Archives

Photography Foundations (PHO2136.01)

This is an analog film-based black-and-white photography course designed for those with little or no experience in photography. Emphasis will be placed on the application of technique in terms of personal expression through the selection and composition of subject matter. The course comprises technical lectures, darkroom demonstrations; lectures on historical and contemporary photographs as well as class critiques. The course will begin with a 2-D design assignment using photograms and continue with others that will teach camera controls, exposure, film processing, printing and structuring narrative using single and multiple images. Manual analog 35mm single lens reflex cameras will be available to borrow from the photo cage for the length of the term.

Mindfulness Drawing: Meditation and the Art of Observation (DRW2116.01)

This course explores mindfulness as both a practice and integral part of the art making process. Using drawing as a form of meditation, we will also look at artists and art movements that embrace meditation as a mark-making medium. Through in-class meditation, studio work, and discussion, students will be introduced to ideas and practical hands on techniques which will serve to enhance their mental focus and awaken creative spontaneity within their studio practice.

Peacebuilding (APA2212.03)

This Module will serve as an introduction to the work of Peacebuilding around the world, both in theory and practice. Vahidin Omanovic, Director of Center for Peacebuilding in Bosnia, will be joining us to reflect on his work and introduce us to key topics in peacebuilding, including: peacebuilding in a local community, obstacles for peace, identity, discrimination, methods of sustainable peacebuilding.

(April 10, 14, 17, 21, 24, 28)

Choice Theory (PEC4130.01)

Economic decisions are usually taken under constraints. These constraints may include limited budget, limited time, or limited information available to people. Choice Theory in economics provides us with a way to make sense of these decision patterns for individuals and for groups, and to describe how the patterns might change when the constraints change. This is an advanced level course in microeconomics. We will use graphs and mathematical formulations to express the key concepts in formal terms. For this, a grasp of high-school algebra, calculus and geometry is required. Prerequisites for the course include at least one 2000-level course in economics and a course in mathematics. Additionally, prior approval of the course instructor is required. Students should email the instructor with an expression of interest by November 30th.

History of Christianity: From the Hebrews to Henry VIII (HIS2227.01)

The aim of this course is to explore the development of Christianity as a set of interlocking complex systems with an equally complex history.  Christianity has been around for 2,000 years, and there is no denying that we live under its enormously powerful influence.  Millions have fought and died over it.  But even those who identify themselves as Christians often seem to be unclear on the elements of this system, or where it came from.  In this course, we will explore the development of the Christian phenomenon, from its Mesopotamian beginnings, through Judaism, Jesus, Catholicism, cults and Crusades, to the Protestant Reformations of Martin Luther and Henry VIII.

In the Public Realm: Chiang Mai Project (Thailand) (APA2182.01)

The Center for the Advancement of Public Action at Bennington College has received its second commission from the U.S. State Department’s Office of Art in Embassies for the art collection at the new U.S. Consulate in Chiang Mai, Thailand. Students in this course will examine the definition, unique challenges, history, and implementation of public art. Over the course of the term, the class will conduct case studies of prior public art projects and will explore the various dimensions of researching, designing and implementing a site-specific project within a diplomatic context, including looking at the success of CAPA’s recent project at the US Embassy in Oslo, Norway. We are planning on collaborating with graduate students from Thailand who are at the University of Bangkok as well as other Thai cultural and community organizations in Chiang Mai. This course is open to a wide range of students from different disciplines.

This course is the first half of a year-long experience. The course aims to attract a wide range of students from different disciplines. Enrollment in the Spring 2020 term is required in order to continue working on the project in Fall 2020.

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, 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, with a particular interest in experimental approaches and media theories of the latter half of the 20th century into the 21st century. 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 Hand as Tool (CER2317.01)

Clay responds directly to touch, retains memory and is forced through the dynamic process of firing to fix a point in time. This class will introduce students to a variety of hand-building techniques to construct sculptural and/or utilitarian forms. Students will develop their skills by practicing techniques demonstrated in class and presentations on traditional and non-traditional ceramic history. Through making students skills will increase, granting more confidence, and allowing more control over the objects they wish to realize.

Book Club Italiano (ITA4612.01)

Designed like a book club, this course will allow students to read books and discuss them as a class. Titles include Sei personaggi in cerca d’autore (Pirandello, 1921), L’isola di Arturo (Morante, 1957), and Pecore nere: racconti (Kuruvilla, Scego, Mubiayi, Wadia, 2012). While the main focus is on developing reading and speaking skills, this course will also include writing and listening practice. The course, conducted in Italian, will culminate in a research and a creative project. Intermediate high and advanced levels combined.

Corequisites: Attending two events of the Language Series

Noelle Rouxel-Cubberly
Tu 10:30-12:20
This course is categorized as All courses, Italian.

Investing in Futures: The Art of Worlding (APA2218.01)

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.

Every Day Everyday Climate Change (APA2181.02)

Daily practices connect makers over a duration of time to concepts, issues, and forms we care about. These practices are constrained by a set of guiding principles or frameworks, and are iterative by design. Because of the consistency of work (every day), a daily practice can change us and open us up to new ideas, techniques, and feelings. Daily practice as a concept is used in art-making, and also in theories of behavior change. This class brings both together, to create sustained experimental interventions (in public.)

In Daily Climate Change, students design daily practices related to climate change communication, behavior change, and participatory design. For example, a practice can focus on inter/personal or multi-species relations, a social justice campaign, or persuasive design for behavior change around a particular “wicked problem.” We proceed to create a complete, contained iteration of work every day in under 45 minutes. Work is shared and self-evaluated each week.

As we iterate in this 40-day daily practice, ideas and techniques evolve, and we learn to endure boredom and “failure;” we produce less preciously, and “think with our hands.” We also develop documentation techniques that leave a vivid trace of our efforts.

In this class we will also look at the work of people for whom daily practice has been integral to their work, including scientists, artists, spiritual practitioners, journalists, and hobbyists. Workshop time each week will be devoted to participation in short iterative design exercises in small groups.

No prior art-making experience is necessary for this course. All students are required to keep a daily record on a digital platform (i.e. Tumblr), linked to the class blog. Come prepared to make a daily commitment to this practice, regardless of weather, travel or other exigencies! There is no final for this class but the work will conclude with a required written self-reflection on process and outcomes.

All students will keep a blog or doc, linked to the class google drive.

Learning outcomes: iterative and constraint-based design, a deeper understanding of self-defined climate change challenges, exposure to persuasive design and climate change psychology, durational work, documentation.

Participating in the Archive (DAN2138.02)

In this project-based course, we will collectively engage creative documentation, written, discursive and embodied practices in the production of an online zine and podcast in order to explore the challenges of documenting dance processes, live performance, and the creative communities that gather around these practices.

Attuning ourselves to the ephemera that surround and imbue live, embodied forms, we will consider the multi-sensory, affective, and collective modes through which dance is activated and activates in order to re-configure our understanding of the archive not as a static record of the past, but a protean, contestable, multivalent, and embodied process.

Throughout the course we will reflect on historical and contemporary materials and texts as we critically engage questions around what and who comes to have significance and value through the archive and how an artist’s participation in the archive can be employed as a method for reflecting on and deepening engagement with one’s own work and the work of others. How might these processes be used as critical tools for deepening and expanding one’s own creative process while contributing to discourse in the field and reflection on contemporary issues? Students will be expected to write regularly. Time in class will be spent workshopping each other’s work, responding to readings, and working collaboratively to interview visiting artists and guests and share content.

Co-requisite: Dance or Drama lab assignment if students sign up for 4 or more credits in dance.

Families: Love and Power in the Domestic Sphere (ANT2120.01)

Interpersonal relations constitute the cement of society. What does it mean to be a sibling, a friend, a spouse or a lover? We will examine relatedness as a fundamental aspect of society and social organization by looking at some of the classic and most recent anthropological findings on the topic of family, kinship, friendship, networking, and community. We will analyze how our actions and loyalties are influenced by cultural rules and pressures pertaining to intimate relations through examining lived realities in various places, and then examine how intimacy and kinship obligations have changed in the global era through new technologies in medicine and in communication. How do domestic groups meet the challenges of the global neoliberal economy? How have contemporary dynamics reshaped kinship and intimate relations and brought about new forms of gendered relations, intimacy and family structures? Key questions center on the relationship between family and household structure and economic, political, and cultural change both historically and in the more recent past. Theoretical perspectives on the family will be supplemented with case studies of variation and change in families and households.

Animation Projects (MA4202.01)

The course will be for sustained work on an animation or design project. Students will be expected to create a complete animation, or project. The expectation is that students will be fully engaged in all aspects of the class from critiques, to experimenting with ideas, undertaking research and being present. Locations may be explored for showing of work including investigating digital projections on different surfaces and forms. Animation students will work with sound effects and sound scores to complete their final animation.

Public showings will be required.

Animal Social Behavior (BIO4307.01)

E. O. Wilson has said that “the organism is simply DNA’s way of making more DNA”. Are the elaborate, bizarre, (at times flamboyant), energy requiring social systems of animals simply adaptations which permit those animals to reproduce? Why is there so much diversity among animal social systems? Why are most mammals polygynous and most birds monogamous? Can we make predictions about successful social strategies and test them in the field? Can we gain insight into human evolution by studying the social systems of non-human primates?

In this course we will consider the evolution and adaptedness of different social systems with particular attention to current models of the evolution of altruistic behavior. We will read and discuss current research from a variety of journals (topics include: cooperative breeding, parent-offspring conflict, siblicide, mate choice and sexual selection, sex ratios, hymenoptera social organization, evolution of primate mating systems, the significance of infanticide and maternal rank). Students will undertake their own research projects.

Comparative Animal Physiology (with lab) (BIO4201.01)

A rigorous course in which physiological processes of vertebrates and invertebrates are studied at the cellular, organ, organ system, and whole animal levels of organization. The unifying themes of the course are the phenomenon of homeostasis (whereby an animal maintains its organization in the face of environmental perturbations) and the relationship between structure and function. The student will examine these phenomena in the laboratory by dissection and physiological experimentation. Topics include digestion and nutrition, metabolism, gas exchange, circulation, excretion, and neurophysiology.

The Ocean, The Creek, The Lake: Writing Water (LIT2405.02)

As water—through floods and droughts alike—continues to reshape the geography of the world around us, this course will look at waterscapes as written by women: Rachel Carson’s The Edge of the Sea, Annie Dillard’s A Pilgrim at Tinker Creek, and Terry Tempest Williams’s Refuge. Science, poetry, and ideas of conservation converge here. As a marine biologist, Carson wrote with exactitude and lyricism of the liminal environment, while Dillard’s evocative personal essays offer a glimpse into how the natural world can inform the human spirit. Williams offers a more elegiac account of landscape and family. The sensibilities and convictions of these women offer views to environmental literature that bring a different dimension to a genre of expression often associated with male adventure and audacity.

Music Since 1968 (MHI2228.01)

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

Dancer as Maker (DAN4149.01)

Dancers working presently in the contemporary, experimental dance world do so in relation to the historical definitions of “the dancer,” all while deconstructing and recontextualizing its meaning. Dancers are makers in their own right inside choreographic structures. In this course, we will work with specific choreographic structures and scores, and use them as a frame to help understand how we participate in the process of making.  We will look at the choices we make as we help shape the choreography and performance. We will look at how we, as whole people, interact with the material. We will work with approaches to employing technical skill and elements such as movement quality and relationship to space, exploring our personal agency and presence.  As a final project we will study the efforts of a few dancers working presently in the contemporary experimental dance realm with major choreographers. We will be learning their choreographed material and also charting their perceived methods for engaging in and performing the work. We will be asking questions like: What was their training model? What influenced their work? How did they integrate themselves into the whole concept?

Co-requisite: Dance or Drama lab assignment if students sign up for 4 or more credits in dance.

Cup Lending Library (CER4108.01)

All art is a form of communication. The ceramic cup is unusual in that it communicates, perhaps best, through touch. The Cup Lending Library is designed to facilitate this kind of communication on our campus. In this course, students will curate and make cups for a Cup Lending Library to be permanently installed in Crossett Library. The Cup Lending Library will act as an introduction to ceramic artists, handmade cups, and will provide cups for use on campus for community events or personal use. The cups in this library collection will include cups curated from national artists and the best examples of Bennington student work. Over the course of the term, students will refine and remake their cups while researching historical and contemporary examples. Early in the class, we will investigate non-traditional collections and lending in libraries. Students will work together to formulate a plan for curating cups including selection criteria, quantity, and budget. Students will conduct research into the artists represented in the collection and this will be compiled into a written document that will accompany each piece. At the end of the term, students will determine the best way to introduce the campus community to this collection. The course will consist of 2, 2-hour sessions with the first being a lecture/ seminar class in the library followed by a hands-on class in the ceramics studio.

Intermediate Voice (MVO4301.04, section 4)

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

Corequisites: Attendance and participation in Music Workshop Tuesday 6:30-8PM

Intermediate Voice (MVO4301.01, section 1)

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

Corequisites: Attendance and participation in Music Workshop Tuesday 6:30-8PM

 

Thomas Bogdan
Tu 10:30-12:20
This course is categorized as All courses, Voice.

Analyzing the Social Issues in Japan Through Online News (JPN4601.01)

The course is designed for students to deepen their understanding of Japanese language and culture through analysis of Japanese online newspapers and examination of Japanese news articles from various contexts. Students will practice various reading strategies, which will help them become independent learners. Mass media is the reflection of a society and the mirror of a culture. Therefore, reading Japanese newspapers helps students to become more aware of the Japanese culture, which is reflected in newspaper articles. Students are required not only to conduct research in their fields of interest, such as politics, economics, and films, but also to create newspaper articles for local Japanese people. High-Intermediate Level. Conducted in Japanese.

Corequisites: Language Series

Introduction to Butoh Practice-Impulsive Body (DAN2180.01)

No previous experience in dance or movement practice is required. This course is open to any students who are interested in investigating a relationship between their impulse and movements, and where those impulses come from. By studying some principles and practices of butoh, which originated in Japan as a contemporary avant-garde dance form, we aim to liberate ourselves from pre-fixed images of our bodies and search for alternate and original ways of approaching them.

Co-requisite: Dance or Drama lab assignment if students sign up for 4 or more credits in dance.

Discrimination and Audit Studies (SOC4105.01)

In the first half of term, we will examine various definitions of discrimination, and methods of measuring discrimination, identifying advantages and pitfalls of each. We will read studies examining discrimination on the basis of race, ethnicity, social class, gender, sexual orientation, and criminal record. Students will research the ways in which Supreme Court cases have contributed to legal and sociological conceptualizations of discrimination. In the second half of the course, students will work in pairs or small groups to design and implement an email-based experimental audit study measuring a form of discrimination of their choice. Each pair or group will produce a final research paper, modeled after an academic journal article, in which they will detail the findings of their audit study and contextualize these within the relevant literature. Students will deliver their papers in the form of professional conference-style presentations at the end of term. Prior coursework in research methods and/or social statistics is highly recommended for this class.

Topics In Video: Experimental Documentary (FV4236.01)

This course explores documentary possibilities through screenings and video projects. The class will look at and consider non-fiction techniques from early cinema verite films to recent attempts to address point of view and outsider status in documentary and experimental video work. In collaborative and individual projects, the class will take a hands-on approach to documentary production: addressing interview techniques, cinematography, story structures, metaphor, archival film use and a range of editing and presentation techniques – including installations. We will also work on our ability to develop relationships and to gain access to subjects outside our usual circles.

I am a Material (SCU4112.02)

What is a more valuable piece of matter? Could it be something that will degrade in this art world and be okay? String, cotton-balls and rubber bands may be what should be affixed to your unique prosthetic to complete a task given.

This course will cover information and techniques related to body casting, wire rope rigging, fabricating, building processes and encourage personal material resourcing. This is a project based performance course in which you will have problems set to define and complete. Your found solution will be evaluated on how thoroughly you analyzed the task, by way of experimentation of intent represented in prototyping and drawings, as well as showing a final function.

A Material World (SCU2113.01)

This course is directed at the student who is interested in furthering a visual vocabulary and conceptual enhancement through material introductions and demonstrations. The class will be based primarily on mastering methods of working with both thermo forming and thermo setting plastics. Often I have students come to me and ask how they can find some solution to the way a project may be leading them…the answer is never simple, on the contrary, this class will introduce you to learning around a problem. Observing close to what you were looking for however understanding that these decisions on material selection and their safe manipulation will create and develop new rich conceptual directions. Questions about questions like: Is this the most interesting solution? What is interesting? The foundation of this course is designed around the encouragement to experiment fearlessly towards finding a richer material language.

The Scriptorium: Borders and Boundaries (WRI2152.01)

This scriptorium, a “place for writing,” functions 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 on the theme of borders and boundaries. As we interrogate real and figurative perimeters, we will ask many questions: what occurs in those liminal spaces? How do power structures maintain borders? Who and what gets put into the margins? What occurs if those boundaries are transgressed? What happens to the body and to identity when one is “in between”? How do you conceive of yourself if you experience your identity as “here nor there” or “nowhere and everywhere”? Readings may include texts by Anzaldúa, Berger, Larsen, Luiselli, Rushdie, Rankine, Hurston, Said, Turner, Douglas, Hall, Chang, Lorde, Ovid, Haraway, Sinclair, Butler, Halberstam.

Digital Materiality (MS4101.01)

“The cloud” is not in the sky, but is comprised of thousands of securitized data centers and fiber optic networks that span continents. Undersea cables still carry nearly all internet traffic that travels across oceans. How can we critically analyze these massive systems that are often either invisible or too large to see all at once? This course will explore the materiality of digital media and their infrastructures. We will read key works in media history, media archaeology, and related fields to trace the life cycle of digital devices, from mineral extraction and industrial production to the carbon footprint of consumer usage and digital technology’s afterlife as e-waste. As we delve into the prehistories and possible futures of digital technology, we will also consider the work of designers, engineers, and artists who help us think creatively about digital media, whether from the perspective of deep-time, or in speculations on post-digital media and data.

Biochemistry (CHE4335.01)

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

Abstract Algebra (MAT4144.01)

This course will be organized around two main themes. One will be the analysis of symmetries, in particular the symmetries of tiling patterns and crystals. The other will be classical polynomial algebra, in particular the analysis of the extent to which polynomial equations may be solved explicitly (and what that means). The relevant mathematical topics are what are known as group theory and Galois theory. Our treatment of group theory will be fairly abstract, while the treatment of polynomial algebra and Galois theory will be very concrete, classical, and historically motivated.

Song for Ireland and Celtic Connections (MHI2251.01)

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

Traditional Music Ensemble (MPF4221.01)

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

Ethnographic Playwriting (APA4120.01)

This course takes an ethnographic approach to making new theater works within community collaborations. This course is about engaging your most adventurous artist self in the context of delicate, politically loaded, dialogic processes. We will read, watch and discuss the work of subculture theorists, architects, theater-makers and other artists, all of whom use staged conversations as an element of their work, either in finished form or in process. We will talk about step-by- step processes for building trust among colleagues and community members, balancing an artistically unified voice with real co-authorship, and leading a process through partnership. Another focus of the course will be on how to successfully reach desired publics with works. Ultimately, students will take what we do in class and create original in-progress works of live performance using ethnographic methods, and socially-engaged aesthetic and ethical considerations.

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Introduction to Computer Science (CS2124.01)

In this class, students will be exposed to the main problems and questions related to computer science, while beginning their journey towards becoming skilled coders. Students will learn how to write their own small computer programs. A large part of this process will include learning basic programming skills, computational thinking and algorithm design. In addition, students will also formulate and explore questions of their own related to computer science.

The History of Directing (DRA2169.01)

How did the director emerge as a driving, creative force in the theater? We will work semi-chronologically from the late 19th to the early 21st century, examining how culture and theater interact and change each other. We will consider traditional theater, the rise of the modern director, theatricality, epic theater, auteur directors, ensemble theater, theater for social change, and devising. We will read historic manifestos, critical responses, and examine visual research. At the same time we may read contemporary case studies to explore how current directors work collaboratively to overturn theatrical conventions. We will consider the relationship of the director to the “text,” (written, physical, visual, aural), to actor training, to the ensemble and collaboration, and to design and technology. How do directors address the community they seek to engage? Students will deliver oral presentations and lead discussions examining a theater/performance artist’s theory and practice. In addition, we will conduct in-class experiential exercises invoked in various directorial approaches.

Visible Language: Word And/As Image (DRW4401.01)

The observed world is covered with words, both visible and invisible. This advanced drawing course aims to underline the tensions and comforts of the relationship between words and images in visual art. Through assigned drawing problems that call upon students to complete and present visual work regularly, topics will include, sign and structure, letter formation and typography, concrete poetry, found language, illustration, and sequential imagery. An historical context of visible language will be presented, with special attention to the use of words in contemporary art. Students are expected to be able to think abstractly, and to consider reading and drawing important parts of their daily life. Class structure includes in class work, out of class assignments, independent work, readings, discussions and critiques. A high level of self-motivation is expected.

The Jewish Annotated New Testament (APA2180.01)

Jesus, Paul, Peter, James, Jesus’ mother Mary and Mary Magdalene were all Jews even though they appear prominently in the Christian Bible, also known as the New Testament. Their lives were imbued with Jewish history, beliefs, and practices. Often those nuances and meanings are lost when those texts are read without that understanding. In this class we will read some of the Gospels through the lens of the Jewish world of which these texts came out of. Our text book will be, The Jewish Annotated New Testament, edited by Amy-Jill Levine and Marc Z. Brettler, who assembled the best Jewish scholars of our generation to write commentaries on the text. This class will explore the messages of the Gospels as well as unpack the Jewish culture from where they emerged from.

Eastern European Literature and Cinema: From the Cold War to the Present (LIT2171.01)

In this course, we will examine contemporary literature and cinema in the “other” Europe, exposing the intricacies of daily life in a region where the past is always present. The cinematic and literary texts will be drawn from the former Yugoslavia and the successor states of East Bloc nations in post-Communist Europe. We will consider the work of iconoclastic writers and film directors such as Dubravka Ugrešić, Semezdin Mehmedinović, Paweł Pawlikowski, Dorota Masłowska, Aleksandr Sokurov, Vladimir Sorokin, Herta Müller, and the 2019 Nobel Prize in Literature recipient Olga Tokarczuk. We will also discuss the more detached yet no less poignant perspective on political events by expatriate artists such as the Bosnian Aleksandar Hemon and the Czech Milan Kundera. We will conclude the course with an examination of ascendant feminist and independent socialist movements in the arts, devoting particular attention to literary and cinematic push-backs against the recent rise of ethno-nationalism in Eastern Europe.