemporary art practices. Designed to enhance a broader and deeper knowledge of various disciplines in the Visual Arts and to stimulate campus dialogue around topical issues of contemporary art and culture, these thematically connected presentations offer students the opportunity to explore ideas from multiple perspectives over the course of the term. Students registered for this series must attend all lectures on Tuesday evenings at 7:00pm as well as gallery exhibitions, and are responsible for taking notes and completing a one-page essay-questionnaire for each event to be submitted via Populi. Optional readings and additional opportunities for engagement with visiting speakers may be announced throughout the term.

Presentation of Statistics (MAT2246.01)

Data can come to us in many forms: tables, charts, graphs, observations, experimental results, and other less formal avenues. To best understand the world around us, we must be able to take that data, answer questions, and then convey those answers to others in a clear, concise manner. This course will show different methods for presenting statistical data to others as well as interpreting the information and results accordingly.

This course will serve as an introduction to statistical reasoning and understanding as well as bolster the ability to think critically about data, its sources, and how to convey a clear message from data. It will focus on bringing clarity to data presented, choosing the correct presentation for a given data set, and avoidance of deception. There are no prerequisites and will be accessible to all interested and willing students.

This course is appropriate for any students wanting to understand, interpret, and present statistics. Students who plan to seriously create and analyze their own statistics for their work should take Creation of Statistics, which may either be taken as a sequel to this course, or on its own. There is some overlap between the two courses, but their focus and goals are different. Students who take Presentation of Statistics first will get a broader skill set and a more gentle introduction.

Introduction to Relief Printing (PRI2105.01)

This course is an introductory level print class. Students will learn about relief printmaking through demonstrations of techniques, hands-on experience, and critiques. Techniques include but are not limited to wood cut and linoleum cut. With this simple process, we will be able to explore color printing in depth.

Piano Lab I (MIN2232.01, section 1)

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

Piano Lab I (MIN2232.02, section 2)

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.

The Actor’s Instrument (DRA2170.02, section 2)

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

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.

Musical Explorations (MTH2278.01)

This Course is open to any and all students hoping to learn more about music who have limited [or no] experience reading music and limited or no experience studying music theory. The class will explore music notation through small composing assignments. We will also explore the basics of music theory, will study some of the high points of music history, with an emphasis on 20th and 21rst century music, and will do some open-ended creative assignments involving improvisation and the creation of music without notation. The course has no prerequisites. Those with previous experience performing as singer or instrumentalist are welcome, but previous experience is not required.

Corequisites: attendance at 6 music workshops

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.

Live Sound Technology (MSR2124.01)

This will be a hands-on, bare-bones, system-focused class on audio electronics. We will explore the smallest inputs to the largest outputs that are used in artistic performance. The class will focus on the technical applications of microphones, mixers, speakers and software for live productions such as plays, concerts, Dance performances and installations. Students will use what they have learned by setting up and running sound for Music Workshop and other performances on campus.

Corequisites: Attendance at Music Workshop (T 6:30-8:00)

Intro to Max (MCO2116.01)

This course will look at the versatile program of Max/MSP/Jitter, a high-level programming platform for sound and visuals. Our focus will be on the sonic capabilities of the program, though we will dip occasional into visuals, video, and sensing technologies. Students will develop independent research, and projects based on their interests and abilities, and must have an independent streak for troubleshooting and communal problem solving. Smaller exercises will show how to reproduce analogue problems in the digital realm, and bring us towards a sonic understanding of both. Visiting specialists will show how to bring Max into diverse interactions with other disciplines and new sensing technologies, from motion sensors, image tracking, and integration with Arduino.

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.

Beginning Violin/Viola (MIN2241.01)

Basic techniques will include the reading of music in either treble/or alto clefs in the easy keys. Basic hand positions and appropriate fingerings will be shown, and a rudimentary facility with the bow will be developed in order that all students may participate in simple ensemble performance by the end of the term. The student must have a basic knowledge of reading music. Students will participate in a showcase at the end of the term.

The student must arrange for the use of a college instrument if needed (contact Music Coordinator)

Corequisites: Participation Music Workshop T 6:30-8:00

Sing (MUS2148.01)

We will gather once a week to sing rounds, chant, chorales, work songs, protest songs, sea chanteys, Sacred Harp, and folk songs from around the world. The words are less important than the joy of singing as a community. No performances- evaluation is by attendance only. We will use our ears and simple notation to learn the music- no previous singing experience is necessary.

Bennington County Choral Society (cancelled)

The Bennington County Choral Society, a community chorus conducted by Cailin Marcel Manson, promotes choral singing by presenting several concerts per year, and eagerly invites student participation. Auditions are not required, and singers of all levels and abilities are welcomed. To receive credit, students must attend all rehearsals and performances. Performances may be held at various locations in Bennington, and transportation may need to be arranged. Contact Kerry Ryer-Parke for more information.

Interdisciplinary Seminar: Time (VA2120.01)

A semester-length exploration of time – first as a phenomenological experience; second as a scientific, social and fictional construct, e.g. clock time, atomic time, machine time, entropic time, queer time, and time travel; third as broken into the fundamental elements of time-based practices – duration and repetition, simultaneity and succession, break and flow, narrative arcs and logics – and differentiated between time elapsed within the work and time experienced by the audience. Readings will range from psychology to philosophy, social and scientific history, to film and literary theory and performance studies, as well as writing by artists and authors directly engaged with fundamental questions about the parameters of time-based practice. We will examine both the historical implications of the standardization of timekeeping, and the economic consequences of the invention of timetables, especially in relationship to the 19th-century imperial expansion that some have called the ‘conquering of space by time.’ Particular attention will also be paid to film and performance practices from the 1960s and early 70s, including Fluxus and Structuralism, and more recent projects that re-frame similar questions about duration for the theoretically infinite loops of new technologies. We will also look at contrasting approaches in art and philosophy informed by slowness and accelerationism. Students will produce one short (3-5 minute) project in the time-based medium of their choice at mid-term, which may be a collaboration, and may either write a paper or produce a longer (10-15 minute) project for their final.

Forests: An Introduction to Ecology and Evolution (with lab) (BIO2109.01)

New England is one of the most heavily forested regions in the United States. 14,000 years ago it was covered by ice. When humans arrived about 11,000 years ago, they found extensive, well-established forests — and began reshaping the landscape through hunting and fire and, beginning about 2000 years ago, farming. European colonists caused further ecological change by expanding agriculture and bringing livestock, and by 1850 most of the region was cleared for agriculture. Most of that farmland has now become forested again. How do we understand and predict the workings of such a dynamic landscape? This course in ecology and evolution addresses the function and history of ecological systems, the adaptations and life-histories of organisms in habitat, and the evolutionary processes by which those adaptations emerged. We will use the mostly-forested ecosystems that dominate the local landscape to explore general concepts of ecology and evolution, and to develop research tools that will be applicable in the study of any ecosystem. This course is for anyone interested in how ecosystems work and why they are as they are; it will also prepare students for more advanced work in ecology and evolution. Ecology is a foundational science for Environmental Studies. There will be extensive field-work. There will be some quantitative analyses; students should be comfortable with basic mathematical problem-solving.

Understanding Food Insecurity in Bennington County 1 (APA2173.01)

The issue of food insecurity has long been on the minds of those who live in Southern Vermont. In fact, Bennington County has been identified by the USDA as a “food desert”, meaning significant portions of its residents have limited access to healthy or locally-produced food. This course, the first in a sequence of three, will explore and review past initiatives, best practices in rural areas, and new research on the state of food insecurity in Bennington County and its reach as a systemic problem. The second course (Fall 2020) will develop coordinated engagement mechanisms and develop new strategies in response to the research and outreach; the third (Fall 2021) will focus on the implementation and assessment of new initiatives. Students enrolling in this course are not committed to enrolling in the subsequent courses.

As part of a grant from the Mellon Foundation on the topic of Food Insecurity, this centerpiece course will be designed by Bennington faculty as well as participants from Southwestern Vermont Health Care, Southwest Vermont Supervisory Union, and Greater Bennington Interfaith Community Services, to ensure both a shared vision for the larger curriculum and bi-directional knowledge creation. It will serve as a generative structure, helping to determine not only the shape and scope of at the larger food studies/systems curriculum, but also a range and number of co-curricular and community-based learning opportunities for students as well as opportunities to bring local partners into the classroom. The course will be advertised and open (free of charge) to members of the larger community who wish to enroll, enriching discussions on food insecurity and promoting the practice of the socially-engaged humanities.

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.

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.

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.

Our Curated World: Seeing a Trend Through the Lens of Tradition (VA2243.01)

From bookstore shelves to restaurant menus, a widening swath of contemporary life seems to involve, even require, the hand of a curator. So what exactly does it mean to BE a curator? Where did the profession of curator originate and how has it evolved? This introductory class considers historical examples of acquisition and display from the sixteenth century to today; curatorial models such as the encyclopedic collector, the cultural provocateur, and the globetrotting celebrity; and a range of installation contexts, from Wunderkammer to museum to art fair. Within this historical context, we consider the role digital technology plays in our desire for “curated” experience and the potential for curators as cultural producers.

What is Economics? (SCT2136.01)

“Economics is what economists do” says Jacob Viner. But what do economists do? And, how do they do it? This seminar will be concerned with these two questions. Our main objective will be develop an understanding of economics as a field of study and to explore how economics is applied to understand everyday issues that affect our material wellbeing. We will look at big issues, such as recession, unemployment, poverty and environmental degradations, as well as smaller issues, such as how to avoid paying too much money in a retail store, how rents of your apartment are determined, why online commercial websites can survive competition, and how automobile manufacturing companies can function profitably. In examining these large and small issue, we will explore how economists view the world and how economics has evolved as an intellectual discipline.

This is an introductory course and it has no prerequisites.

Economy and Ecology (PEC2253.01)

Simply put, economics deals with the material world, and ecology is concerned with the living world. How do the two worlds meet and interact? This seminar explores this intriguing question. This broad question can be analyzed in terms of more pointed queries: What are the feedbacks between the economic and the ecological systems? How do markets and incentives affect people’s behavior and decisions regarding nature? How do people’s behavior affect the changes in hydrological, nutrient or carbon cycles? How do the changes in climate and hydrological cycles bring about changes in economic production and consumption? What does environmental sustainability entail? Can egalitarian values like fairness and justice, and care values such as concern for living organisms and future- mindedness form the basis for the preservation and quality of human and nonhuman life? We will seek the answers to these questions in terms of analytical models drawn from the field of Ecological Economics, and in terms of case studies and illustrative examples drawn from real life practices of people.

This is an introductory course and it has no prerequisites.

Philosophical Reasoning (PHI2109.01)

What is the difference between belief and knowledge? What makes me the same person now and in the future? Is there a purpose in life? These are some of the questions this first course in philosophy asks. It has two aims: To introduce you to the methods and procedures of philosophical argument and, second, to engage you in a critical dialogue with three central problems in philosophy – knowledge, personal identity, and meaning in life.

Sociology of Home (SOC2206.01)

What is home? What does it mean to have a home? What does it mean to leave home or to lose one’s home? To return home? To make a new home? How can we begin to explore these questions sociologically? In this class, we will move towards a sociology of home, as we read and grapple with many different meditations on and conceptualizations of home. Some topics we will explore include the forms homes might take, homelessness, experiences of social mobility, prisoner reentry, refugee and immigration crises, the 30th anniversary of the dissolution of the German Democratic Republic, and the removal of Native Americans from their homes. Throughout the term, we will use sociological frameworks to further illuminate what each of these examples has to teach us about home as sociological concept. Possible texts include Matthew Desmond’s Evicted, bell hooks’ Belonging, and Bruce Western’s Homeward, among others.

Experiential Anatomy/Somatic Practices (DAN2149.01)

This is a studio class for any discipline intended to deepen the understanding of your own moving body. We will be studying kinesthetic anatomy by approaching the material through visual, cognitive, kinesthetic, and sensory modes. Class time will be divided between discussion of anatomy and kinesthetic concepts, and engagement with the material experientially through movement visualization and touch. Movement exercises will be designed to integrate the anatomical information by increasing somatic awareness (strengthening body-mind connection). Various body systems will be examined: skeleton, organs, muscles, nerves, and fluids. We will study the parts of each, then how each system relates to the whole, providing support for an integrated, healthy, as well as artistically interesting movement practice. Class will be rooted in somatic movement approaches to movement education. We will read and discuss writings from key developers of the field, many of whom have had a major influence on contemporary thinking.

Tools such as drawing and writing will become the building blocks for making clear and concise anatomical awareness as well as serving to create a vehicle for the full and rich expression of the corporeal.

First-Year Dance Intensive (DAN2107.01)

Primarily for first-years, but for any student who has a serious interest in dance, whether or not they have previous dance experience. We will consider many aspects of dance making, embodiment, and performance. We will work towards constantly evolving ways to be one’s own teacher, by recognizing the patterns, heightening awareness of observation and selecting easier, more efficient, and more effective movement options. Improvisational structures will test and inform our making and moving; via screening/reading/composing, we will look in to the tools needed for developing and performing once own work. Collaborative and solo projects will be developed throughout the term, and will include a showing in Dance Workshop or in the end-of-term Studio Concert.

Corequisites: Dance Workshop, Thursdays 7 – 8:30 pm. Dance or Drama lab assignment

Form and Process: Investigations in Painting (PAI2107.01, section 1)

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.

Introduction to Video (FV2303.02, section 2)

This production course introduces students to the fundamentals of working in video and the language of film form. Drawing on the energy, intensity and criticality of avant-garde film and contemporary video art practices, students will complete a series of projects exploring dimensions of cinematography, mise-en-scène, editing and sound design before producing a final self-determined project. Concepts crucial to time-based media such as apparatus, montage and identification will be introduced through screenings, discussions and texts by a diverse range of artists, filmmakers, and theorists. Emphasis on technical instruction, formal experimentation, and critical vocabulary is balanced in order to give students a footing from which to find their own stakes in the medium.

Working With Light (DRA2234.01)

Lighting design has the powerful ability to shape the experience of an audience. Its practice incorporates elements of artistry and craft, and should interest those working in all aspects of visual and performing arts. In addition to hands-on work with theatrical lighting equipment in and outside of class, awareness of light, play analysis and conceptualization, color, angle, composition and focus are explored in class demonstrations and in a series of individual and group projects. Some reading (including two plays) and short writing assignments are also included, as is an introduction to lighting design documentation.

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

Introduction to Video (FV2303.01, section 1)

This production course introduces students to the fundamentals of working in video and the language of film form. Drawing on the energy, intensity and criticality of avant-garde film and contemporary video art practices, students will complete a series of projects exploring dimensions of cinematography, mise-en-scène, editing and sound design before producing a final self-determined project. Concepts crucial to time-based media such as apparatus, montage and identification will be introduced through screenings, discussions and texts by a diverse range of artists, filmmakers, and theorists. Emphasis on technical instruction, formal experimentation, and critical vocabulary is balanced in order to give students a footing from which to find their own stakes in the medium.

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.

Feminist Fabulist Fiction (LIT2298.01)

Reading works by Ursula LeGuin, Octavia Butler, Angela Carter, Clarice Lispector, A. S. Byatt, Natsuo Kirino, James Tiptree, Jr., John Keene, Lindsey Drager, Han Kang, and others, we will investigate the realm of fabulist fiction or literary works invoking the genres of science fiction, fantasy, and horror. We will read short stories, novels, and novellas that emphasize feminist, queer, and racially corrective meanings, analyzing the strategies that the authors enact to shape and re-shape meaning, while expanding the boundaries of non-realistic fiction. You will write weekly writing responses to assigned readings, present a group oral report, and write longer critical essays. For the final long assignment, you will have the option of writing a work of feminist fabulist fiction.

History of Animation (MA2137.01)

A brief history of animated images from the 1500s to the present day. The class will be split into watching documentaries and animations along with discussions. A quiz and short responses will be required.

Queer American Poetry: Stonewall to Present (LIT2297.01)

Often, same-sex desire exists as the sole portrayal and determining factor of whether or not a text dwells in queerness. But the idea of queer has never been solely about same-sex desire or even sexual desire at all. Contrary to expectation, poets for years have written about revolutionary ways to exist in a society that has made the self-proclaimed orthodoxy of gender presentation and sexuality the rule. In this class, we will study poets who wrote not only about their desire outside of typical gender norms and social expectations thrown onto LGBTQ people, but also their desire for emotional freedom, political freedom, and artistic freedom. We will see how queer poets have always been on the forefront of tearing down barriers, including those that existed in the craft and study of poetry. Writers may include Essex Hemphill, Adrienne Rich, francine j harris, Cam Awkward Rich, Jos Charles, Mark Doty, Jericho Brown, Olga Broumas, Mark Wunderlich, DA Powell, Ely Shipley, Ari Banias, Melvin Dixon, Eloise Klein Healey, Marcelo Hernandez Castillo, Thom Gunn and others. Assignments may include weekly response papers, a midterm assignment, and final paper/project.

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.

Screenwriting: Scene and Structure (LIT2354.01)

Reading contemporary screenplays and story treatments, we will discuss the structure and scene work that goes into writing a successful screenplay. Almost without fail, all screenplays utilize a familiar and easy to learn three-act structure, but the very best screenwriters manipulate this structure nimbly via character development, excellent dialogue, and strong storytelling techniques. Students will learn how to write coverage and script analysis, how to spot the three-act structure and how it can be subtly tweaked and broken to best serve the story’s interests. Students will write treatments and scenes for their own original feature film ideas, and in the process will learn the formal constraints of a screenplay, formatting, scene development, and how to write effective and compelling dialogue. Most of the semester will focus on reading and discussing screenplays but the class will screen a select number of films over the course of the semester in order to see how moments on the page translate to the screen.

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.

Adobe Creative Suite for Artists (DA2102.01)

This course introduces artists to Adobe Creative Suite via Photoshop, Illustrator and InDesign. Together we will explore the individual capabilities of each program and how to bridge between them. We will also learn best practices in creating and managing digital files.

Students will apply skills learned to their own creative projects and ideas. They will also have the opportunity to work with the laser cutter and large format printers, translating their digital ideas into physical objects.

Music Theory I – Applied Fundamentals (MTH2274.01)

An introduction to music theory course. Music theory fundamentals will be taught utilizing voice (singing) and an instrument in hand. Knowledge of the piano keyboard will be learned and utilized. Curriculum will span the harmonic series, circle of 5ths, scales and chords to ear training, harmonic and rhythmic dictation, and beginning composition. Course will include singing, aural, and listening components as well as written work. Instrument choices include: voice, guitar, banjo, mandolin, mountain (lap) dulcimer, hammer dulcimer, violin family, woodwind instruments, and piano. Student must bring their own instrument to class.

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.

Logic, Proofs, Algebra, and Set Theory (MAT2410.01)

This introductory course should be of interest to students planning additional study in mathematics as well as those wanting looking for a mathematics course of more general interest. The topics and skills covered in this class will be fundamental in all advanced mathematics classes and may therefore be used as a prerequisite for Calculus A and Linear Algebra. The class should also be of interest to students of philosophy, and to anyone seeking to improve their ability to reason and form clear arguments. No background in mathematics is assumed. Topics will include symbolic logic and rules of inference; how to write mathematical proofs; the beginnings of abstract algebra, including Boolean algebras; extensions of high school polynomial algebra; and set theory, including the theory of infinite sets. There will be a brief introduction to the successes of Hilbert’s formalism program, and its limitations in Gödel’s theorems.

Dining Culture in China (CHI2117.01)

“Have you eaten yet?” This common Chinese greeting is just one of many common phrases that shows the centrality of food to Chinese culture. In this course we will focus on the theme of Chinese food and dining culture as an entrée into the study of Chinese language and culture. As Chinese grammar is very simple with no verb conjugation, no plural, no gender, no articles or subject and object forms, it is very easy to speak Chinese. Students will be able to begin speaking Chinese from the very first class and be able to engage in a lot of daily conversation after one term.

Also by studying the form of the most basic Chinese characters students will simultaneously gain insights into traditional Chinese cultural values while learning to read and write Mandarin. “Let’s do Chinese!” Chinese food? Yes, but also language and culture.

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.

Conflict Resolution: Theory & Practice (MED2116.01)

This course will present an interdisciplinary approach to the theory of conflict resolution. Theories of conflict resolution, not mediation skills, will be introduced and then explored through a number of different prisms. These will include the macro issues of the nature of peace, the environment, the media, NGOs, as well as the role of religion and the Bible. There will also be a focus for part of the course on the Arab-Israeli conflict. The relationship of Rock n Roll and the arts to conflict resolution will also be examined. The course will culminate with students sharing and discussing their own personal conflict resolution philosophy and statements. Reflections, presentations, and final paper are also part of the syllabus.

Living in Translation: A Student-Run Literary and Cultural Publication (LIT2347.02)

This course, while rooted in Literature, is part of the Lexicons of Migration cluster. Taking as a point of departure Isabelle de Courtivron’s touchstone Bilingual Lives: Writers and Identity, students will update, complicate, and enrich the binary orientation of this collection, originally published in 2003. We will delve into the personal, familial, communal, and political dynamics of living diasporic, multi-lingual and multi-cultural lives. Our readings will include Madhu Kaza’s Kitchen Table Translation, Mireille Gansel’s Translation as Transhumance, and ark Polizzotti’s Sympathy for the Traitor: A Translation Manifesto; and a wide array of poems, stories, and hybrid texts from around the world.

Students will conceive, commission, edit, and design this online publication, which may culminate in a one-off print volume. There is the potential for editorial cooperation with students from Bard, Sarah Lawrence and Vassar; editorial calls for student submissions may be national and international.

We will host distinguished guest writer-translators; attendance at these events is mandatory.

Students from all disciplines are welcome.

InTranslation: Lives, Texts, Testimony (LIT2279.01)

What does it mean to be “rooted,” “uprooted,” “living in translation”? Can a language, literary tradition, or far-flung literary republic be one’s homeland? Does “cultural authority” derive from being considered “native”? How is it that immigrant literary translators have been met with apprehension on the part of publishers? Might this stem from definitions of “fluency” and “expertise” that are themselves full of anxiety, confusion, political vexation, and even bias? What about the age-old debate between “domesticating” texts from elsewhere and making the reader aware of the palpable signs of “foreign-ness” in the original? Should a language have a legitimized “standard” usage? These, and other questions, will fuel our discussions.

Course-Connected Visiting Translator Series: “Immigration and Diaspora” Attendance at Guest Readings is mandatory.

This class is part of the Lexicons of Migration Consortium with Bard, Sarah Lawrence and Vassar. There will be opportunities for exchange with the students and faculty from these partner institutions

Language as System and Social Behavior (LIN2101.01)

In this course, students will examine the building blocks which make up the interlocking systems of language and observe how those systems are enacted and granted layers of meaning through social practice. Beyond developing an understanding of the basic mechanics of sound systems, word-meaning relations, and the expression of grammatical values in languages of the world, we will also explore how these complexes become “real” through contextualized use, and how speakers utilize them to project identity, influence social structures, pursue creative innovation, and interact with those around them on multiple simultaneous levels. Throughout the course, we will further maintain a critical eye on questions of language as they arise through daily life (from interpersonal interactions to broader causes of social justice and equity), and on how we as individuals may address such issues in a manner that is both productive and globally aware.

Beginning Cello (MIN2354.01)

The basics of cello. In a small group, students will learn how to play the cello, with an emphasis on a group performance at the term’s conclusion.

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

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.

Italy Yesterday and Today (ITA2118.01)

This course introduces students to Italian language and culture. It focuses on the social changes that Italy has undergone during the past thirty years in many spheres of its social life, such as the family, education, the environment, and politics, and with regard to several issues, for instance gender equality, diversity, and immigration. By the end of the semester, students will be able to produce simple sentence-level discourse, orally and in writing. Emphasis is on oral communication and performance. This is a language introductory course, taught entirely in Italian. No previous knowledge of the language is either necessary, or desirable.

Corequisites: Language Series

Drumming: An Extension of Language (MIN2120.01)

This course serves as an introduction to rhythms, chants, and musical practices from Africa, Brazil, Cuba, Haiti, and the African Diaspora. Using indigenous percussion instruments from these territories, students will use their hands, mallets, and sticks to play traditional folkloric rhythms and melodies. Additional topics will cover history, culture, language, and dance. This class serves the greater Bennington community in the fall by partnering with the South Western Vermont Medical Center. Near the end of term students will share their work with residents in SVMC. A weekly practice lab is expected.

Exploring the Work and Legacy of Jerzy Grotowski (DRA2219.01)

“No one else in the world, to my knowledge, no one since Stanislavski, has investigated the nature of acting, its phenomenon, its meaning, the nature and science of its mental, physical, emotional process as deeply and completely as Grotowski”-Peter Brook

Jerzy Grotowski is considered one of the most influential theater practitioners of the 20th century. In this course we will explore the many phases of his research over forty years of unique and rigorous theatrical investigation. We will begin with the Theater of Performance and continue on through his Paratheatrical phase, Theater of Sources, Objective Drama and Art as a Vehicle. We will also investigate the work of several of the countless theater artists whose work he inspired. We will read Towards a Poor Theatre. Assignments will include a mid-term paper and a final paper/project.

Insider Perspectives on the Francophone World (FRE2103.01)

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 (friendship and family relationships, housing, leisure, work, and food culture) reflect culturally specific ideologies and values. Emphasis will be placed on developing ease, fluency, and sophistication in oral and written expression. Designed for students with no previous study of French, this class will revolve around authentic materials from the Francophone world (video, music, advertisements, literary texts). Introductory level. Conducted in French.

Corequisites: Language Series

The Web as Artistic Platform (DA2110.01)

This course is an introduction to creative practices with digital technologies specifically focused on creating online 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 (for prepping images for the web), 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.

How to Collaborate: Threeing (APA2214.03)

If group work is both the most necessary and the most difficult endeavor of our time, what methods are necessary for collaboration in the visual arts? In this seminar and studio, students will focus on a method for group work that was developed by the video-artist (not politician) Paul Ryan between 1971 and the end of his life, in 2013. Threeing is “a voluntary practice in which three people take turns playing three different roles: initiator, respondent, and mediator.” Working in groups of three, students will use Threeing to create ephemeral installations, drawings, texts, and conversations while rotating between these three roles: initiator, respondent and mediator. This course takes as its archive The Study Center for Group Work, a library of collaborative methods that have been developed by artists: http://studycollaboration.com

Foundations of Photography: Digital Practice (PHO2153.01)

This course offers an overview of foundational tools and techniques in digital photographic practice. Students will learn to shoot with digital SLR cameras, process raw files in Lightroom, properly scan negatives, and produce digital portfolios and high quality inkjet prints. In addition to technical instruction, a selection of images from historical and contemporary photography will be shown and short readings and videos will provide additional context and encourage reflection on the impact of recent technical and social changes. Class time will include demonstrations and supervised practice, group critiques, and discussions. Assignments will be given on a weekly basis throughout most of the term, and self-directed final projects will allow students to creatively express their technical skills as they explore their own questions and concerns. Please note that a Mac-compatible external hard drive and inkjet photo paper are required for this course.

Photography Remade (PHO2155.01)

This 2-credit course invites students to remake existing images, and explores digital techniques for adding, removing, combining, rearranging, and distorting content. Students are welcome to shoot their own photographs, however this is not required, and it is not necessary to have a camera. Instead, the emphasis will be on how to work creatively with image selection, manipulation, and display. The primary technical goal of the course will be to develop students’ skills in Photoshop, focusing on advanced, non-destructive techniques including a range of tools for selections and masking, multiple adjustment layers, and blending modes. Students will learn to make bold modifications, clean-edged collages, and seamless composites, while deepening their understanding of related historical and contemporary work. Readings, discussions, and slideshows will examine themes of redaction, negation, and erasure, as well as collecting, copying, collaging, and the complex relationship between photography and truth. We will also look at image manipulation in mobile apps and discuss how our relationship with photography is influenced by new technologies like augmented reality. Class time will include technical demonstrations and supervised practice in the digital photo lab, as well as group critiques and discussions. Students will be responsible for completing creative and technical assignments, readings, and a self-directed final project.

Introduction to Sound Recording and Mixing (MSR2141.01)

This course will offer an introduction to studio recording techniques through recording sessions, hands-on exercises, lectures, and critical listening sessions. We will cover basic sound acoustics, spot and stereo microphone techniques, signal flow, audio processing, and creative and unconventional music recording techniques. We will record various genres of music in a collaborative setting. This course will also introduce the fundamentals of mixing techniques.

Students who have previously taken “Introduction to Recording” will not be permitted to take this class.

Movement Practice: Beginning Dance Technique (DAN2121.01)

This beginning dance course requires no previous dance training.

Students are introduced to some basic principles of dancing by learning various movement patterns. The class also introduces the use of breath and somatic practices, which reflect some principles of Zen and Japanese somatic practices such as butoh and Water Body Movement (or Noguchi Taiso).  Attention will be given to cultivating and sharpening each student’s awareness of time, space and energy, in order to understand and maximize the individual’s unique physical impulses and expressions.  At the same time, we will be disciplining the body to move rhythmically and precisely with clear intentions and awareness.

Normality and Abnormality: Defining the Limits (PSY2206.01)

This course is an examination of the idea of normality as a central organizing principle in psychology. We begin with an effort to define normality and/or psychological health, and then move on to examine the limits or borders of normality. The course examines the value-laden, historically determined, and political nature of psychological normality. Topics discussed include: psychoanalytic contributions to the study of psychopathology (Freud and Erikson); normality and creativity; contemporary psychiatry; and the politics of mental illness.

Students write two short and one longer final paper on issues raised in the course.

The Hollow Form: Introduction to Ceramics (CER2145.01)

The objective of this class is to help students learn the breadth of hand building techniques in the ceramic arts that have given rise to a vast history of ideas 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 and abstract sculpture and will require personal investigation and resolution. Students will be involved in the study of various historical and contemporary perspectives. Durning the term 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 and tools will be required to be purchased in this course

Experimental Sound Practices (MSR2123.01)

In this introductory course, students will expand their understanding of electroacoustic music by creating their own sonic narratives. The topics will include soundscape composition, 3D sound recording, surround sound (5.1), site-specific sound work, and electromagnetic field listening. There will be an emphasis on production and experiential learning through exercises and workshops. Along with readings and discussions, we will look at various examples from sound art and experimental music. This course is introductory; however, it is open for students who want to incorporate sound-based works in their interdisciplinary projects at any level.

Transnational Feminist Geography (SCT2138.01)

What is the global? What is the transnational? Are these spaces of connection, of division, of possibility, or dislocation? What does solidarity mean, how is it practiced (or critiqued), and whom does it benefit? This course aims to grapple with the complexities and contradictions of such questions in the context of transnational feminist theory and praxis. In particular, we will examine the relationships and divisions between “the West” and “the Rest,” the “Global South” and the “Global North,” and “developed” and “developing” countries, considering how such concepts have been constituted and understood, and how they shape people’s everyday lives. We will do this by studying the historical and ongoing processes of colonialism, imperialism, capitalism, militarism, globalization, and others that shape power and resistance globally and locally. We will also look at feminist movements and theories from the U.S., situating them within a broader global context. Special attention will be paid to Women of Color feminisms in the U.S., including Black, Latinx, Chicana, Asian American, Pacific Islander, and indigenous feminist thought, and to their often-fraught relationship to White feminism. Through the course readings, films, lectures, and discussions, we will address how various issues affect women’s lives around the world and will explore the ways in which the United States is connected with many of these global issues. This course is designed around the principle of collective knowledge production, a key tenet of feminist thought and politics. Our aim is to create a space in which all members of the class are actively teaching and learning together, and to which we each bring our own intersectional positionality—our particular social location within broader matrices of power—as valuable feminist knowledge.

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.

Latin American Art since Independence (SPA2111.01)

This course ranges from the republican art of nation-building in the 19th century to modernism, magical realism, and the postmodern. While there will be some discussion of standard tactics such as stylistic nuances and artists’ biographies, it is expected that we will rapidly develop sufficient ability to focus on movements, theory, and politics, thus treating the works as ideologemes, representations of social import touching on several fields. The usual tactics associated with mastering a foreign language – explicit grammar sessions, vocabulary, oral and aural practice, text – will be on offer, but they will generally be student-driven, servicing the content, corroborating the hope that in confronting our own preconceived notions of the Spanish-speaking world we will simultaneously debunk those regarding how a language is taught. Students will therefore learn to speak, listen, read and write in increasingly meaningful scenarios. Conducted in Spanish.

Corequisites: Language Series

Introduction to Computer Science (CS2124.01)

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 in Python, computational thinking and algorithm design. In addition, students will also formulate and explore questions of their own related to computer science.

Students planning to continue studying in computer science can take either this course or CS 2119 , but they cannot enroll in both.

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 $80 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 explore and discuss such questions as higher education in prison, alternatives to incarceration, race and incarceration, drugs and incarceration, incarceration and the mentally ill, children of incarcerated parents, and probation and other alternatives to incarceration.

Students will write one essay and make one presentation.

Women’s Voices (DRA2144.01)

In this class, students will read a large canon of plays by current female playwrights working in the American Theatre today. These will include writers featured on the Kilroy List, Susan Blackburn Award Winners, Lily Award recipients, among others from my own personal list. We will also look at current initiatives within the theatre today to level the playing field and will attempt to explore the systemic reasons for this gender inequity where women playwrights are concerned.

Work will include: play discussion, staging of selected scenes read, creative and critical written responses to plays covered, and research

100 Places Where You Must Visit in Japan (JPN2112.01)

Where do you want to go when you visit Japan: Mount Fuji in Shizuoka, Imperial Palace in Kyoto, or Ghibli Museum in Tokyo? What would you like to eat there? Do you want to eat sushi, tonkatsu, ramen, or pizza that is topped with corn, tuna, and mayonnaise? Do you want to see traditional performing arts like Noh and Kabuki? Or would you like to see current pop groups like Arashi and AKB48? Japan is an interesting place where tradition and modernity beneficially influence. For example, the styles and techniques of woodblock prints from the Edo period (1603-1868) were passed down to manga in the 21st century.

In this introductory level course, students will learn and examine uniqueness of Japanese regions and how traditional and modern culture coexist in the regions while they practice and build their linguistic skills (listening, speaking, reading, and writing) in Japanese. Students will also perform various situations to demonstrate their understanding of Japanese language and culture. Japanese writing systems – Hiragana, Katakana, and Kanji – will be introduced. Introductory level.

Corequisites: Language Series

Shakespeare: The Tragedies (LIT2217.01)

We will read the major tragedies–Hamlet, Othello, King Lear, Macbeth, Antony & Cleopatra; view important film productions; and read a range of historical and contemporary criticism. There will be exams, papers, and in-class conferences.

Physics I: Forces and Motion (with lab) (PHY2235.01)

Physics is the study of what Newton called “the System of the World.” To know the System of the World is to know what forces are out there and how those forces operate on things. These forces explain the dynamics of the world around us: from the path of a falling apple to the motion of a car down the highway to the flight of a rocket from the Earth. Careful analysis of the forces that govern these motions reveal countless insights about the world around you and enable you to look at that world with new eyes. While there are no explicit prerequisites for this course, a proficiency with algebra is assumed.

Corequisites: Physics I Lab

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.

Photography Foundations (Analog) (PHO2136.01)

What does it mean to study photography at Bennington? This course explores a wide range of approaches to the medium and introduces students to the various photographic genres with an emphasis on contemporary practice. The class will be devoted to both black and white and color analog materials and processes, including cameras, light kits, and light meters available at the College. Introduction to scanning and the digital work flow will also be included. Readings, personal research, along with engaged work share discussions, will provide the basis for taking further course work in photography. Please note that this course will require additional materials to be purchased by the student.

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.

Gender in Early Modern Europe (HIS2102.01)

The aim of this course is to interrogate historical perceptions of women and gender in the early modern era, and to develop a critical approach to primary source documents. We attempt to complicate constructions of ideal feminine behavior by examining the evidence that shows what women actually were up to. In addition to the ways in which major writers and thinkers saw women, we want to know – how did women see themselves in Europe and the British Isles from 1500 to 1800? If asked “what is important to you?” or “what do you do?” how might they have answered? And how do these answers about women and womanliness affect our understanding of early modern men and masculinity? Using letters, court records, journals, art, and published treatises, we explore beyond the veil of the Victorian era’s celebration of “separate spheres”.

The Philosophy of Democracy (PHI2132.01)

This course examines the philosophical grounds of democracy as well as the critique of democracy. We ask what values and practices ought to anchor our understanding of democracy and engage with debates about the value of democracy. This class requires close reading of primary philosophical texts and a number of written papers.

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

The Chemistry of Drugs and Natural Remedies (CHE2201.01)

We hear about new drugs all the time: on TV, in the news, the opioid crises, etc. There is also lots of advertising for alternative treatments for illness or well-being. People have many questions about how drugs, plants, or supplements work and how do you tell if they are effective. These and other questions are considered in this introductory course, open to all students. No science background is needed. We will learn the chemistry and biochemistry necessary to understand the relationship between drug shape and function. Students will investigate what is known about active ingredients in natural remedies and evaluate data on their effectiveness. Social, political, and economic issues and the connection between pharmaceutical companies, profit, and the health industry related to drugs will also be addressed. Students are expected to do research, write papers, present discussions in class, as well as show competence in the chemical background.

Adaptation (DRA2249.01)

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 5-7 plays and novels, watch movie and musical adaptations, and adapt a myth, a poem, a news item, 3 inanimate objects, and a song. The final project will be an adaptation of a short story into a play that is 30-90 pages long.

Choice and Consequence: Alternative History (DRA2277.01)

The theater is the place where we learn how to be. At its best, it is a rehearsal for the great moments of our life, including our happinesses. Love, death, we see it on stage and it prepares us for our life.” —John Guare

A play is a metaphoric and empathic art form that seduces us into imaginatively making choices and suffering consequences along with the characters on stage. Every day in the real world, we watch as people make choices whose consequences are truly ours to share—some global, some local, some only in our dreams. What if we could rewrite those choices and change what happens to our lives, our world? We will read 5-7 works of literature and watch several films to explore how the narrative art form navigates and exploits the gravitational pull of history and how the cascade of choice and consequence organizes dramatic event.

Students will choose a public figure born after 1935 (politician, author, rock star, astronaut, etc.), research their life, and identify a series of their choices and resulting consequences. Students will then write a 30 to 90 minute play where their central character makes a different choice, and the world, as defined by the world of the play, changes.

Critical Conversations in Society, Culture & Thought: The Great Transformation at 75 (SCT2132.01)

This course will introduce students to Society, Culture & Thought by engaging with the work of one of Bennington College’s most remarkable former professors, Karl Polanyi. Seventy-five years ago, fleeing the rise of Naziism in Europe, Polanyi arrived at Bennington, and gave a series of public lectures that offered a bold new interpretation of what had gone wrong as the world fell into unprecedented turmoil. Soon, he was hard at work transforming these early thoughts into what became his magnum opus, The Great Transformation: The Political and Economic Origins of Our Time. As the war and the manuscript both neared completion in 1944, Polanyi left the final revisions in the hands of colleagues at Bennington as he rushed back to Europe to put his stunning synthesis to work rebuilding the world.

This class will be structured into two parts. Over the first half of the term, we will read and dissect The Great Transformation through a range of disciplinary lenses, including political economy, anthropology, and politics. This half of the course will culminate with students attending The Great Transformation at 75, a convening of renowned public intellectuals, writers, and activists that aims to consider the relevance of The Great Transformation to our current political moment. The second half of the term will focus on using concepts and tools from the social sciences and humanities to consider the applicability of Polanyi’s ideas to today’s most pressing issues: globalization and market fundamentalism; the rise of hypernationalism and xenophobia; climate change and the commodification of nature; and the potential for reinvigorating democracy.

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.

History of Theater II (DRA2282.01)

This course offers a continuing introduction to the history and development of world theater and drama. We will experience the vibrant pageant of theater history through an exploration of its conventions and aesthetics, as well as its social and cultural functions. Starting in the nineteenth century, we will read representative plays ranging from the advent of stage Realism and Naturalism with Ibsen and Strindberg, through modern and contemporary drama. As we study theatrical movements including Symbolism, Expressionism, Epic Theater, and Theater of the Absurd, we will also read key critical and theoretical texts illuminating the plays. Looking at theater history as “living theater,” the course encompasses not only the study of plays as dramatic texts, but also their contexts of theater architecture and stagecraft, performance conventions, debates of art and commerce, and shifting relationships to the audience.

The Camp Aesthetic (DRA2167.01)

Sometimes seen as gaudy, perverse or excessive, camp is a sophisticated and consummately theatrical style, doubly viewing life as theater and gender as performance. Camp’s essence “is its love of the unnatural: of artifice and exaggeration,” as Susan Sontag argued in her epochal and controversial 1964 essay “Notes on Camp.” Developing historically as a language of the closet, the camp aesthetic has long since migrated from homosexual communities to the mainstream, even as it remains rooted in gay sensibilities (and is channeled by modern pop queens like Lady Gaga and Janelle Monáe). Starting in the late nineteenth century and traversing into our current “extreme camp moment” (as described by Andrew Bolton), this course will explore a varied canon of theater and film stemming from the camp imagination: florid, baroque, irreverent, and absurd, and often intersecting with drag performance. We will study theatrical work by playwrights such as Oscar Wilde, Jean Genet, Tennessee Williams, and Charles Busch; influential theaters like the Caffe Cino, the Ridiculous Theatrical Company, and Split Britches; and creator-performers of feminist camp such as Marlene Dietrich, Mae West, and Eartha Kitt. We also examine films by Jean Cocteau, Douglas Sirk, John Waters, Ken Russell, Pedro Almodóvar, and Anna Biller, among others. As students explore these theatrical and cinematic works, they will learn about camp’s shifting dualities of meaning: as a sensibility of both irony and affection; as object and gaze; as both art-for-art’s-sake style and subversive political tool that—in the words of Charles Ludlam—“turns values upside down.”

History of Photography/20th Century (PHO2154.01)

This class explores the various ways photography was intertwined with the artistic, political, and scientific developments of the 20th century on a global level. Students will do weekly research connecting to online sites hosted by major institutions such as the Metropolitan Museum of Art, The Victoria & Albert Museum, The Getty and others. Class discussions, identification tests, and reflection essays are included in addition to slide presentations of material.

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.

Sewing Fundamentals (DRA2130.01, section 1)

Students will learn the basics of sewing. Included will be various hand stitches used in garment construction and repair as well as learning how to use a sewing machine.

Sewing Fundamentals (DRA2130.02, section 2)

Students will learn the basics of sewing. Included will be various hand stitches used in garment construction and repair as well as learning how to use a sewing machine.

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*

Architectural Graphics (ARC2104.01)

An introduction to a broad range of drawing techniques, including observational drawing, diagrammatic sketching, and geometric constructions. We will also master the conventions of architectural drawing, from plans and sections to three-dimensional projections. Weekly workshops and drawing assignments are required.

Corequisites: Architecture 1 – Elements

*When you register for ARC 2101 Architecture I – Elements online, the Registrar’s Office will register you in this corequisite course on Wednesday, May 15*

 

The New York School of Poetry (LIT2198.01)

This course will serve as an immersion in the work of several major American poets of the 1950s and 1960s, noted for their humor, irreverence, disjunctive experimentation, charm, and wildness, and collectively known as the New York School. We will begin by focusing on the original generation of New York School poets: John Ashbery, Frank OHara, Kenneth Koch, James Schuyler, and Barbara Guest. We will also study the Abstract Expressionist painters who were these poets’ contemporaries and close friends, discuss connections between New York School poets and the French surrealists of the early 20th century, and examine the New York School against the cultural, political, and social landscape of 1960s New York. We will then trace the influence of the New York School on subsequent generations of writers, reading the work of Ted Berrigan, Joe Brainard, Dorothea Lasky, Bernadette Mayer, Eileen Myles, Alice Notley, Morgan Parker, Anne Waldman, and Dean Young. Students are responsible for weekly response papers, occasional creative imitations, and two longer critical projects.

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

Plastic Pollution and What Students Can Do About It (APA2176.01)

Plastic pollution is gaining international attention for the damage it is doing to human health, fish and wildlife, the climate, the ocean and communities. This class will explore the dimensions of the problem, the root causes of plastic pollution and the need for innovation. The class will be taught in the Center for the Advancement of Public Action and will have a major focus on public action. Students will develop community projects to reduce plastic pollution, write letters to the editor and be empowered to take action on this worldwide problem.

Conspiracies: Past, Present, Always (HIS2112.01)

Conspiracy theories have a long and interesting history in American politics and culture. Indeed, some of today’s most interesting and diabolical conspiracy theories actually took hold in the era of the American Revolution. They have persisted across generations and centuries, periodically exploding into epidemic-level mass paranoia. Through select case studies, primary documents, cultural artifacts, films, and declassified dossiers, we will explore conspiracy theories as an enduring but not entirely benign phenomenon of everyday life in America. We will also explore the emerging use of social media, Virtual Reality and Artificial Intelligence to create and disseminate conspiracy theories. Weekly readings, discussion posts, small-group activities, and projects.