Archives

After-School Education Module (APA2238.01)

This course will examine the readings of John Dewey and Paolo Friere as well as scholarly articles on After-School Education. Each student will develop a proposal for an After- School Education Workshop for Molly Stark Elementary School with the possibility of implementing this workshop in their After-School program later in the semester.

(February 19, 26, March 4)

Social Emergency Medicine to Prevent Gun Violence (APA2239.03)

Firearm-related victimization, injury and death are among the most urgent public health problems facing our country, but there exists no utilitarian set of solutions.  Firearm injuries create an expansive series of direct and indirect negative health outcomes that ripple throughout communities, and each episode of gun violence is the consequence of a complex interrelated series of biosocial, environmental, behavioral and physical risk factors.  By understanding gun violence as a preventable disease and applying public health prevention techniques to this epidemic, healthcare professionals and their communities may develop systems of care to optimize gun safety, reduce risk and minimize public harm at every opportunity.

This course introduces students to the most prevalent public health issues related to the causes of gun violence, and explores the many multi-level health strategies that may be developed to prevent and treat gun violence in American society. Students will also gain exposure and experience in program design by creating, operationalizing and evaluating the impact of a novel, narrative-based educational framework for community outreach that unifies community stakeholders with their health systems, healthcare providers and first responders. Readings will involve both real-world programmatic documents/evaluations as well as peer-reviewed journal articles.

This course will be taught by Emergency Medicine Physician, Dr. Christopher Barsotti from AFFIRM: American Foundation for Firearm Injury Reduction.

(May 2, 3)

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.

Hybrids: Alternative Photographic Methods (PHO4215.01)

Students in this interdisciplinary course will focus on combining photographic media with other materials and artistic disciplines.  They will explore the techniques that directly manipulate the image before, during and after recording photograph. Experimentation and creative risk taking throughout the various assignments will be stressed. Through this process of experimentation students will produce projects in two dimensional and three dimensional formats using these various techniques.

Dalcroze Eurhythmics: Groove, Gesture, and Embodied Knowing (MFN2114.01)

Emile Jaques-Dalcroze (1865-1950) saw all music as a metaphor for the body experiencing itself. We don’t just hear music: we feel it, and the Swiss-born composer and teacher invented a whole coursework to musically explore our sixth sense, proprioception. In Eurhythmics, (greek for ‘good flow’) we’ll play with embodiment as the origin of dynamic, felt experience, designing games of movement and music to challenge the depth, breadth, and quality of our awareness. Students’ weekly homework–reading and labelling scores and leadsheets to understand the grammar of music: notes, rhythms, and harmonies–will help build fundamentals of musicianship, alongside exercises in rhythm, singing, and reading.

Advanced Voice (MVO4401.02, section 2)

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

Corequisites: Participation and performance in Music Workshop Tuesday 6:30-8PM

FLEABAG: A One Day Workshop about Structure (DRA2224.01)

Phoebe Waller-Bridge’s transcendent ode to longing creates some of the most inescapable structural gravities in recent memory.  Spend a Saturday afternoon talking about the precision and elegance of the way structure works in this remarkable piece of time bound art.

We’re going to talk about direct address, structural reasons why season 2 is better than season 1, about Waller-Bridge’s use of systems, her breathtaking use of music and our preloaded associations with it. We’re going to talk about choices that characters make, and we’re going to talk about whether characters change. We’re going to talk about how magic is used, how god is used, and the difference between a guinea pig and a fox.  We’re not going to talk about sex addiction, depression, or suicide. We’re not going to talk much about love and loss. The show does a brilliant job making meaning about all these things, better than you or I could do. So what we’re going to talk about instead is how the show is so gloriously good at doing what it does, and how it does it to you.

We are probably going to talk about the fact that hair is everything, however. Just warning you.

 

Sherry Kramer
Saturday,1:00-5:00 (March 14)
This course is categorized as All courses, Drama.

Advanced Workshop for Painting and Drawing (PAI4302.01)

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

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.

Development and Evolution of Language (PSY4116.01)

Relying heavily on evolutionary developmental biology, we will investigate transdisciplinary questions about origins of language. On the surface, we will look at the evolution of language, including the physical and cognitive aspects of language, and the individual developmental trajectories each of us takes in our learning of a language (or two or three). More deeply, we necessarily draw on computational modelling, archaeology, physical anthropology, psychology, comparative cognition, and cultural anthropology to try to understand the parameters of this topic, and the evidence within. As students in the class, you will be asked to think deeply, critically, and broadly in areas where we have little evidence or, more frequently, contradictory evidence. This is not a class where there is a “right” answer. Rather we come at these questions with little bits of evidence and most importantly, our big brains.

Cognitive Development: Where do our Brains Come From? (PSY2235.01)

Students are introduced to the major theories, methods, and research findings of cognitive development, particularly as they apply to infancy and childhood. In order to best understand the findings of the field, students will read journal articles in cognitive development. These will include research on topics as varied as the development of problem solving and reasoning behaviours in young children, naive theories of biology, number, and physics and their role in cognition, and the effect of social cognition on children’s behaviour. Our work will investigate the research methods we use to study beings without speech (infants) and those with brains very different from our own (preschoolers), and how we use this evidence to develop theories. We will conclude by learning about some of the common cognitive disabilities and how each predicts a different constellation of behaviour deficits.

Self, Culture, Society (PSY2236.01)

Students reflect upon psychological, and anthropological issues in human populations, asking, “What does it mean to be human?” We consider a range of topics investigated in the social sciences, beginning with definitions of self, culture, and society along with issues of power, rights, and responsibilities. We also look beyond traditional definitions of “human” to intersections where individuals have been labelled human or not human. Please note that this class is based in Social Emotional Learning methods and Adaptive Leadership Theory. This means that we’re going to be engaging in workshops that are personal, will make you feel vulnerable, and will make the class a very uncomfortable place. The intention is experiential learning in the classroom to transform your thinking about yourself and others.

Peacebuilding Two: Be the change you want to see in the World (APA2240.03)

This Module will be a chance for students to reflect on their identities, inner issues they are aware or not aware and the desire to be social change agents. Together we will explore key topics of non-violent communication, personal potentials for peacebuilding, community building skills and different methods to deal with our individual daily struggles to be more effective human beings.

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

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)

Women and Human Mobility (APA2213.03)

Human mobility has been an inherent human condition throughout history. From earliest human history, women and men have migrated in search of a better life, to populate other places on the planet, or to escape and survive human-made or natural dangers. Today migration is a fact of life for an increasing number of people around the world: there are more than 244 million migrants in the world, and almost half are women. The overwhelming majority of people who move do so inside their own country. However, migration can often involve cross-border movements, from a developing to a developed country, or more commonly within the same region.

Today, human mobility as a multi-causal phenomenon implies that people are migrating for a variety of reasons, which may be economic, social, political or environmental. Individuals migrate from the places where they were living because of the violence generated by State and non-State actors, armed conflicts, inequality, poverty, a lack of protection of economic, social and cultural rights, political instability, corruption, insecurity, various forms of discrimination, natural disasters, and the impact of climate change. Also, it may imply situations where men and women are physically transported across border without their consent, as in the case of trafficking. The factors that draw the migrant population are predominantly the prospect of better security, improved employment or educational opportunities, better access to services, more favorable climatic conditions, and others.

Many States have regulated migration through policies, laws, judgments and practices that directly violate the human rights of migrants and their families. At the same time, States have developed standards and mechanisms at the international, regional, bilateral and unilateral levels to regulate the flow of persons between States. The many laws, rules and regulations, fora and institutions through which States control international migration, either unilaterally or bilaterally for the most part, have resulted in a lack of consistency in global, regional and national governance of international migration that poses a challenge for the universal and regional codes developed for the protection of human rights.

Mobility is different for men and women, both in terms of the reasons why they migrate as well as the impact wile in transit and upon arrival to the destination and beyond. In this course we will explore the international rules that apply in different mobility scenarios focusing particularly in the effect that it has on women.

Through the course the students will explore:

– What is human mobility?
– How does human mobility particularly affects women?
– What are the main human rights challenges that create?
– What are the main international instruments that safeguard women in a mobility context?
– What is the role of the international and regional organizations?

The course will provide a comprehensive understanding of the effect on human mobility on women; how women’s human rights are affected by States’ policies and practices; and what is their protection under international human rights law.

(April 9, 13, 16, 20, 23, 27)

International Human Rights Law (APA2221.03)

Human rights are universal legal guarantees that protect individuals and groups against actions that interfere with fundamental freedoms and human dignity. Under international human rights law, States have the responsibility to respect, protect and fulfill human rights for all. If these obligations are not met, international legal action can be taken. Based on the international legal standards adopted by the international community through the time, this course aims to provide the students with the basic concepts of international human rights law, its sources, and the general protection institutions that exist to protect these guarantees. Through the course the students will explore:

– What are human rights?
– What are the main international instruments that safeguard human rights?
– Where do human rights rules come from?
– Who makes these rules? And who monitors those?
– What is the role of the international and regional organizations?

The course will provide a comprehensive understanding of the International Human Rights Law and its importance.

(April 9, 13, 16, 20, 23, 27)

Chemistry Independent Research Projects (CHE4275.01)

Students will apply the principles of Chemistry 1, 2, and 3 to the execution of substantive research projects of their own design. Interdisciplinary projects are encouraged: chemistry/biology, chemistry/geology etc. Students will also be responsible for independently analyzing their data and publicly presenting their findings. Persons interested in this class need to have a research proposal submitted before the beginning of the term.

Theater Games and Improvisation (DRA2123.01)

Whose class is this anyway? Improvisation is for everyone. Life is made up as it happens and improv is no different. This course will explore the basic elements of improvisation. Through short and long form theater games, pattern and rhythm exercises, we aim to heighten observation, listening skills, and ensemble building. Character, object, and environment work will be explored as well. Our goal is remaining truthful and honest in an improvised scene or monologue. This course will draw from improv gurus such as Del Close and Mick Napier, and the practices of National Comedy Theatre and the Upright Citizens Brigade Theatre. Of course, the course will culminate in a public performance of improvised madness.

The Actor’s Instrument (DRA2170.01)

Acting, when done well, is the pure expression of human emotion and spirit through text. To do so effectively, one must have adequate training. The actor’s voice, body, mind, and spirit are the tools of the trade and in this course, we will work to hone each one.

This course provides a safe environment for the actor to explore and play in the pursuit of bringing texts to life. We will work rigorously to train the the actor’s voice and body, working towards creating three dimensional human beings worthy of the stage.

My goal as a teacher is to give the building blocks to develop your voice and body and to tap into your already rich inner life. Using scene work, improvisation, outside readings, and various exercises, we will explore how our rich life experiences can aid in the pursuit of mastery and craft.

Co-requisites: Dance or Drama Lab required.

Shawtane Bowen
W 10:00-11:50 & W 2:10-4:00
This course is categorized as All courses, Drama.

Modern Guitar (MIN4224.01)

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

Corequisites: Attendance at Music Workshop (Tuesday, 6:30 – 8:00 pm).

Intermediate Guitar (MIN4025.01)

Instrumental Study on Guitar. Continued studies from Beginning Guitar. Advanced study in fret-board harmony and theory.

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).

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).

Social Practices: House Music vs Neoliberalism (APA2184.02)

Neoliberal culture asks us to see ourselves exclusively through our capacity to buy, sell, accumulate “likes” and “followers” and to do it as individuals. And the neoliberal cultural project tends to render invisible or illegitimate any alternatives to it as an orientation to social life. However there exists examples of cultural projects that remained on the outside of neoliberalism’s program, that weren’t conducive to assimilation. House music culture is one such example. This class will study house music culture in contrast to neoliberal forms popular culture. It will posit that the house scene spanning forty years contains glimpses of what Stephen Duncombe, calls “micro utopia” – temporary manifestations of an ideal civic culture.

We will surface the tacit, deep logics and practices of house music culture from its nascent days from David Mancuso’s Loft and Nicky Siano’s Gallery, Frankie Knuckles Warehouse and Ron Hardy’s Music Box to its present manifestations globally. We will compare these logics to those within neoliberal popular cultural projects that we are currently enmeshed within. This course will borrow from cultural studies, affect theory, performance studies, dance and dance studies. Students will be asked to develop prototypes of socially engaged art that intervene into neoliberal culture based on house music’s cultural logics.

Spatial Justice: Incorporating Social Theory into Artistic Practice (APA2183.01)

Spatial Justice is concerned with how space produces and is a product of power. All social movements deal with some aspect of spatial injustice which makes it a useful way for movements to find possibilities for solidarity. There is also a growing constituency of artists—from socially engaged artists, to sculptors, scenographers, musicians, etc.—who are incorporating ideas from the concerns of spatial justice into their artistic practices. How do artists and makers work ideas like these? In this course we will both learn about the origins and thinkers behind spatial justice and learn how artists are influenced by and work with these ideas as well. Students will be expected to produce writings, performances or works of art that are somehow in response to the concerns surfaced within spatial justice as a body of thought.

Poets’ Love: The Song Cycle (MVO4127.01)

This class is directed toward the somewhat advanced vocal performer. They will
learn about German Lieder, the wonderful confluence of text and music, which is a
highpoint of the Romantic period in music. They will study and perform Schumann’s
Dichterliebe, one of the greatest song cycles ever written. Students will together and
separately learn all of the sixteen songs and perform them in a culminating concert.
They will also study the relationship between the poems and the music in the songs
of the period. Romantic composers, unlike the classical composers, sought to
express emotion, often revealing their innermost thoughts and feelings, positive and
negative, love and death. The poets of the period often juxtaposed these human
emotions with the magnificence and neutrality of nature.

We will study the art, poetry and emotional feeling of the period with an emphasis
on some of the great poets, Goethe, Heine, and look at other song cycles by
Schumann as well as cycles by Schubert and Wolf.

Participants will do written assignments about the romantic era. This is an
opportunity for 6-8 students, auditioned by the instructor, to learn more about
German Lieder, the great composer Schumann and to perform his Dichterliebe.

Reports and papers will be assigned. Rep sessions with the pianist will be available,
as well as coaching in German pronunciation.

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.

Inclusion Practices (SCT4149.01)

Students enrolled in this course will meet weekly with the instructor to design and deliver programming for a spring term diversity conference.  Enrolled students will be expected to familiarize themselves with readings provided by the instructor and will submit weekly updates of proposed conference activities.  The final product will involve independent or collaborative programming activities for the conference and the submission of a written summary for compilation in a conference proceedings.

Delia Saenz
TBD (first seven weeks)
This course is categorized as All courses, SCT.

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.

The Five Obstructions (MCO4125.01)

A song feedback collective, focused on how musical restrictions can spur us to growth. Over the course of the term, students will write 5 songs (or revise a single song in radical ways) based on the critique and decisions of the group. We’ll discuss how to form supportive but insightful critique while challenging each other to go new places. What does it take to create a song based on someone else’s text, completely a capella, or without a single chord? How do you welcome in new materials and collaborators, from across genre and style?

Making the Third Ear (MUS4356.01)

This class will start with a grounding in the history and science of psychoacoustics. We will listen to binaural beats, watch psychostrobic flicker, create beating patterns using oscillators, and conduct other experiments in the sound studio to gain a deeper understanding of psychoacoustics. We’ll study an array of musical examples in popular culture (iDosers) and contemporary music (Lucier, Schmickler, with a special focus on the work of Maryanne Amacher) and look how sound, space and the brain have influenced thinking in visual artists and vice versa (Hecker, Sandback, Anthony McCall, Sharits). Students will propose a project at mid-term, ranging from compositions to visual art installations to scientific experiments, and will present their work in a collaboratively curated exhibition at the end of the term.

Sergei Tcherepnin
W 10:00-11:50
This course is categorized as All courses, Music.

Making Music with Modular Soft Synths (MCO4124.01)

This class will focus on historical methods of electronic music composition through a contemporary lens. We will study synthesis in depth, and the development of early analog synthesizers, while learning how these techniques have influenced contemporary software design. While the class will focus on composing, students will be expected to learn how to use Reaktor, VCV Rack, and Madrona Labs software. We will have weekly critiques of works-in-progress, and the class will culminate in a concert of student compositions at the end of the semester.

Transformative Voice (MCO4117.01)

In this class, students will use their voices to create stylistically diverse sonic compositions, from sound collages to pop songs. The focus will be on learning a variety of techniques on how to transform the human voice with electronics. We will cover vocoders, ring modulators, delays, autotune, harmonizers and pitch shifters. A series of composition assignments will frame the class, each designed to demonstrate a special aspect of vocal processing. Students will propose a final composition project at the midterm, to be presented at the end of the class in an in-class concert

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.

Social Dynamics of Inclusion (SCT2134.01)

This course will examine social psychological approaches to promoting inclusivity. Content will include review of basic psychological processes that contribute to, and maintain bias in contemporary society; and on methods that can promote collaboration across difference.  Topics will include:  confirmation bias, tokenism, intergroup dynamics, social justice, and related concepts.  Students will be expected to participate actively; examine, understand, and articulate different perspectives; and engage fully with the assigned readings and materials.  Weekly assignments include 1-2 readings and short reflection papers.  Students will also submit a final project that addresses a current area of exclusion at Bennington College.

Delia Saenz
W 2:10-4:00 (first seven weeks)
This course is categorized as All courses, SCT.

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

The question is what do you want to say? As we develop our interests in sculpture it becomes more and more imperative to find our own voice. The role of the artist is to interpret personal conditions and experiences and find the most effective expression for them. This course provides the opportunity for a self directed study in sculpture. Students are expected to produce a significant amount of work outside of regular class meetings. The goal is for students to become fully versed in issues that define traditional and contemporary sculpture. Regular individual and bi- monthly critiques with visitors will be complimented by student presentations of issues pertaining to their work. Students will be expected to attend field trips to museums and galleries. Complete one project in the installation space and project on the sign out wall.

An Actors Technique: Nuts and Bolts (DRA4127.01)

How do actors bridge the gap between themselves and the role they are playing? How do actors rehearse with other actors in order to explore the world of the play? This non-performance based class is designed to help individual actors discover their own organic, thorough rehearsal process. Step by step we will clarify the actor’s process: character research, character exploration, text analysis, identifying actions, working with scene partners, emotional preparation, and scene presentation. Each student will be required to research and present the biography of one renowned actor during the term, and these presentations will serve as a springboard for an on-going group conversation about the craft of acting. Students will work to create a warm-up specifically designed to meet their individual needs, and work on one scene throughout the term, allowing them to explore deeply, revise, and edit their choices. Various rehearsal techniques will be explored, so that students can begin creating their own rehearsal technique for future performance work.

Corequisites: Drama Lab

Introduction to Sculpture: Polychrome 3D (SCU2114.01)

Poly=many, chrome or chroma=colors. Can refer to artwork made with bright, multi-colored paint. Having many colors; multicolored. This term is usually used to describe sculptural or decorative objects finished or decorated with paint or glazes.

How do we merge color and 3 D form? How do we make objects in dimensional space that expand or compress our visual perceptions through the addition of a multitude of colors? How do we or can we establish rule sets in this regard?? Are there color theories we need to study to help with our exploration?? This course invites students to investigate the fundamental principals of painted form and found object sculpture while encouraging exploration of classical and contemporary approaches. Sessions are intensive explorations into a variety of techniques and materials including plaster, wood, cardboard, Styrofoam, plexiglass and metal. There will be a strong emphasis on experimentation and how this plays a key role in the making of sculpture. Students will need to complete 8 hours per week out of class time to complete projects. Regular slide presentations compliment individual and group critiques.

Advanced Projects in Video II (FV4242.01)

Students will work towards completing one significant/thesis work or body of work of their own devising during the course of the semester. Emphasis will be on depth of content, refining aesthetic, conceptual, and technical approach, and in-depth peer critiques of works in progress.  This is the “second half” of Advanced Projects.  The first half (fall 2019) emphasized research, storyline development, and other aspects of pre-production.  In this second half (spring 2020), students should have a solid idea of concept, and production/shooting should already be underway and/or complete.  Together, we will look at different aspects of post-production, from different models of editing, correcting color and sound, and methods of final presentation, from cinematic screening to multimedia installation and online platforms. We will also address production issues (shooting, lighting, sound, etc) on a per-student basis, based on the needs of their own specific projects – and address practicalities such as the Senior Show and building a moving image portfolio.

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.

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, with a particular interest in the evolution of film and 19th century moving image into video and modern media.  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.

Advanced Ceramics Projects – Self & Clay (CER4315.01)

Sculpture and vessels are realized through an exchange between the medium and the self. The class will begin with the question: What is Sculpture? What is a Vessel? Projects will push forward conceptual topics specific to sculpture and vessels including form and presence, the body, light and illusion upon form, the transformation of materials through techniques and the generation of ideas through drawing, writing and making. This is an advanced level course for students who have developed technical sufficiency and have a desire to explore further in ceramic processes. This class will provide a framework for explorations into making and thinking that will eventually become the foundation for a self-directed practice. The philosophy and vocabulary of 3D work and the techniques for self-generating projects will be the primary focus of this class.

Reveries (ARC4124.01)

Students will develop solitary retreats for a writer/reader/dreamer. We will explore the links between poetics and architecture through the close study of texts and images. The structures will be inspired by poetry and conducive to reverie.

There are aspects of poetry that share qualities with architecture: structure, rhythm, repetition, shape, etc. Particular to architecture is the tectonics of building, encompassing materials, textures and systems of assembly. Each of these elements hold poetic potential. The studio’s physical engagement with a place, with time, with weather and the seasons offer further opportunities for expression. Examples can be found in John Hejduk’s Masques, Raimund Abraham’s Dream Buildings and projects by the French Enlightenment visionaries, Boullee, Ledoux and Lequeu. Through digital and analog drawing and modelling we will test strategies for visual composition, tectonic legibility, and translation from text to object.

The grounds of the Robert Frost Stone House and Museum will provide the site for the studios. Each student will select a location for their project after a careful study of the land and its prospects.

Don Sherefkin and Farhad Mirza
W 10:00-11:50 & W 2:10-4:00
This course is categorized as All courses, Architecture.

Tuesday Soup-er Club Intensive: Bennington Foodscape (APA2168.02)

This is a trans-disciplinary course that investigates local food sovereignty. Incorporating activities such as collective soup making to intersect with academic research and theoretical reading, this course aims to enhance our overall understandings about the modern day food chain (i.e. industrial food production and systems of distribution). The Soup-er Club will create participatory soup dinners, focusing on thematic discussions, to explore possibilities for making an inclusive space where direct dialog and face-to-face interaction with local residents, practitioners, and activists can be facilitated. Topics include: recapturing place-based food ways, repairing relations between individuals in communities, labor, and the regional stability of food systems.

Food and Politics: A Food Citizens Methodology Workshop (APA4160.02)

This class will put focus on investigating various approaches to food studies while examining academic institutions’ curriculums and non-institutional models developed by civic and creative practitioners. This intensive Methodology Workshop provides opportunities to explore food as a pedagogical tool to “do food justice” and to practice trans-disciplinary research methods, including socially engaged art. We will examine the complexity of food issues in colonial and postcolonial constructions and in the context of globalism. Bearing in mind that cooking is both knowledge and practice, this class will engage in critical food studies beyond the confines of academic textbooks and encourage students to practice in-situ learning outside of the classroom. This course incorporates research oriented syllabus-building activities which shall contribute to establishing an inclusive food studies curriculum.

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.

Music Theory: Beats & Bars (MTH2129.01)

A deep dive into rhythmic notation and sight reading. A course for acquiring useful skills to notate & sight read, rhythmic & melodic notation. Topics: syncopation, compound meters, interpretation, ear training & conducting. Student will bring instrument and/or voice to class for practice and application. Instruments can include: any strings, brass, woodwind, or percussion.

Action Research Lab for Food Sovereignty (APA4239.01)

Action research is a methodology for learning while doing and food sovereignty is the practice of self-determination in food systems. Food sovereignty projects solve food insecurity by empowering communities and individuals to produce their own culturally appropriate food and medicine. The class will split into 4 groups, each working on a different food sovereignty related project in Bennington County. The class as a whole will meet to discuss literature on action research methodologies and food sovereignty. Community engagement projects include: 1) building a permaculture garden at a domestic violence safe house; 2) organizing and hosting a local food conference for individuals and organizations in Bennington County; 3) working with a local school on food and garden education; and 4) working with the Purple Carrot Farm on campus.

Resilience and Food Access in Bennington, VT (APA2241.01)

What is a resilient community food system? How is community health impacted by food access and quality? This class will explore these questions through community engagement and research with a focus on sustainable food system interventions in Bennington, Vermont. Resilience is the ability for a system to adapt to changing circumstances, including poverty, climate change, and health crises. This class will look particularly at the food access supplied by neighborhood corner stores and community gardens. The class will research case studies of food relocalization and public health initiatives to learn best practices in community food security. Working with the local community in Bennington (including the town, local public health district, local organizations, and small business owners), this class will explore the accessibility of food to residents in town and engage in projects that increase access to local, nutritious food in downtown neighborhoods.

Quick Studies (DAN4144.01)

For each class, students will bring in short movement studies for performance that day. These can be made for solo or group exploration, and as soon as they are done, we will let them go and move on to the next work in the series. Throughout this practice, we will notice timing, spacing, and detail. By attending to the movement qualities, inherent technical challenges, and tasks at hand quickly, we will find multiple approaches and solutions. By continually making, adapting, and then living in the performance on a particular day, we will find out what happens.

Participation in Dance Workshop (Th 6:30 pm-8:00 pm) is highly recommended.

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

Electroacoustic Band Workshop (MPF4122.01)

This course is an open forum for research and development of live performance methodologies through collaborations involving electronic, electroacoustic, and acoustic sources. In this workshop, we will explore text scores, improvisation techniques using both acoustic and electronic sources. The research and practice areas include but are not limited to electroacoustic and audiovisual performance, non-Western and/or non-notated music performance, and creation of new music. We will incorporate transducers, audio processing, and control surfaces in our performative events. This course is for students who have previous experience in performing musical ideas with “tools” such as everyday objects, traditional acoustic instruments, and electronics. 

Experimental Radioplay (MSR2139.01)

In this course, we will explore the possibilities of radio and sonic narration through experimental sound practices. How can we portray political and social events through sonic practices without relying on verbal communication? What are the ways of creating speculative worlds through radio broadcasting? Along with readings and discussions, we will examine previous experimental work in radio and radio drama. There will be an emphasis on production and experiential learning through exercises and workshops. During the semester, students will create various radio shows for online streaming.

Identità e cucina: Food in Italian Regional Cultures (ITA4216.01)

In Italy, regional cuisine is an essential component of local identities and a crucial element to understand diversity in the national context. This course focuses on the food practices and typical dishes of Italian regional cultures as the students advance in the study of the language. This course is offered at the elementary level and conducted in Italian. The class will engage in discourse that moves beyond the sentence level and steps into the linguistic production of abstract thought, with an emphasis on oral communication and paragraph-level writing.

SCT Advanced Work Preparation Module (SCT4104.04)

This one credit module is designed for students preparing to do advanced work in SCT during Fall 2020. In a series of workshops, students will work on formulating clear lines of inquiry and developing a research plan for their advanced work in SCT. Students will look at various examples of advanced work as presented by current seniors. Various SCT faculty members will present techniques for designing a research project. Students will meet with their section leaders to begin preparing for their senior work. Assessment will be based on the development of an individual research proposal with an initial bibliography.

(May 10, 17, 24)

David Bond
Sun 6:00-9:00 (Fourth Module Block)
This course is categorized as All courses, SCT.

Advanced Workshop in CAPA (APA4109.01)

This course is designed for seniors or second term juniors who are doing advanced work. Advanced work in CAPA is expected to build on proven strengths in other discipline areas with previous coursework relevant to their area of interest. This spring seminar provides a unique venue for students to better define and pursue the public implications of their education. Students are expected to creatively and critically engage a problem with an eye towards solving it. It is advisable to connect the Field Work Term to the research and project that students will focus on in this course. Senior work is reviewed by CAPA faculty and culminates in a public presentation.

Financing Social Value Oriented Enterprise (cancelled)

The aim of this 7-week course is to provide students with the knowledge and skillsets necessary for acquiring financing for start-ups and existing entrepreneurial firms. Beginning with Title III of the JOBS Act (2012), the environment for financing organizations, including arts and culture and socially-responsible initiatives, was broadly liberalized. In the context of that new financing environment, you will learn how to adequately capitalize social, value-oriented enterprise. Importantly, we will eschew conventional models of financing and focus on building new and existing enterprise with this important, contemporary, value-oriented twist: utilizing only minimal debt and no venture capital. In this course you will acquire a depth of understanding regarding pertinent securities law, learn how to prepare the documentation for both selling intrastate stock (and why that is a good idea) and raising capital through existing crowdfunding portals with specific reference to Form C of Regulation CF, determine how much capital you need to raise, as well as how to match organizational legal form choices to your financing requirements.

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.

Price Theory (PEC2218.01)

A central element of the “economic problem” is scarcity. In a market economy, prices play a crucial role in addressing this problem. This course examines how the system of prices work. This is an introductory course in microeconomic theory and applications. We will explore the basic ideas in the course verbally and through written expositions, and we will use graphs and mathematical formulations to express the key concepts in formal terms. For this, a grasp of high-school algebra and geometry is required, and some knowledge of calculus may be advantageous. No prior knowledge of economics is necessary to take this course.

Standard of Living (PEC2219.01)

Economics is concerned with improvements in people’s living standards. But standard of living has different meanings for different people. This course explores the different ways to think about the living standards, and investigates long-term trends and socioeconomic differences in quality of life. This is an introductory course. No prior knowledge of economics is necessary to take this course.

Senior Seminar in Society, Culture and Thought II (SCT4751.01)

This is the second half of the SCT senior seminar, designed as a venue for students to complete their advanced work. For most students, this seminar will focus on analyzing data collected for their senior work during the first term or during Field Work Term and using that analysis to complete their senior projects. Aside from a few shared readings, the bulk of what individuals read is directly the result of the research they do. Writing will take place throughout term, and students will receive feedback both from the instructor and from their peers in the course. Individual works and directions will be discussed and work-shopped in class.

Noah Coburn
W 2:10-5:50
This course is categorized as All courses, SCT.

Identities and Affinities (PHI4109.01)

Each of us has multiple social identities. We belong to different social groups and are categorized along various social dimensions. What is involved in being a member of a race, gender, class, nation, sexual affinity, ethnic, or religious group? Are these groups somehow “natural” or objectively real? Are these groups “social constructs”? What, ultimately, is the social world made of? Furthermore, do we have specific obligations based on our social identities? In this course, we will undertake a philosophical investigation of these and other questions regarding social identities. The course will have two main parts: (1) ontological – an inquiry into social reality and social kinds (2) ethical/political – an inquiry into the obligations that attach to social identities. We will use the methods of philosophical analysis, argument, and close reading. Likely course readings include works by: Linda Alcoff, Anthony Appiah, Gloria Anzaldúa, W.E.B du Bois, Jorge Gracia, Cressida Heyes, Ian Hacking, Sally Haslanger, Charles Mills, Ron Mallon, and Naomi Zack. 

Philosopher Queens (PHI2118.01)

Various stories of women philosophers in antiquity have come down to us. In Plato’s Symposium, for example, Socrates quotes a long speech on love by Diotima of Mantinea, who Socrates describes as a “wise woman” and his teacher. We also have accounts of Aesara, Arete, Aspasia, Hipparchia, Hypatia, and Theano. However, these accounts are all filtered through male-authored texts. We lack reliable primary sources from women philosophers in antiquity. There are current efforts to recover the voices of women and non-gender-conforming thinkers and thus to broaden the philosophical canon. For this course, we will (1) examine such recovery projects in ancient Greek and Hellenistic philosophy, and (2) investigate the intersection of gender and philosophical concerns in antiquity. Likely course readings will include: Sophocles’ Antigone, Euripides’ Medea, Aristophanes’ Assemblywomen and Lysistrata, Plato’s Symposium and Menexenus, selections from Plato’s Republic, selections from Aristotle’s Politics and biology, and Pythagorean, Cynic, Epicurean, and Stoic works.

 

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

Plastic pollution has emerged as a major environmental, health and economic issue with direct links to climate change. 9 million metric tons of plastic enter the ocean each year. In the next decade, there will be 1 lb of plastic in the ocean for every 3 lbs of fish.  Plastics are made from chemicals and a by-product of fracking. And we can’t recycle our way out of this problem. This is a cutting edge public policy class that will delve into the details of this issue, while teaching students how to take political action to stem the tide of plastic pollution. Taught by Judith Enck, a seasoned environmental leader who served in the Obama Administration, the work is also linked to Beyond Plastics, a nationwide grassroots organizing campaign committed to  reducing plastic pollution, based at Bennington College. At the end of the class, you will be very well informed about plastic pollution and emerge with new organizing skills that will help you be a leader on a range of issues that you care about.

Improvisation Ensemble for Musicians and Dancers (DAN4357.01)

This advanced course focuses on work in the performance of improvisation. For dancers, special attention is given to the development of individual movement vocabularies, physical contact and interaction, and the exploration of forms and structures.

For musicians, special attention is given to creating rhythms and sonorities which can then be manipulated and developed while interacting with dancers in the moment.

Dancers are expected to have experience with improvisation in performance and are asked to develop a structure for the group. Musicians should have basic skills on their instrument and be able create and convey a sense of form to other musicians in an efficient way.

**Both dancers and musicians will meet together on Mondays 3:40-5:30. Musicians will meet Wednesday 4:10-6:00. Dancers will meet Thursday 3:40-5:30.**

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.

Early-Modern French Libertine Literature (FRE2107.02)

This course examines the movement of early‐modern freethinkers who championed individual autonomy and questioned the authority of religious, moral, social, and political thought. We will focus particular attention on questions of pleasure and morality, sexuality and power, authority and subversion. Writers studied will include Prévost (Manon Lescaut), Laclos (Liaisons Dangereuses), and Sade. Readings, critical written assignments, and oral presentations. Conducted in English.

Stephen Shapiro
M/Th 1:40-3:30 (second seven weeks)
This course is categorized as All courses, French.

Technical Topics: Video and Animation Post-Production (FV2143.01)

This 2 credit course will be focused on developing post-production editing skills within Adobe Premiere and Adobe After Effects. The topics covered are applicable to any video based project within any discipline and include color correction, text and graphics, masking, compositing, key framing, and the visual language of editing. Students will be working independently at their own pace and are encouraged to use their own pre-recorded content and/or found footage. No previous editing experience is required – advanced students will be given the opportunity to research and apply specific post-production workflows of their choice.

Intermediate Video (FV4143.01)

Intermediate Video will build on technical skills introduced in Intro to Video. Students will be expected to produce in-class technical exercises, short projects assigned by the instructor, and one final project of their own design. Assigned projects and assignments will have both technical and conceptual constraints. This semester of Intermediate Video will give a broad overview of contemporary approaches to pre-production, production, and editing, with an emphasis on hybrid practices, mixed methods, and inconsistent narrative modes.

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.

NGOs, Peacebuilding, and Development (SCT4109.01)

In the last thirty years, non-governmental organizations have played an outsized role in global affairs, perhaps most notably in development and peacebuilding processes. How did the NGO form develop, and why? How do NGOs interact with states, global institutions, and grassroots populations in the Global South? What effects – positive, negative, and complicated – have NGOs had on global affairs, and how are their roles changing in the 21st century? This course will critically examine the work of NGOs in peace and development around the world, with a concentration on Latin America. Students will use the lenses of political economy, social movement studies, and gender studies to examine various NGOs in order to better understand their complex dynamics, and apply their understanding to a critical analysis of a particular NGO. Students who have worked with NGOs in Field Work Term can expect to incorporate their experiences into the classroom.

Introduction to Peace Studies (SCT2142.01)

This course will introduce students to the broad array of theoretical and empirical perspectives on conflict transformation and peacebuilding. Drawing on contributions from various disciplines, it will give students tools to measure historical and contemporary conflicts and to analyze peace efforts and processes around the world. Key questions include: What are the foundations of armed conflict and violence? What roles do race, religion, gender, sexuality, and colonialism play in warmaking and peacebuilding? What does peace mean to different parties? How is peace achieved, and what role does the international community play? Students will become familiar with key concepts and theories in the field and prepare for future coursework in peacebuilding and related fields.

Field Course in Coral Reef Biology (BIO4239.01)

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.  In order to gain a more robust understanding of reefs, we will study reefs on site in the Caribbean. Students will learn the taxonomy, identification and characteristics of the animals that live in coral reefs.  The course will take place on the island of Grand Cayman. Students will have an opportunity to become certified scuba divers and participate in ongoing research. Students will collect and analyze fish inventory data and submit those data to the environmental organization, REEF (Reef Environmental Education Foundation).  Students will be able to compare their data with prior research. We will also discuss reef ecology with Tim Austin a research scientists with the Cayman Islands Department of the Environment. We will also participate in a beach clean-up activity.

This course will be offered over FWT (Jan. 4-11, 2020). Credits earned will count towards the credit requirements for Spring 2020. Registered students will receive a partial waiver for the number of hours normally required during FWT. 

Additional costs will be associated with this course.

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.

Chromophilia: Explorations in Color (VA4215.01)

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

In this class, we look carefully at and discuss the work of many artists and the implications of color in their images. Wide-ranging readings from literature, philosophy, and cultural criticism, serve as a base for discussion and artistic response.

Visual work for the first weeks of class consists of color problems using cut paper; in subsequent weeks, students solve problems presented in class with painting, or any other color-abled media. Reading and written responses are assigned weekly. Class time is primarily used for discussion of texts, critique of visual work, and student presentations of research. Assignments are given throughout, however, it is the objective of this class to provide the skills necessary for the student to confidently pursue self-designed projects. A high degree of motivation is expected.

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.

Fundamentals of Creative Writing (LIT2394.01)

This class will serve as a comprehensive introduction both to the craft of creative writing and also to the workshop method. Throughout the term, we will explore poetry, literary fiction, and creative non-fiction in order to build a working knowledge of the craft and to help students begin to find their way into their own narratives and poems. Every week class will feature exercises and assignments designed to introduce and sharpen certain techniques. Over the course of the semester, students will be expected to write and workshop one short story, one lyric or narrative essay, and a small group of poems. We will also read widely across the three genres. This course is intended for students who have not yet taken a Reading and Writing course at Bennington. 

Note: Students may not take this class if they have already taken Fundamentals of Creative Writing or Animal Tales: Fundamentals of Creative Writing

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

The Novels of Kazuo Ishiguro (LIT4291.01)

In the inscription for Kazuo Ishiguro’s 2017 Nobel Prize for Literature, the committee announced it had chosen to give him the award because his novels had “uncovered the abyss beneath our illusory sense of connection with the world.” In this class, we will read nearly all of these novels, beginning with Ishiguro’s first, A Pale View of These Hills, and including An Artist of the Floating World, The Remains of the Day, When We Were Orphans, Never Let Me Go, and The Buried Giant, as well as his collection of stories, Nocturnes: Five Stories of Music and Nightfall. We will investigate Ishiguro’s constant reinvention of the novel, his approach to the confines of genre, and the ways in which Ishiguro has appropriated and subverted the notion of identity as subject. Throughout the term will also interrogate the ways in which Ishiguro has transformed the modern idea of the British novel, by analyzing his approach to race, gender identity, bio-ethics, and the long shadow of cultural memory. We will screen the film adaptations of his major work, and also consult his work as a screenwriter in The White Countess and The Saddest Music in the World. This is an advanced course intended for students with prior college-level coursework in literature.

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

Unhomely Thoughts from Abroad (SPA4605.01)

From Simón Bolívar’s recruitment of the exiled Francisco de Miranda in early nineteenth-century London, to the counter-revolutionary Guillermo Cabrera Infante’s Tres tristes tigres, written in a Hampstead flat, much of Latin America’s postcolonial identity has been forged outside its borders. Beyond defining home, exiles have defined their alternate environments. De Miranda’s statue still stands in Fitzroy Square, and Cabrera Infante lived in London for the rest of his life. Exile, whether a political necessity or voluntary, is more than a discursive conceit in this context, and language an act of memory.

The proposal is to study Latin America’s exilic thought, one of its most formative traditions, from Independence to the present. Students will debate their own perspectives, both in conversation and in writing, thus developing analytical and linguistic skills, and will undertake a short research project. The usual array of media will be included. Conducted in Spanish. High-intermediate level.

Corequisites: Language Series

In Sickness and In Health: An Introduction to Medical Anthropology (ANT4149.01)

In this course we will explore the social dimensions of medicine, the body, illness, health, healing, medical care and biotechnologies across societies and times from comparative, cross-cultural, ethnographic perspectives. We will examine the role of cultural differences in defining and dealing with health and illness and investigate health related factors that link humanity cross-culturally through common needs. If human experiences and understandings of illness, suffering, and healing are not objectively rooted in universal facts of biology or nature, how are they to be analyzed and understood? If the interaction between biology and culture depends on the context, what is the status of biomedicine? Can/should the biomedical model simply be regarded as one system of belief and practice among others? And how is the biomedical model embedded in a socioeconomic hierarchy that unevenly distributes health and healthcare between haves and have nots? We will pursue these questions in a global framework, drawing on ethnographies and critical essays that open up the field of medical anthropology.

Drawing As A Verb: Exploring Uncertainty (DRW2120.01)

1. Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach.
2. Rational judgements repeat rational judgements.
3. Irrational judgements lead to new experience.
4. Formal art is essentially rational.
5. Irrational thoughts should be followed absolutely and logically.

-Sol LeWitt, “Sentences on Conceptual Art” 1969

Shying away from the static, resolved, or finished image, this course will explore drawing as a process of ongoing inquiry. It is intended to foster an experimental and experiential approach to making art, generally eschewing personal expression in favor of developing an open-minded approach. Students will engage with various techniques and processes to make drawings that document experience as well as create an image. Topics to be considered include: artistic intent, ambition, happenings, failure, and chance. Class time is used for drawing, technical demonstrations, discussion and critique. Relevant artists include: Marcel Duchamp, Robert Rauschenberg, John Cage, Jean Tinguely, Allan Kaprow, Yvonne Rainer, Yoko Ono,and Yayoi Kusama.

Fashion and Modernism (VA4129.01)

“Let There Be Fashion, Down With Art” –Max Ernst

The rise of capitalism and the Industrial Revolution led to radical shifts in politics and art in the late 19th century. Fashion acts as a powerful analogue to and forecaster of Modernism. Artists such as Henri Matisse, Leon Bakst, Sonia Delaunay and Salvador Dali took note of fashion’s nascent agency and created clothing as a means of engaging the new political, social and cultural landscapes of the 20th Century. Influenced by Charles Baudelaire’s radical questioning of beauty and fashion, artists attempted to define fashion’s role in culture, manipulating it to reflect their own proclivities. This course will introduce and reconsider various movements such as Cubism, Fauvism, Futurism, Constructivism, Dada, and Surrealism through the lens of fashion, investigating the various agendas and ideologies deployed. Students will create artworks that engage the political spectrum as it intersects with Modernism’s aesthetic partisanship, including the creation of original garments. While this is a studio course, there will be weekly reading assignments and discussion as well as critiques. Students may work in a variety of media, including painting, drawing, photography, sculpture, video, or costume design. A high degree of motivation is expected. 

Kiln Firing: the Art and the Science (CER4272.01)

In Kiln Firing students will be exploring the science and art of firing a kiln by first operating and understanding electric kilns, then gas kilns (both oxidation and reduction, manual and automatic), and lastly exploring atmospheric firing and alternative firing processes. Bisque firing, cone 04, 6, and 10, basic maintenance and repair, loading and unloading bisque and glaze firings, and crystobalite formation and quartz inversion will all be investigated. This course will be largely self-directed building upon a basic foundation of knowledge with topics from each student’s specific interests. Some possible subjects for exploration are once, soda and/or salt, saggar, raku, pit, and wood firing, reduction for shinos and copper reds, developing microcrystals, firing for crystalline glazes, and reduction cooling among other possibilities. These objectives will be facilitated through demonstration and hands-on practice. The overarching goal of this class is to empower students with the technical knowledge to express themselves through ceramics coherently using a comprehensive understanding of the firing process. Firing is often an intimidating procedure for even the most advanced ceramic student, this class is designed to build each student’s confidence and comfort through full involvement in the firing process.

Some basic tools will be required.

Intermediate Painting: Facture (PAI4106.01)

“Facture refers to the manner in which a painting, drawing, or object is made. It is the combination of brushstrokes, marks, material, and the texture of the surface. Facture is critical to the success of any object. Much of the fascination that accrues to all manual media comes from what can be observed at close range. That distance reveals the foundation, the touch, the sensuality, and the understanding of the material that gives art objects their essential character.” -Kit White, 101 Things to Learn in Art School

Behind the impulse to put paint on canvas is a search for meaning. As an artwork comes into being, its meaning(s) evolve concurrently. Concentrating on the establishment of a rigorous artistic practice, this course will focus on the relationship between facture and meaning in painting. Sharpening practical and critical skills, assignments will investigate the processes and methods of painting from practical and theoretical perspectives. Questions to be considered might include: How does the painter’s knowledge of craft inform the way they paint? Is technique knowledge or behavior? What is the role of labor? Readings, critiques and studio projects will serve to create a constructive and lively dialogue in the classroom.

Violin/Viola (MIN4345.01)

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

Corequisites: Must participate and perform at least twice in Music Workshop (Tu. 6:30pm – 8:00pm)

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.

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.

Intermediate Violin/Viola (MIN4232.01)

Basic techniques will include the reading music in treble and /or alto cleft in basic keys. Hand position including left-hand sifting and fingering will be shown, and a rudimentary facility with the bow will be developed in order for students to participate in simple ensemble performances by the end of the term.

Corequisites: must participate and perform at least twice in Music Workshop (Tu. 6:30pm ~8pm)

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 arrange for the use of a college instrument if needed (contact Music Coordinator, ext. #4519).

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

Senior Projects (MPF4226.01)

This course will serve as a forum for technical planning and feedback for seniors scheduling a musical show or installation in Spring 2020. The majority of work for any senior show will be expected to be composed and/or collected by the beginning of the term. Students will be required to pick an advisor from appropriate music faculty to advise their particular projects as they develop. The course will introduce students to the challenges of sound design, drama, and visuals within a multi-disciplinary college community, and in creating successful collaborations, rehearsals, and techs.

Introduction to Counterpoint (MTH2118.01)

Composers throughout the ages have cut their teeth on the study of counterpoint – the intricate practice of writing melodies for several voices sounding at once. In this course, we’ll look mainly at 16th-century composers of counterpoint, and sing through pieces from Palestrina to Weelkes, while learning to compose in a variety of practices such as canons, the motet, and familiar style. We’ll gradually work our way from two-voice to four-voice counterpoint, and set texts in a variety of harmonic styles. Emphasis will be placed on creative work, and student pieces will be performed in class throughout the term. Students must be able to read music though no previous knowledge of theory is required. Separately scheduled labs will help sight-singing and ear training in counterpoint.

Infinity (MAT2109.03)

A large part of modern mathematics has to do with how we conceptualize and manage the idea of infinity. This occurs in different places: the infinity of the horizon line that appeared with the development of perspective drawing, the infinitely small and infinitely many quantities of calculus, the infinite depth of fractals. This class will survey some of these concepts and briefly talk about how they are formalized in mathematics. There will be a particular emphasis on Cantor’s set theory, which was developed in the late nineteenth century, and which provided new logical tools and a new language to talk about infinite quantities. No mathematical background or knowledge will be assumed.

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

Puzzles (MAT2108.01)

Much of higher mathematics has more in common with solving puzzles than it does with performing algebra drills. In this class, I will be proposing puzzles, and providing coaching and strategies for getting better at doing puzzles. Many of the reasoning skills will be valuable broadly in life, not only in mathematics. No special math knowledge will be needed.

(February 18, 21, 25, 28, March 3, 6)

Certainty (MAT2119.04)

Advanced mathematics is largely about logical argument, as much as it is computation or calculation. Over time, as each generation extended their ideas into new realms, they looked at the logical arguments of their predecessors and found that there were gaps, elisions, things that were not fully understood. One could imagine that this process might continue forever, but it does not: in the early twentieth century, a number of mathematicians (most notably Hilbert) completed the project of “hitting bedrock”, finding a clear demarcation line between certainty and uncertainty. This required a clarification about what mathematics and reasoning are about (“formalism”). These profound ideas deserve to be better known outside of professional mathematics. (Later, some mathematicians (notably Gödel) used this framework to show the limitations of the framework, in a different and more precise sense than before.) In this class we will go through the development of these ideas. No mathematical knowledge will be assumed.

(May 8, 12, 15, 19, 22, 26)

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.

Movement Practice: Partnering (DAN2179.01)

In this class we will move in and out of physical contact with other dancers and objects. As a foundation for the partnering, we will work on proprioception, an awareness of one’s own body, and how this is communicated to a partner.

In turn, each person needs to develop skills in receiving information from the partner, without necessarily seeing them.

With others, we will explore weight sharing, center sharing, and counter balancing, to give ourselves a broad understanding of different pathways, ideas, and how to use them. Standing up, sitting down, or upside down we will learn to process and direct the information our bodies are sending and receiving. We will work with technical exercises, choreographies, and improvisational scores.

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

Theory of Impressionism (MTH4112.01)

This seminar will look at works by Claude Debussy and Maurice Ravel, as well as by Erik Satie, Les Six, Fauré, and diverse U.S. composers at the turn of the 20th century. We will start by looking at Debussy’s Preludes as a microcosm of his harmonic style, and then analyze major orchestral works. Ravel’s Tombeau de Couperin, String Quartet, and select songs will also be analyzed. Students will be expected to write analyses of short works, and to contextualize the innovations of Debussy and Ravel within the complex literary and visual styles of fin-de-siècle France. This course will have special assignments for those who wish to explore advanced harmonic analyses of these works. Students must be able to read notation fluently.

Piano Lab II (MIN4236.01)

The goals of this course are to gain ease and dexterity at the keyboard, developing a confident piano technique and the skill of reading musical notation. Students will expand upon the skills learned in Piano lab I, adding to a basic repertoire of scales and chords, use them in improvisation and harmonization of melodies. In addition they will explore a repertoire that utilizes the musical components covered and learn to perform selected compositions.

Piano Lab I (MIN2232.01)

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

Piano (MIN4333.02, section 2)

Individual private lessons for advanced students. Audition required. Weekly meetings times on scheduled class days arranged with the instructor. Participation in music workshop and end-of-term recital required.

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

Piano (MIN4333.01, section 1)

Individual private lessons for advanced students. Audition required. Weekly meetings times on scheduled class days arranged with the instructor. Participation in music workshop and end-of-term recital required.

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

Piano (MIN4333.03, section 3)

Individual private lessons for advanced students. Audition required. Weekly meetings times on scheduled class days arranged with the instructor. Participation in music workshop and end-of-term recital required.

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

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.

Shorter Songs (MTH4110.01)

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

Dance Making: The Ephemeral Artifact (DAN2137.01)

This course is an introduction to the creative process of dance making. We will look at choreography as a format for arranging bodies and movement; considering time, space, and emotion in performance based work. We will explore, improvise, watch, and discuss our work and the work of others.  We will develop personal movement material from multiple sources and investigate our personal process as it relates to contemporary performance.

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

Jazz Piano Lab (MIN4335.01)

This course will utilize Bennington’s Piano Lab to explore and develop the skills and knowledge required to effectively play non-classical piano repertoire. Styles covered are: blues, reggae, salsa, bossa-nova and jazz. Students will take turns learning and playing bass lines, chord voicings, stylistic rhythms, melodies and improvised solos.

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

Advanced Jazz Piano (MIN4240.01)

Weekly private instruction in jazz piano offered to experienced pianists interested in developing the knowledge and skills necessary to play various non-classical styles. Areas covered: chord-voicings, chord-scales, reharmonization of chord progressions and stylistic approaches to improvisation (both melodically and rhythmically).

Clarinet (MIN4223.01)

Study of clarinet technique and repertoire with an emphasis on tone production, dexterity, reading skills, and improvisation. This course is for intermediate-advanced students only.

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

Saxophone (MIN4237.01)

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

Corequisite: Must participate in Music Workshop (T 6:30pm-8:00pm)

Advanced Digital Modeling and Animation (MA2107.01)

This course introduces students to the basic language of 3D animation and modeling. Students will be expected to become familiar with the basic principles of the MAYA program. A series of modeled objects placed in locations will be created. The emphasis will be on becoming proficient with modeling forms, texturing using Arnold Renderer, adding lights and cameras.

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 (MVO4301.03, section 3)

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

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

Intermediate Voice (MVO4301.02, section 2)

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

Corequisites: Attendance and participation in Music Workshop 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.

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

In this basic intermediate dance course, students are introduced to some fundamental 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.

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

Movement Practice: Advanced Dance Technique (DAN4344.01)

This advanced level movement practice is designed for students with prior experience in dance technique. In this class, we will hone in on the importance of balancing controlled and spontaneous action as well as internal and external movement through using a series of improvisational and compositional practices. We will be learning longer and complex movement phrases that are structured with principles from Water Body Movement (“Body is a container filled with water. Movements are a flow of the water.”) Bringing conscious thought and heightened awareness to both interior and exterior spaces, we deepen our understanding about the unity of our body/mind and how it functions as a whole. We aim to maximize each student’s performance skills and cultivate personal ways to understand how to use one’s own body.

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

The Musical “Other”: Exoticism, Appropriation, and Multiculturalism (MHI4131.01)

How has the cultural “Other” been represented in Western music? How can composers and performers create with a clear conscience and use source material ethically? We will examine a large repertory of works from the early Baroque period through the Twenty-first century, investigating the uses and abuses of non-Western musical sources. Beyond the classics, we’ll talk about mid-century exotica music, gaming, World’s Fairs, the Eurovision song contest, Hollywood soundtracks, Broadway musicals, pop music, and jazz. We will discuss the World Music industry, crate diggers and sampling, reissues of “lost” world music on vinyl, and contemporary ways of consuming and listening to music. We’ll dig into concepts like Orientalism, exoticism, a la Turca, Chinoiserie, appropriation, and many more. Exploring each composition within its own cultural, political, and musical context, we will attempt to answer certain key questions: why was it written and for whom? Does the composition foster understanding between different cultures or reinforce racial and ethnic stereotypes? What sorts of power relations are inherent in the composition, production, and reception of these musical works? This course is open to students from all areas of study.

Sounding Home: Music of Migration, Memory, and Exile (MHI2109.01)

We live in an era when millions of people across the globe—victims of forced migration, asylum seekers, refugees, and mobile workers—are on the move. Music often can tell more about the migration experience than statistical analysis and surveys. How might songs transcribe and preserve the identities, memories, traumas, joys, and hopes of individuals and whole communities? We will examine a wide variety of global case studies in ethnomusicology and related fields, connecting musical practices to prominent issues in migration. Our course will also be oriented toward activism and work beyond the classroom, particularly among refugee populations in Vermont and New York. We will look at examples of arts intervention, learning techniques of peacebuilding through music and the performing arts. This course is open to all students.

Balkan Ensemble (MPF4204.01)

Balkan music is fierce brass, complex harmonies, and mind-bending asymmetrical dances. It is spirited Serbian wedding music, dissonant village songs, devastating Bosnian love ballads, saucy songs of the Greek underworld, and heart-pounding Turkish rhythms. In the Bennington Balkan Ensemble, we will learn to perform a variety of traditional, urban, village, and popular music from Southeast Europe. Singing and playing indigenous, orchestral, and electronic instruments, we’ll explore repertoire from Albania, Greece, Bosnia, Hungary, Bulgaria, Croatia, Kosova, Turkey, Macedonia, Romania, and Serbia. Student, faculty and staff singers and instrumentalists of all types (strings, percussion, woodwinds, brass, etc.) are welcome in this ensemble.  Be prepared to sing, play, improvise, and dance.  Audition and instructor approval required.

Corequisites: Participation and performance at Music Workshop T 6:30-8:00

The Devil (LIT2404.01)

The Devil has taken many shapes and sizes throughout history and around the world. His story of origin has inspired canonical works that delve into Judeo-Christian theological examinations of daily life, political life, and the metaphysical. Who we are as people on earth seems to depend heavily on how we view our relationship with “good” and “evil.” This class will focus on Western interpretations of the Devil as trickster figure, diabolical ender of worlds, and scapegoat for humanity’s incapability of building and maintaining harmony in the midst of evil, which, like virtue, also demands contextualization. Readings may include The Scarlet Letter by Nathaniel Hawthorne, the Book of Job, The Master and Margarita by Mikhail Bulgakov, excerpts from Paradise Lost by Milton, African American folktales, and more. What seems to be the Devil’s purpose in literature and how can we trace all of his possibilities across space and time in order to realize our own complexity as people? Let’s find out together.

Reading and Writing: Poetry of Trauma and Violence (LIT4290.01)

Students will read various poetry collections that deal with different forms of trauma: homophobia, lynching, war, sexual abuse, colonization, and the overall idea of how to define “violence.” There will be time to discuss prosodic interests of our poets as well as discuss how content and form work together to create a seamless work. We will then turn to our own work and analyze the how and why of our choices. As trauma is our backdrop, students are expected to come to class prepared to speak with maturity and open-mindedness about many uncomfortable topics. Though student work does not have to explore the theme of the class, I do encourage students to take risks in their own poetry and critical analyses.

Students will read an average of one collection of poetry a week, write a weekly poem, write several critical response papers using Maggie Nelson’s text The Art of Cruelty to interpret how violence operates in the poetry collections read, and prepare a final portfolio of poems and self-reflections of one’s own work as it relates to the critical essays found in The Art of Cruelty.

Corequisites: Students are required to attend all Literature Evenings and Poetry at Bennington events (typically held on Wednesdays at 7:00pm).

Bennington Plays: Playwrights (DRA4163.01)

This project-based class is for playwrights engaged in the process and techniques of rewriting and staging their plays. The majority of rewrites may happen prior to the semester, but substantial rewrites could emerge as essential during the production period. Collaborating with the director, actors, and designers will be the heart of this class.

Playwrights are expected to also serve as collective support for the other playwrights whose plays are being produced. In addition to the 4 plays receiving production, up to 6 other plays will receive staged readings as part of the festival.

We will meet as a group at least once a week, on Monday night, with the other nights designated for individual rehearsals. Playwrights will attend Production Meetings and outside Design meetings. Rehearsals culminate in public performances of multiple works staged in workshop productions supported by minimal design. Playwrights will also write a post-performance reflective essay.

Sherry Kramer
M/T/W/Th/F 7:00-10:00 (with some weekend rehearsals)
This course is categorized as All courses, Drama.

The Scriptorium: Ekphrasis (WRI2154.01)

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 explore the genre of Ekphrasis, which can be simply defined as a literary description of a work of art or as a rhetorical device in which one medium of art responds to another. We will study classical and modern examples of ekphrasis and read critical theory about representation, influence, copies, modernity, verisimilitude, beauty, and truth. We will ask ourselves these pressing questions: How can we accurately and imaginatively describe a work of art? How can we capture a work’s meaning, form, and effect on the audience? What are the tensions and possibilities between literature and the visual arts? Readings may include texts by Plato, Berger, Wilde, Homer, Scarry, Benjamin, Ovid, Keats, Browning, Young, Loy, Auden, Coste Lewis, hooks, Dijkstra, Hall, Sontag, Mitchell.

Paris on Screen: Tradition and Modernity (FRE4498.01)

In this intermediate-low level course, we will study the representation of the city of Paris on film in order to examine modernityʹs challenges to tradition. In particular, we will focus on the question of how urban communities and city dwellers react to increasing disconnectedness, anonymity, and solitude. Films may include Tanguy, La Haine, Chacun cherche son chat, Paris, Playtime, Monsieur Ibrahim, and Paris, je tʹaime. Class discussions, activities, written assignments, and oral presentations will allow students to improve their linguistic proficiency and analytical skills. Conducted in French. Intermediate‐low level.

Corequisites: Language Series

Stephen Shapiro
M/Th 10:00-11:50
This course is categorized as All courses, French.

Insider Perspectives on the Francophone World II (FRE4224.01)

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 insiderʹs 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. Class will be conducted in French and revolve around authentic materials from the Francophone world (video, music, advertisements, literary texts). Conducted in French.

Corequisites: Language Series

Avant Garde Art in China (CHI4507.01)

Art is always somehow a reflection of the culture and society in which it is produced. In this class we will explore the ways in which contemporary (post-Mao) Chinese art reflects on modern Chinese culture and society. Each class or every other class, students will be given a packet with visual and written information on a particular work of art with a vocabulary list and grammar points for that material. Documentaries will also be used as a source of authentic input. Students will be expected to prepare to discuss the material in Chinese with the teacher and classmates during the next class meeting.

Corequisites: Language Series

Confucianism vs. Daoism (CHI4402.01)

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

All students will meet in small groups once a week with the teacher outside of the regular classes.

Corequisites: Language Series

Contemporary Chinese Poetry (CHI4216.01)

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

Corequisites: Language Series

Creation of Statistics (MAT2247.01)

The amount of data in the world is vast and is increasing exponentially. It is easy to become overwhelmed and lose sight of the goal of data: to answer questions we have about the world in a specific, concise manner. The goal of this course is to help craft answerable questions—and then answer them. In order to do this, we will be using a programming language (“R”) to help us organize data, make clean, clear graphs, and help with appropriate analysis of the data.

This course will serve two main goals. The first is an introductory statistics course: gain knowledge of the basic statistical tests, how to interpret their results in a reasonable manner, and understand what those tests are doing at a conceptual level. The second is to learn the computational language of R: how to sort, shape, and handle data, create simulations and interpret the results, and build clean, clear graphical representations of the data presented.

This course is taught at the introductory level and has no prerequisites, but does require a significant amount of time and energy outside of the classroom as we are working towards the two aforementioned goals at once. This course is appropriate for students who plan to seriously create and analyze their own statistics for their work. It may be taken alone, or as a sequel to Presentation of Statistics. 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.

Comics/Culture (SPA4401.01)

What are comics? Why study them? What do they have to do with Spanish culture? Students in this course will consider the theoretical and artistic concerns for graphic narratives, especially in the interaction between text and image. We will examine the gradual evolution of the so-called historieta from its historical relegation to the realm of the juvenile and lowbrow, to the more recent boom in the academic and critical legitimacy of graphic novels. Our exploration will encompass comic strips, cartoons, and graphic novels from Spain, critical analyses, articles about the art form, as well as films and works of literature inspired by comics. Throughout, we will investigate what these media expose about, and how they simultaneously influence, the cultures from which they emerge. The focus of the course will be on student-generated discussion and critical thinking about these media, but continual practice in all four major areas of language (listening, speaking, reading, and writing) will be essential. Students will learn to defend their own ideas in spoken and written language. We will explore grammatical and linguistic questions as they arise naturally in the classroom. Conducted in Spanish. Co-requisite: attendance at 2 language events. Intermediate-low level.

Corequisites: Language Series

Language Through Film (SPA4223.01)

Students in this course will continue to learn the Spanish language through an examination of films. While there will be some necessary discussion about cinematographic components, the focus of discussion will be on historical and political moments present in the films. A consideration, for instance, of national and regional identity, political violence, border crossing, intolerance, and gender identity, will drive the student-generated conversation. The course will also provide specific and explicit support for the linguistic development necessary to communicate in increasingly complex ways, in both written and oral Spanish. Co-requisite: attendance at 2 language events. Conducted in Spanish. Introductory level.

Corequisites: Language Series

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.

Walt Whitman and Emily Dickinson (LIT2199.01)

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

Sage City Symphony (MPF4100.01)

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

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

Logarithms (MAT2107.02)

Logarithms are one of the parts of mathematics that often remain a bit mysterious to people, even if they had no difficulty solving problems with them in school. In fact, logarithms are of far broader importance and interest than the narrow applications one usually sees; and seeing this broader picture helps in dispelling some of the mystery and in understanding what they are. In this class we will see new ways of counting, new ways of understanding number and estimating mentally, and new ways of comprehending data, all based in logarithms. I will not be assuming that you know or remember anything about logarithms; part of the point will be to explain them, from the beginning, in a variety of ways.

(March 17, 20, 24, 27, 31, April 3)

Geometry (MAT2106.01)

In the nineteenth and twentieth (and twenty-first!) centuries, mathematicians have been stretching the idea of “geometry” far beyond the geometry of Euclid most people are familiar with: into the fourth (or higher) dimension, curved spaces, and more. This new geometry (the part I am referring to is called “differential geometry and topology”) is philosophically and aesthetically interesting, plays a definite role in the construction of our universe, and has wide-ranging applications; but it is not well-known outside of mathematics departments. Usually, the prerequisites for this study are at least linear algebra, multivariable calculus, and analysis, so math majors get to it in their final undergraduate year, if at all. In this class, we will study these ideas in spaces made out of flat pieces (for a simple example, the surface of a cube). This will allow us to study sophisticated ideas, without assuming any background knowledge. In particular, I will not be assuming that students know any calculus; as for Euclidean geometry, we will be revisiting it from this larger perspective, so you do not need to know or remember that subject either. The class is open to everyone, but culminates in serious, high-level mathematics.

Projection_Mapping_Design (MA4106.01)

The class will be concerned with investigating the interaction of projected imagery with an actor/performer/viewer.

Investigation will center on how projections can be integrated into, and bring further information to a location, a set and or a text. Various examples will be looked at and researched.

Two plays or texts will be used as a basis for two projects and for each, projections will be designed, and tested including different locations and on different surfaces.

The images can be created in a number of programs, with the content and how this works with the locations will be the main focus. Instruction on Qab and Madmapper will be included and used for the tests along with other software.

Seminar on Monolingualism (LIN2103.01)

Scholarly estimates consistently place the percentage of the world’s population able to communicate proficiently in more than one language over 50%.  Yet multilingual competence is regularly treated as a secondary or even aberrant state requiring explanation and interpretation, while monolingualism is assumed as default despite its numerically inferior status.  In this course, we will reverse this paradigm, and work to view monolingualism as a contingent output of an essentially multilingual human milieu. Perspectives will range from the sociolinguistic to the psycholinguistic to the realm of language ideology/policy, and our examination of individual and societal-level practices will address topics relating to language acquisition, language contact/isolation, code-switching, mono-/polylectalism and mono-/diglossia.  Participation of multilingual and monolingual students in the seminar is welcomed.

Hip Hop Archaeology (MS2105.01)

Hip hop music producers have long practiced “diggin’ in the crates”—a phrase that denotes searching through record collections to find material to sample. In this course, we will examine the material and technological history of hip hop culture, with particular attention to hip hop’s tendency to sample, remix, mash-up, and repurpose existing media artifacts to create new works of art. We will use a media archaeological approach to examine the precise material conditions that first gave rise to graffiti art, deejaying, rapping, and breakdancing, and to analyze hip hop songs, videos, and films. Hip hop archaeology is a critical and artistic practice that seeks to interpret the layers of significance embedded in the artifacts of hip hop culture. How does hip hop archaeology remix the past, the present, and the future? How do the historical, political, and cultural coding of hip hop artifacts change as they increasingly become part of institutional collections, from newly established hip hop archives at Cornell and Harvard to the Smithsonian National Museum of African American History and Culture?

Advanced Butoh Practice-Body as Landscape (DAN4139.01)

This course is designed for students with prior experience in dance technique or movement practice. By using a series of somatic, improvisational and compositional practices inspired by butoh, we will develop ways of embodying unorthodox and complex ideas dealing with the ever-becoming, inconsumable, and vaporizing body. Students will be encouraged to closely observe and keep their awareness open toward what is occurring in both outer and inner landscapes, aiming at composing new relationships between them. In this way, we work to maximize our perceptions and to control the subtle energy and expression of each body part.

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

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.

Advanced Voice (MVO4401.01, section 1)

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

Corequisites: Participation and performance in Music Workshop Tuesday 6:30-8PM

Movement Practice: Beginning Dance Technique (DAN2121.01)

In this course for beginners, 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.

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

Improvisation Ensemble for Musicians and Dancers (MPF4233.01)

This advanced course focuses on work in the performance of improvisation. For dancers, special attention is given to the development of individual movement vocabularies, physical contact and interaction, and the exploration of forms and structures.

For musicians, special attention is given to creating rhythms and sonorities which can then be manipulated and developed while interacting with dancers in the moment.

Dancers are expected to have experience with improvisation in performance and are asked to develop a structure for the group. Musicians should have basic skills on their instrument and be able create and convey a sense of form to other musicians in an efficient way.

**Both dancers and musicians will meet together on Mondays 3:40-5:30. Musicians will meet Wednesday 4:10-6:00. Dancers will meet Thursday 3:40-5:30.**

Woodcut Printmaking on the Vandercook Proofing Press (PRI2123.02)

Vandercook Proofing Presses were once a vital aspect of the printing industry and have been adopted widely by artists for letterpress printing and book arts. Bennington College is fortunate to possess three Vandercooks, housed in the Word and Image Lab.

Using type-high plywood blocks, oil-based and non-toxic, water-soluble inks, we will examine different approaches to mark-making: from graphic and angular to painterly and gestural. We will cover color mixing, printing in multiple-colors and producing multiples/editions.

Students will learn image preparation and transfer methods, sharpening and care of tools, wood carving methods, ink and paper preparation, hand-inking and rolling techniques, printing on the Vandercook proofing press and by hand. Additional areas of experimentation may include using stencils, layering color and a variety of monotype techniques and embossment.

Experienced and beginning woodcutters/relief printmakers are welcome to join us.

Physics II: Electricity and Magnetism (with lab) (PHY4327.01)

How does influence travel from one thing to another? In Newton’s mechanics of particles and forces, influences travel instantaneously across arbitrarily far distances. Newton himself felt this to be incorrect, but he did not suggest a solution to this problem of “action at a distance.” To solve this problem, we need a richer ontology: The world is made not only of particles, but also of fields. As examples of the field concept, we study the theory and applications of the electric field and the magnetic field. Students will learn how fields are generated, how fields interact with matter and with each other, and how these interactions inform our understanding the world.

Hugh Crowl
M/Th 10:00-11:50 & W 8:30-12:10 (Lab)
This course is categorized as All courses, Physics.

The Courtly World: Lady Shonagon and Lady Murasaki (LIT2379.01)

Written in eleventh century, The Tale of Genji by Murasaki Shikibu is considered the world’s first full novel and a masterwork of classical literature. Sei Shonagon’s The Pillow Book is a memoir recounting life in the Japanese court of the same time, also regarded as a masterpiece of observation and wit in evoking natural and human worlds. Both authors were ladies in waiting at the royal court during the Heian period (794­–1185), an era in which aristocrats competed for supremacy in political and artistic endeavors including poetry, music, and romance. In fiction and nonfiction, Lady Murasaki and Lady Shonagon chronicle the pursuits and rivalries of this courtly world in mesmerizing detail, rendering a society that may seem strikingly contemporary. We will read The Tale of Genji, which relates the adventures and many loves of Genji, the Shining Prince, The Pillow Book, and time allowing, Lady Murasaki’s diaries and contemporary responses to Genji and The Pillow Book. You will write two critical essays, present a group oral report on an aspect of Heian history or art, and write a fictionalized diary of daily life in the 21st century.

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.

Introduction to 3D Modeling: Point, Curve, Surface, Solid (VA2117.01)

This course explores methods of translating found or imagined shapes into digital three-dimensional objects. Students will study how sub-division, approximation, and discretization can be used to separate forms into their component parts. Coursework will focus on how systematic breaking-down of form reveals qualities that can be intentionally altered, thus changing their properties. Through exercises that explore part-to-whole relationships students will be introduced to Rhinoceros—an industry standard 3D modeling program—and learn how to create inputs for 3D printers and laser-cutters. By the end of the course, each student will have completed a digital model, a set of orthographic drawings, and a physical model.

Beginning Potter’s Wheel (CER2107.01)

This class is an introduction to using the potter’s wheel as a tool for generating clay forms with an emphasis on pottery making. While focusing on the development of throwing skills, students will explore various possibilities for assembling wheel-thrown elements and will experiment with both functional and non-functional formats. Students will be introduced to the whole ceramic process from wet working to glazing and finally firing. Slide lectures and discussions will contribute to the projects. This is a physical class; students will be expected to regularly lift 25 lbs. of clay. Please note that this course will require additional materials to be purchased by the student.

Lexicon of Forced Migration (APA2170.01)

The course is intended to provide students an introduction to foundational concepts of migration studies. The course will navigate this complex topic through four thematic anchors: (1) Time and Space, which will explore the history of migration from a global perspective, emphasizing the uneven development, colonial encounters, and environmental pressures that give rise to particular forms of migration; (2) Home and Belonging, which will consider the loss of home, the treacherous journey to “safety,” and the ensuing and often impossible struggle to “be at home” in a foreign land; (3) Discourse and Representation, which will analyze who speaks of and for the forced migrant, and how the displaced speak back; and (4) Law and Policy, which will examine the legal and political underpinnings of the contemporary global refugee regime and its development in specific areas. By the end of the term, students will have a working understanding of the causal forces producing displacement, the institutional structures that attempt to govern forced migration and displacement, and the myriad challenges faced by migrant and refugee populations seeking to navigate a new terrain and build a new home.

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 Magical Object – Visual Metaphor (DRA2116.01)

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

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

Students will read five plays, watch films, complete several small writing exercises, write a play of 30-90 pages long that contains a magical object, and, as their final project, build/create that magical object.

Delights of Ephemera (VA4128.01)

This course invites students to consider the pleasure and significance of ephemera—cards, posters, invitations, and other written or printed materials—in the context of art exhibitions and events. Readings, lectures and field trips cover topics including traditional and experimental forms of ephemera; the collection of ephemera; and the function of ephemera as historical document and work of art. With an eye on conceptual and formal relationships between the ephemeral product and the event it represents, students during the term will design three pieces of ephemera responding to an exhibition from history; an exhibition in Usdan Gallery; and a proposed exhibition of works from their own practice.

It’s Alive!: 19th Century Genre Fiction (LIT2338.01)

Although frequently ignored or ridiculed by critics and academics, contemporary genre fiction can trace its roots back to some of the most well-known and studied writers from the 19th century. This course will focus its attention on these heady genre roots, working through the rom-coms of Jane Austen, the post-apocalyptic thrillers of Mary Shelley, tackling the rise of the vampyre novel and gothic novels, with specific attention paid to Stoker and the Brontës, exploring the earliest detective stories and novels of Edgar Allen Poe and Arthur Conan Doyle and Wilkie Collins, the thrilling science-fiction novels of Verne and Wells, with a quick detour into the sea-faring adventure tales of Robert Louis Stevenson. We’ll discuss the notion of genre as an art form, the narrative and structural innovations employed by these 19th-century authors as they began to toy with and undo the modern novel (barely in its own infancy), as well as their influence on the modernists who followed them in the early 20th century. Then we will argue about contemporary genre fiction, the separation between literary fiction and the genres, and see if we can bridge this divide, or maybe make the divide even wider. Students will be responsible for class presentations and critical essays.

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.

Bennington Review: A Practicum in Literary Editing and Publishing-Poetry (LIT4330.02, section 2)

This two-credit course involves working on selecting and editing the content of Bennington’s recently relaunched national print literary magazine, Bennington Review. Students will serve as Editorial Assistants for the magazine, studying and practicing all aspects of magazine editing. The course will also engage students in discussions of contemporary print and digital literary culture, and of the history of literary magazines. Students will be selected in part based on their familiarity with contemporary literature, as well as for prior experience in editing or publishing. Students should anticipate plenty of work for two credits, as well as an immersive, hands-on, professional experience.

Corequisite: Students will be required to attend all Wednesday Literature Evenings and Poetry at Bennington events.

Bennington Review: A Practicum in Literary Editing and Publishing-Prose (LIT4330.01, section 1)

This two-credit course involves working on selecting and editing the content of Bennington’s recently relaunched national print literary magazine, Bennington Review. Students will serve as Editorial Assistants for the magazine, studying and practicing all aspects of magazine editing. The course will also engage students in discussions of contemporary print and digital literary culture, and of the history of literary magazines. Students will be selected in part based on their familiarity with contemporary literature, as well as for prior experience in editing or publishing. Students should anticipate plenty of work for two credits, as well as an immersive, hands-on, professional experience.

Reading & Writing Fiction: Plot and Suspense (LIT4144.01)

What is plot? What are stakes and how are they raised and can a story or a novel still compel a reader with small or smaller stakes? What is dramatic tension and what are the other ways a writer can build tension into a short story or a chapter? What, in other words, keeps a reader turning pages through a story or a novel and what happens when these same tools are applied to literary fiction? We’ll explore these questions and other questions of plot and plotting while reading fiction from ZZ Packer, Sally Rooney, Maggie Shipstead, Patricia Highsmith, Donna Tart, Andrea Lawlor, George Saunders, Patrick DeWitt, Jim Shepard, among others. The course will consist of close readings of published work alongside workshop of student submitted work.

Corequisites: Enrolled students are required to attend Wednesday night Bennington literary events.

Reading and Writing: Hybrid-Genre Works (LIT4140.01)

We will read and discuss an array of hybrid-genre works or writing that combines and coalesces two or more genres: poetry, fiction, criticism, and/or memoir. Some books will also cross media incorporating painting, photography, and film. Reading works by Rosa Alcalá, Dao Strom, Douglas Kearney, Mary-Kim Arnold, Evie Shockley, Elizabeth Powell, Tan Lin, Bhanu Kapil, and others, we will consider how drawing upon different prose, verse, and multi-media modes can complement and augment the way we shape our personal and political stories. Students will complete writing assignments each week designed to build toward a hybrid-genre work. Students will give and receive critique in a workshop environment, expand approaches to drafting, and revise your writing for the final assignment.

Co-requisite: Students are required to attend the Literature Evenings and Poetry at Bennington readings, typically held on Wednesdays at 7:00 p.m.

Reading and Writing Literary Journalism (LIT4141.01)

With the practice of journalism undergoing its most profound changes since the invention of the television, this course will steep students in the traditions of criticism, literary non-fiction, reporting and cultural journalism that thrived during the golden age of print and have persisted in the Internet era. We’ll work our way through literary criticism from Robert Boswell to Virginia Woolf and from Lionel Trilling to Zadie Smith; we’ll trace how notions of authority in cultural journalism changed from the objective to the subjective and how the New Journalism of the 1960s and 1970s combined facts and research with creative sensibility and author’s voice. Students will discover for themselves through frequent writing assignments and workshops just how porous the boundaries are between traditional reporting, reviewing, profile writing, and more experimental forms like lyric essay. We’ll also listen closely to some of the most influential and innovative podcasts to create an anatomy of their appeal. Expect to read a whole host of literary journalists past and present including George Orwell, Rebecca West, Pauline Kael, Tete-Michel Kpomassie, Janet Malcolm, Ta-Nehisi Coates, Katherine Boo, Alex Tizou, Jia Tolentino, Alexis Madrigal.

Corequisites: Students in this class are required to attend Literature evenings on Wednesday nights, including Poetry at Bennington events. All students may apply for multiple 4000-level Reading and Writing Courses in the same term, but, once accepted, may only enroll in one 4000-level Reading and Writing course per term.

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.

The Self, the Soul, and St. Augustine (LIT2339.01)

We live in an age of rampant confession, so it can be difficult to conceive of a world without it. Augustine’s Confessions—which the Bishop of Hippo dictated to a team of scribes between 397 and 400 C.E.—is one of those rare literary works that marks a very clear before and after. In this two-credit course we’ll spend the term reading the whole of the Confessions slowly and with care, examining it within the historical context of Late Antiquity and the Christianization of the Roman Empire. We’ll trace Plato’s ideas about the Soul and Neoplatonic notions of good and evil as Augustine syncretizes them into religious doctrine. We’ll treat the text as a form of ongoing prayer that divides the “I” and the “me” and invents a self that we can only call Modern. “Grant me chastity and continence,” Augustine prays while he is living in sin, “but not yet.” This ambivalence is the real engine of the conversion narrative and memoir as we have come to know it. We will periodically sample literary confession from different periods to get a sense of how literary forms have adapted to the confessional impulse. Students will keep a reading journal, write frequent critical response papers, and devise a final project that is a creative confession of their own.

Movement Practice: Intermediate-Advanced Dance Technique (DAN4148.01)

This intermediate-advanced level movement practice is designed for students with prior experience in dance technique. In this class, we will hone in on the importance of balancing controlled and spontaneous action as well as internal and external movement through using a series of improvisational and compositional practices. We will be learning longer and complex movement phrases that are structured with principles from Water Body Movement (“Body is a container filled with water. Movements are a flow of the water.”) Bringing conscious thought and heightened awareness to both interior and exterior spaces, we deepen our understanding about the unity of our body/mind and how it functions as a whole. We aim to maximize each student’s performance skills and cultivate personal ways to understand how to use one’s own body.

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

Music Composition Intensive (MCO4695.01)

This is a course for students who want to work in a concentrated way on their (usually notated) compositions, and to take their work to a more developed and ambitious level. They are expected to produce a substantial amount of work, often in longer forms and with more varied instrumentation than previously attempted. Students are put into small groups to pursue their individual composition projects. Scheduling is done at the beginning of the term.

 

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

Building on our understanding of the relationship between molecular structural and reactivity developed in Chemistry 1, this course delves into modern theories of bonding, especially as they relate to the reaction patterns of functional groups.  These theories will be used to rationalize the patterns of electron flow in chemical reactions with a focus on the understanding of why mechanistic patterns emerge and we will and develop an understanding for how chemists determine mechanisms experimentally.   Addition, substitution, elimination and acid base reactions that underpin the reactivity of organic molecules will receive considerable attention.  We will also interact with the primary (and secondary) chemical literature in this course to deepen our understanding of the fundamentals and significance of the chemistry we study.

Corequisites: Lab

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.

Strategies for Sustainability: Living Life as an Artist (DAN4143.01)

We have consistently seen that artists are lacking certain skill sets, tools and resources that would empower and strengthen their ability to create work, develop personal stability and envision longevity in a realistic way. How can we approach these issues in a holistic way that addresses the person and well as the artist? This course covers a range of topics that addresses the ability to create a quality of life, share access to resources, and redefine concepts of success. This class is open to artists in all artistic disciplines.

Covered topics include:
Healthcare
Financial Literacy
Housing | Homeownership
Artist Statements | Mission
Fundraising | Grant writing | Residencies
Personal Wellness
Time Management
Conflict Resolution
Principles for building a sustainable life
Artist Advocacy
Developing and sharing strategies and models

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

Performance Art (DAN2129.01)

This class explores the concepts, questions and ideas of performance and performance practice. The class will cover a range of modalities in creating and developing performance, using text, scores and improvisation to generate material and expand the palette and practice of art making. This work will focus on the corporeal and experiential aspect of developing performance work. Through viewing recorded performances, interviews and reading materials, we will study a range of perspectives in the field of performance. Students are required to create individual and collaborative work reflecting the concepts and practices studied during the semester.

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

Advanced Projects in Dance (DAN4795.01)

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

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

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

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.

The Politics of Student Movements in the ’60s (SCT2141.01)

To most of you, the 1960’s might seem like ancient history. There wasn’t even social media! You might be surprised to find out that many of the problems confronted by the student movement during that time are the same as problems we see today. Although the student uprisings seemed focused on the Vietnam War, many other issues were part of the struggle: workers strikes, antiracist actions, the changing role of women in society, the question of violence/pacifism, and the ecological crisis. This seven-week class will use readings, discussions, guest speakers, and individual projects to examine the role of SDS (Students for a Democratic Society) in mobilizing a national movement based on grassroots organizing, its part in generating antiwar sentiment, and its location within the broader terrain of ’60s struggles.

Janet Foley and John Hultgren
M/Th 1:40-3:30 (first seven weeks)
This course is categorized as All courses, SCT.

Isadora: Real-Time Media Manipulation for Performance (DA2136.02)

This class will introduce Isadora, a software designed for artists, designers and performers to add interactive media and video to their projects. Through a drag and drop node based interface you can control your media in real time, editing your video and audio on the fly or incorporating live video and audio feeds. Together we will learn the logic of the software and best practices for media management and equipment set up in pursuit of our creative ideas.

Bennington Plays: Design (DRA4129.01)

This project-based class is for designers developing and implementing scenic, lighting, or costume designs for productions of new student written plays. Teams of directors and designers will work with other students in corresponding courses for playwrights, directors and actors, who are participating in the Bennington Plays Festival.

In a laboratory atmosphere, we will collaboratively develop an overall design approach for the festival, as well as specific designs for each play (either individually or collectively). Richard MacPike (Technical Instructor in Costume Production) will provide guidance and mentoring to costume designers. Particular attention will be placed on collaboration and communication between designers and directors, but also among and between all participants. Designers will meet once a week on Monday evenings and also attend drama production meetings on Mondays from 5:45-6:45 pm, through the performances in early to mid May. Students will also write a post-performance reflective essay.

Advanced Mixing Techniques (MSR4365.01)

This course will offer an advanced study in studio practices. We will explore various mixing objectives and techniques through critical listening sessions, analysis, and hands-on projects. We will focus on the fundamentals as well as advanced practices of mixing, shaping the sounds through dynamic range processors and modulation tools, and various other techniques. Students will have an opportunity to practice their mixing skills through multitracks, make their own creative remixes, and share their work in-class with their peers for feedback. This course is for students who have previous experience in recording studio practices and/or with preexisting projects.

Spatial Audio Practices (MSR4051.01)

This course will offer an introduction to the principles of spatial audio and its function in creative sound practices. The topics will include multichannel audio, Ambisonics and binaural sound, 360 spatial audio recording and mixing, sound design for VR, and immersive electroacoustic music. Along with readings and discussions, we will look at various current sound practices that explore the possibilities of spatial audio. There will be an emphasis on production and experiential learning through exercises and workshops. This course is for students who have previous experience in sound recording practices and/or e-music.

Unique Prints: 3-D Prints and Modular Works (PRI4272.01)

This course is an introduction to unique prints, or prints that are not necessarily printed as an edition. We will emphasize the making of mixed media prints using a broad range of methods from monotypes to digital prints. The class is structured around a series of projects where rigorous experimentation is encouraged.

Students will learn various non-typical printmaking methods through a straightforward format of demonstrations of techniques, hands-on experience, and critiques. Techniques will include monotype, polyester laser plates, and various transfer techniques. Additionally, we will explore the possibilities of 3-dimentional applications for prints. This can include anything from books, paper cups, matchbooks, modular installations, appropriated prints and wallpapers. We may also be collaborating on projects with other classes or universities.

Introduction to Intaglio: The Alchemist’s Print (PRI2111.01)

This course is an introduction to copper plate Intaglio. We will explore various techniques to prepare our plates including hand working and acid etching with materials such as rosin resists and sugar lifts. By the end of term, we will be printing in color. Ultimately, the overall goal of our endeavors will be to begin a dialog about artistic production in a contemporary context while also exploring the unique history of the intaglio process.

Jazz Ensemble (MPF4250.01)

This ensemble will perform a wide range of Jazz music (a genre that is constantly evolving), with an emphasis on both ensemble playing and improvisation skills. By playing together, students will learn how blues, swing, Latin, and rock elements have all fueled this music called jazz. Students will also learn how major Jazz artists such as Ellington, Monk, Mingus, Wayne Shorter, Ornette Coleman and others have approached composition. As a group we will explore different techniques for playing over chord changes and ways to make improvised solos more interesting, both harmonically and rhythmically. Whether playing a jazz standard, a student composition, or free music, the emphasis will be on listening and on interacting with each other, finding ways to create blend, groove, dynamic contrast, and tension/release. Students will also be encouraged to bring in arrangements, transcriptions, and compositions, which will be read and developed by the ensemble. Students need to have adequate technique on a musical instrument, be able to read music and have a basic understanding of harmony (chord structures, chord-scales, etc.)

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.

Entry to Mathematics (MAT2100.01)

This is a basic course, covering most of high school mathematics, and will be accessible to all interested and willing students. It is appropriate for students who do not feel confident in their high school mathematics background. Students may proceed from this course to other 2000 level mathematics courses. Mathematics is inherent across all disciplines and undertakings. It is necessary for building structures, assessing risk in everyday life, mixing paint for specific shades, creating business models of growth and decay, setting traffic lights, and can even help assess the correct time to propose. This course will show how math has evolved from counting to the combination of abstract symbols and numbers it appears as today. Covering algebra, geometry, ratios, patterns, series, graphing, probability, and more, we will focus on the foundations of mathematics and the basic skills and reasoning needed for mathematical success. Our goal will be to become conversant in the language of mathematics and understand how it affects our specific disciplines and work as well as strengthen our mathematical skills.

Linear Algebra (MAT4115.01)

Together with calculus, linear algebra is one of the foundations of higher level mathematics and its applications. This course is necessary for students concentrating in mathematics, is strongly recommended for students intending to study computer science, physics, or geology, and may be useful for students in economics or biology. This course is a prerequisite for Multivariable Calculus and Electromagnetism. There are several perspectives one can take on linear algebra: it is a method for handling large systems of equations, it is a theory of higher dimensional geometry, and it is a theoretical construct that appears throughout mathematics and physics, among other things. Applications of linear algebra, (some of which will be covered in the class), include correlation coefficients and linear regression in statistics, finite element methods in physics and engineering, interaction networks and clade analysis in biology, and google page rank, error-correcting, and data compression in computing. The course will also set students up for more advanced applications in quantum mechanics, fourier analysis, and number theory.

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.

Mandolin (MIN2229.01)

Beginning, intermediate and advanced group or individual lessons on the mandolin will be offered. Student will learn classical technique on the mandolin and start to develop a repertoire of classical and traditional folk pieces. Simple song sheets with chords, tablature, and standard notation, chord theory, and scale work will all be used to further skills. 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.

Ukulele Comprehensive (MIN2230.01)

A comprehensive course on learning skills on the ukulele. We will learn the history of the uke and both traditional and contemporary styles. Music theory and playing techniques will be covered and students will be expected to perform as a group or individually at Music Workshop. Students must have their own soprano or tenor ukulele.

Fiddle (MIN4327.01)

For the experienced (3+years of playing) violinist. Lessons in traditional styles of fiddling – Quebecois, New England, Southern Appalachian, Cajun, Irish, and Scottish. This course 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.

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.

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.

Protein Research Methods (BIO4109.01)

Research questions in cell biology and biochemistry often require the ability to study the proteins at the heart of the inquiry. This course will give students hands-on experience with techniques for quantifying proteins, detecting protein expression, assessing protein-protein interactions, purifying proteins, and visualizing fluorescently-labeled proteins in vivo. Additionally, students will read and present primary literature articles that utilize protein-based methodologies to address biological questions.

Introduction to the Biology of Cancer (BIO2104.01)

The cells in our bodies need to grow and divide in order to make new tissue, and to repair or replace damaged tissue. The processes that govern cell growth and division are tightly regulated. When the cells that comprise the tissues of our bodies lose the ability to properly regulate their growth and proliferation, cancer is the result. This introductory level course will provide an overview of the basic mechanisms and genetics underlying human cancers, as well as explore current diagnostic and therapeutic strategies.

English Restoration and 18th Century Drama (LIT4240.01)

This class will explore English drama of the Restoration and 18th century, with a focus on the structure and conventions of the comedy of manners. During the Restoration, the cavaliers of Charles II’s court promoted an ethos of sophisticated debauchery, fueled by the Hobbesian social currency of wit and power. Within this world of masks, mirrors, and modes, playwrights—including “female wits” such as Aphra Behn—both celebrated and skewered the artifices of their society, while creating daring roles for the women newly permitted to appear on the English stage. We will explore how playwrights, in works ranging from The Country Wife to She Stoops to Conquer, utilized an array of narrative and linguistic devices to reflect themes of deception and disguise. This bawdy arsenal of wit included repartee, epigrams and double entendres; direct address and audience asides; stock characters such as the rake and the fop; and the plot ‘stratagems’ of beaux and belles alike. Encompassing plays by Wycherley, Etherege, Vanbrugh, Congreve, Behn, Pix, Farquhar, Centlivre, Goldsmith, Cowley, and Sheridan, the class will also place the comedy of manners in comparative context with other Restoration and 18th century forms, including the comedy of intrigues, heroic drama, and cross currents in opera seria and ballad opera.

Graduate Research in Dance (DAN5305.01)

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

Language and Society in Vermont and its Neighbors (LIN4102.01)

The purpose of this course is twofold: first, to immerse students in the (perhaps surprisingly) rich linguistic setting of Vermont and its immediate neighbors, and, second, to introduce them to the basic methodologies of field research in sociolinguistics and related disciplines.  Thematically, the course will consider language diversity at three different scales.  We will begin by examining the numerous languages used both presently and historically in Vermont, New York, Quebec and the New England states, and will progress to study aspects of linguistic variation between members the region’s wide community of English users.  Third, we will also become familiar with patterns of variability within the speech of individual Vermonters as they adapt to new situations, topics, and interlocutors.  Throughout this process, we will especially highlight questions of language access and language equity, and students will continually work to better understand their own positionality and agentivity regarding such issues at individual and societal levels.

In addition to the above, students will also be introduced to essential principles of experimental design in language research, the specific practice of the sociolinguistic interview, and modes of qualitative and quantitative analysis in the study of naturalistic language data.  These skills will be applied in the form of a collaborative class field project addressing questions of sociolinguistic behavior in the Bennington community.

Bennington Plays (DRA4151.01)

This project-based class is for directors and actors engaged in the process and techniques of analyzing, exploring, and staging (original) works of theater. “Teams” of Director & Cast work in collaboration with corresponding courses for student playwrights and designers whose work has been chosen for participation in the Bennington Plays Festival. Directors will be chosen through a proposal / vetting process. Actors will be cast through audition. Projects will have a preferred running time somewhere between 20 -50 minutes.

In a laboratory atmosphere we will investigate the process of realizing a text’s dramatic potential and nurturing that potential through the use of various analysis and rehearsal techniques, designed to help bring a new play to life. Particular attention will be placed on developing strong skills of communication which allow for a vibrant collaboration between the actors and director, with the playwright as they continue to refine and develop their emergent scripts, and with the design team as they realize for the first time the world of this new play.

Everyone meets Wednesday afternoon with additional meetings on weeknights, to be determined.

Jennifer Rohn and Dina Janis
W 2:10-5:50 & Weeknights (to be determined) 7:00-10:00 (times added as of 11/20/19)
This course is categorized as All courses, Drama, Updates.

Bertolt Brecht (LIT2341.01)

This course will explore Brecht’s development of epic theater dramaturgy, at the intersection of his synthetic genius and collective inspirations. Students will learn about Brecht’s development of such techniques as Verfremdungseffekt (distancing effect), historification, gestus, and separation of the elements, while exploring his radical adaptations of classical texts. As Brecht once commented: “Anyone can be creative. It’s rewriting other people that’s a challenge.” The course will also explore Brecht’s practices of collective writing and dramaturgy: in his epic music theater with Kurt Weill, and in his collaborations with multiple women artists, including Elisabeth Hauptmann, Margarete Steffin, and Ruth Berlau, whose sizable contributions to Brecht’s plays were eclipsed by Brecht’s macho-Marxist mythos. Additionally, the course will encompass Brecht’s early Weimar Republic-era works (e.g. Baal); his WWII-era plays and parables (e.g. Mother Courage and Her Children); and his plays set in a mythic “Chicago” of robber barons, racketeers, and fascists (e.g. Saint Joan of the Stockyards; The Resistible Rise of Arturo Ui).

Graduate Assistantship in Dance (DAN5301.01)

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

The Art of Literary Translation (LIT4319.01)

It may well be that the closest, most interpretative, and creative reading of a text involves translating it from one language to another. Questions of place, culture, epoch, voice, gender, and rhythm take on new urgency, helping us to deepen our writerly skills and sensibilities. As Joseph Brodsky put it: “You must memorize poems, do translation, study foreign languages. And the best way to study a foreign language…is by translating a poem…The music of the poem carries you, you float upon waves of sound, but, at the same time, you peer below the surface of the ocean, and there, in the depths, you notice the teeming life of sea creatures…”

Writers in all genres are welcome to explore this “teeming life” that is the fruit of literary translation. Our workshop has a triple focus: comparing and contrasting existing translations of the same work; reading translators on the art and theory of translation; and critiquing students’ translations-in-progress. We will also consider translation as an act of bearing witness to cultural and political crisis, and as a means of encoding messages that would otherwise be censored.

For a final project, you will have two options: an extended critical study or an original translation (poetry, prose, drama) accompanied by an introduction. There will also be weekly reading assignments and research presentations.

The Invention of the 19th Century: A seminar on Honoré de Balzac (LIT4329.01)

Oscar Wilde liked to say that Honoré de Balzac (1799-1850) invented the 19th century. The Human Comedy (La Comédie Humaine) comprises approximately 3,000 characters in a total of 92 novels, sketches, stories, and philosophical tales. For the first time in the history of the novel, characters recur—a star of one book may reappear as a minor figure in the intricate social background of another. “Real life is the life of causes,” wrote this giant of world literature. What does Balzac mean by a cause? It is an idea, a dream, an obsession, a project demanding strategies and conspiracies, lingos and lies, histories and myths. Balzac has been called “a nocturnal Homer,” haunting the theatres, bars, streets, shops, and businesses in the Paris and provinces of his day. “I have learnt more from Balzac than from all the professional historians, economists and statisticians put together,” wrote Marxist theoriest Friedrich Engels. A master at rendering the visible world, Balzac was also obsessed with portraying the hidden desires, ambitions, and yearnings of a society in the throes of tectonic change. The Comedy, though full of fact, is not chronological, causing contemporary critics to liken it to a “mobile,” pre-figuring the narrative experiments of the 20th century.

Art of Auditioning (DRA2178.01)

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

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

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

Songs in the Key of Wonder (MTH4148.01)

Songs in the key of Wonder is a songwriting seminar based on the classic 1976 release “Songs in the Key of Life” by Stevie Wonder. Students will listen to select tracks while learning the melodies and chord progressions that Mr. Wonder used in composing this landmark album. Students will also listen to select tracks from Mr. Wonder’s multiple hit songs from his extended discography. We will dissect and analyze the music using theory and form and analysis while paying special attention to the arranging that was used in his recordings and performances. We will also look at other contemporary artists influenced by Mr. Wonder’s style such as, Prince, Michael Jackson, D’Angelo, Musiq Soulchild, Erykah Badu, and Janelle Monáe, to name a few. By the second half of the term students will use these progressions to create and arrange their own original songs and compositions in the style of Stevie Wonder. An end of term showing is expected but not required.

Bebop, Rock & Beyond (Fundamentals) (MIN4226.01)

Bebop, Rock & Beyond (Fundamentals) is a drum set course that looks at the drumming architects of Bebop and Rock while discovering the innovative drummers of today who are mapping traditional rhythms from various cultures and adapting them for drumset. We’ll learn about Ed Blackwell, Art Blakey, Alex Acuna, Ignacio Berroa, John Bonham, Daphnis Prieto, Steve Jordan, and many others who have contributed to the innovation and music composition for drumset. Students will be tasked with working out rhythmic patterns through frequent practice (Lab), work on reading music notation, and advance their analyzing skills while responding to viewing and listening list. Maintenance and tuning are key components to understanding the sonic qualities of a drumset. Students will be tasked with maintenance and maintaining a controlled rehearsal and storage environment as well. A written statement outlining your strengths and areas that need development, in addition to what you’d like to accomplish from this class is required for consideration.

Feminist Geographies of Dis/ability (SCT2133.01)

In this course we will engage anti-racist feminist theory, crip theory, and human geography to think critically about dis/ability. We will draw on critical geographies of disability to think about the built environment and institutional design; geographic scales of the body and the body-mind; spaces of the home and institutions; and im/mobility and spatial access. We will also consider how dis/ability is shaped by (and also shapes) practices of care, experiences of embodiment, and emotion. Furthermore, we will grapple with the legacies of trauma produced by slavery, colonization, surveillance, and incarceration, as well as by movements like eugenics and white liberal feminism, while considering trauma’s complicated relationships to medicalized notions of wellness, disease, and recovery. Throughout the course, we will consider disability as intersecting with race, queerness, fatness, class, and trans* and gender-nonconforming/non-binary experiences; and difference, pathology, and deviance. Most centrally, we will ask: What is the spatiality of dis/ability, and how can space be occupied and reappropriated for radically inclusive uses? How can we understand both normality and deviance as socially constructed concepts that nonetheless have real, and uneven, implications for people’s lives?

Emily Mitchell-Eaton
M/Th 10:00-11:50
This course is categorized as All courses, SCT.

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 cover history, culture, language, and dance. This class serves the greater Bennington community in the spring by partnering with the South Western Vermont Medical Center, Bennington Project Independence, and the Village School of North Bennington. Near the end of term students will share their work in celebration with these organizations. Weekly practice is expected.

Failure (CS4129.01)

Why do systems fail? How do we determine what went wrong? How do we learn from failure to build better systems and prevent similar problems from occurring in the future? In this course we will examine a variety of ways that software and hardware systems can fail, their causes, impacts and (where applicable) remediation. We will learn about tools and techniques that can be used to debug, analyze and simulate failures, and will conduct a series of experiments where we will observe various forms of failure. The course, its content and direction will be, to some extent, determined by participants’ skills and interests.

Graduate Seminar on Pedagogy and Public Action (APA5103.01)

This course is centered on conducting research and mapping the field of socially and civically engaged pedagogy within a global context. What capacities and skills do students who create artworks in collaboration with the public need to acquire and what is the history of teaching these practices?

Graduate Research in Public Action (APA5102.02, section 2)

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

Graduate Research in Public Action (APA5102.01, section 1)

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

Graduate Assistantship in Public Action (APA5101.02, section 2)

Graduate students in Public Action are integrated into the CAPA and related discipline areas as teaching assistants. In consultation with the faculty, MFA candidates develop an assistantship schedule of approximately 5 hours weekly.

Graduate Assistantship in Public Action (APA5101.01, section 1)

Graduate students in Public Action are integrated into the CAPA and related discipline areas as teaching assistants. In consultation with the faculty, MFA candidates develop an assistantship schedule of approximately 5 hours weekly.

Speaking of Earth: Environmental Speeches that Moved the World (MOD2163.01)

In this course, based on the book Speaking of Earth, edited by Alon Tal, we will read twenty inspiring speeches by leading environmentalists around the world that examine a broad range of environmental issues. Included in the course is Rachel Carson’s defense of her ground breaking book Silent Spring, Prince Charles’s passionate call for sustainable agriculture, and the Dalai Lama’s explanation of a path to ecological harmony. The module will include participants in the class writing their own speech.

A Dual Narrative Approach to the Israeli-Palestinian Conflict (APA2246.01)

Sari Nusseibeh, a Palestinian philosopher and past President of Al-Quds University, and Yossi Klein Halevi, an Israeli journalist, have each authored books from their perspectives, analysis, and insights into the Palestinian-Israeli conflict. Nusseibeh’s book is called, “Once Upon a Country: A Palestinian Life,” while Halevi’s book is called, “Letters to My Palestinian Neighbor.” In this class we will read both books, as an example of a dual narrative approach, and as vehicle to try to better understand this conflict which is often called intractable.

Cello (MIN4355.01)

Studio instruction in cello. There will be an emphasis on creating and working towards an end-of-term performance for each student. Students must have had at least three years of cello study.

Corequisites: Music Workshop attendance 7 times per term.

Future Studio (VA4207.01)

Future Studio is a creative incubator for the development and articulation of new non-profit or for-profit enterprises which can be launched with powerful economic potential and socially responsible missions. The studio emphasizes creativity, innovation, place-centered economies, worker-centered ownership, environmental sustainability, social justice and financial viability.

During the course, we explore the history of artists and innovative entrepreneurs who have developed organizations and enterprises that break from traditional business models and, instead, integrate creativity, arts & culture, sustainable economic development, and creative placemaking with business competencies. We investigate topics such as self-organization, self-management, and evolutionary non-extractive organizational structures that emphasize collaboration from Frederic Laloux’s seminal book Reinventing Organizations (2014) and Ensprial’s book Better work together: How the power of community can transform your business (2019).

Future Studio engages organization building as a generative and artistic space that marries inquiry-based idea development, artistic social and civic practice, iterative design, and new business models to create constructive social outcomes. We examine organizations not as machines to be optimized, with static parts and cogs aligned for a binary purpose, but rather as a living organism or ecosystem of support.

Students who are interested in rethinking what it means to create a business or organization today, possess an interest in the promise of creative enterprise and have skills and knowledge from diverse discipline areas are strongly encouraged to enroll. You do not need to be a visual arts student to meaningfully participate in this course.

**For registration please fill out this form

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.

**For registration please fill out this form

Creative Economies (APA2167.02)

This course is designed for students of all disciplines who are interested in connecting their discrete creations (a poem, a drawing, an artwork, a product, an event) to larger systems, organizations, and possible art worlds. In this course, we will examine the ways in which every aspect of your production and distribution process — from sourcing materials to organizing your studio to licensing and acquisition — can deepen your work and remind people of your intentions as an artist. Through in-person meetings, guest presentations, group activities, and readings, you will be introduced to contemporary artists and designers who consider the entire life of their projects, and who develop ways for their projects to circulate in multiple art and design worlds. You will be exposed to a range of creations and systems, from networks of conceptual artists to solidarity co-ops, from alternative currency groups to online start-ups. Throughout the course, you will be challenged to identify art worlds that are appropriate to your work and to your concerns, drawing connections to a series of organizations, collectives and interconnected art and design worlds.

How to Think Like a Data Scientist (CS4115.01)

This class will cover the methods used to gather, clean, normalize, visualize, and analyze quantitative data to inform decision making in multiple fields of study. We will use spreadsheets, SQL and Python to work on real-world datasets using a combination of procedural and basic machine-learning algorithms. Students will also learn to ask good, exploratory questions and develop metrics to come up with a well thought-out analysis through work on collaborative, practical projects. This course is offered as part of a collaborative project with Google to expand access to computer science curriculum at small colleges and universities.

Understanding PFOA: Science and Policy (ENV2173.01)

The water supply of Hoosick Falls, NY, Bennington’s western neighbor, has been contaminated with Perfluorooctanoic acid (PFOA) by past industrial activity. PFOA is an “emerging contaminant” that is correlated with a range of health problems. This course will investigate the social and physical aspects of this ongoing disaster, from how the regulation of chemicals in the US shaped this disaster to how the specific chemistry of PFOA guides its environmental and biological pathways to how the geological structure of an aquifer influences the distribution and direction of a groundwater contaminant plume. Students will gain formal training in environmental organic chemistry and toxicology, contaminant hydrogeology, and environmental policy. This class will also conduct field research on the water contamination in Hoosick Falls and Bennington. Students will learn how to collect water samples, interpret laboratory data, and use geospatial analysis techniques and technology to characterize a groundwater plume. Students are also expected to help faculty prepare presentations of the early findings of our research to citizen’s groups in Hoosick Falls. Students in this class will be expected to help develop curricular materials that can be used in area public schools.

How to Build a Habitable Planet (PHY2118.01)

This course will investigate the physical conditions and processes necessary for creating a habitable planet. We will study the formation of stars and planets, and the evolution of planets after formation into safe harbors for life. This will include investigation of how both stellar and geological processes affect the habitability of planets, and consideration of the possible conditions that make a planet a suitable life-host. We will use the Earth and our solar system as a case study for the successful formation of a life-host, and will use this knowledge to look outward for other Earths among the thousands of planets being discovered elsewhere in our Galaxy.

An Introduction to Dance Phrasemaking and Performing (DAN2136.01)

This is designed for those who are interested in making movement phrase material and “taking it for a ride.” We will be creating new phrases constantly and paying full attention to detail, nuance and finesse when performing them. We will be thoroughly investigating, modifying, rearranging, exploding, and ultimately reconsidering our understanding of the phrases made. By focusing on the use of time, we will find out more about its intricate relationship to space and motion. While paying keen attention to phrasing, we will notice the impact of shifting attention itself.

Students are expected to create and develop new phrase material of their own, teach this work to others, learn material from others, and rehearse outside of class. Phrases may be combined into larger dance scores that will then be performed in dance workshops or studio showings.

Participation in Dance Workshop (Th 6:30 pm-8:00 pm) is highly recommended.

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

Finding Form: Dance (DAN4319.01)

Looking at forms found in nature, architecture, music, drama, literature, etc., we search for examples to help formulate ideas and structures for movement-based creation. When making new artwork, we are constantly balancing and integrating the need for exploratory freedom and the desire for structural integrity.  How do we use spontaneous impulse to help find form, and how do we use form to help find yet more unexpected solutions? How might we find an essential core that supports an investigation? How might we challenge and rigorously expand our ideas regarding form, and find ways to re-form?

Students are expected to make new movement material, develop work outside of class, teach some of the work to others, and, in return, learn material from others. They will show their compositional studies regularly, write about many aspects involved in their working processes, and draw (while observing others and while working in their own studio practices). Projects will be performed/presented in studio showings or dance workshops. Students of intermediate/advanced level in the performing and/or visual arts are welcome.

Participation in Dance Workshop  (Th 6:30-7:50 pm) is highly recommended.

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

Design Patterns and Data Structures (CS4106.01)

In this class, students will learn common patterns used to solve problems found in software, and gain a deeper knowledge about common ways that data is stored and accessed. Students will learn about the design and implementation of data structures, including inked lists, stacks, queues, and trees. Students will also study common algorithms used to populate and query these data structures. Students will learn how to compare both the computational and memory efficiency of different algorithms and data structures, and will leave the class with a clear understanding of how and when to use each one.

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.

Devising: Moving through Time and Space (DRA2177.01)

“The beauty here is a beauty you feel in your flesh. You feel it physically….Other beauty takes only the heart, or the mind.” (Barry Lopez, “Arctic Dreams.”)

Devising is a form of collaborative creation in which the performers themselves author every moment of a performance from movement to text (if any), to spatial relationships, clothing, entrances and exits, etc. The “stage” may be viewed as a natural landscape through which performers journey. Unlike story-driven theater or dance, elements such as space, time, movement, and sound all share an equal footing.

In this course, we will immerse ourselves in various approaches to making physical theater and Devising. We will read and watch the work of such innovators as Mary Overlie, the Tectonic Theater Project, Ping Chong, and Frantic Assembly. Students will bring in stories, costume pieces, found objects, sound and music and begin to create their collectively devised piece. This course is recommended to anyone interested in collaborative creation, dance/theater, experimental theater, devising, and making one’s own work. The course culminates in a public presentation of the work.

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.

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

What is action? What is character? What are gesture, timing, rhythm and stakes? How do actors, playwrights, and directors collaborate to create an experience in space and time? This seminar offers young theater artists the chance to examine the craft from the inside out.

Throughout the course everyone participates in all exercises and assignments. Non-writers make up stories, non-actors act, and those who have never directed direct. We begin by exploring the energy in the body, focusing on stillness and release, and the body in relationship to space. We continue with physical exercises from both the eastern and western traditions leading into improvisation as a method for tapping the source of impulses. We touch on the Viewpoints as a tool for creating kinetic compositions spontaneously in space. In the text analysis section, we study the expression of action through structure, imagery, dialogue, and the importance of “events.” By mid-term, everyone directs a short scene from one Chekhov play, or another play of our choosing. In the second half of the term, students choose one contemporary play from which they will direct individual scenes. Directors and actors will work together to rehearse, design, and present a public performance of the play.

100 Experiments (PHO4131.01)

This course is a hands-on exploration of the many photographic materials spanning the 19th, 20th, and 21st centuries. Over the term, students will study ten specific processes and be asked to create ten 8×10 inch experiments utilizing each one. Processes include camera lucida drawings, pinhole images, cyanotypes, analog color negatives, Polaroid images, scanograms, digital infrared capture, among others. Historical and contemporary practitioners will be introduced as well as relevant readings.

Interested students must have completed the Photo Foundations and preferably one additional studio photography class.

Photo Now (PHO2141.01)

This course explores the evolution of contemporary photography from the late 20th century to the present day. We will be looking at a wide range of influences from identity politics, TV and film, social media, and the move from analog to digital technologies. The class format will be weekly faculty lectures accompanied by student research and presentations. Students will keep a journal and complete a midterm and final assignment.

Observations: Photography and the Environment (PHO4113.01)

This class explores the many ways photographers have shifted our understanding of the global environment, from documentary projects to collaborative interventions completed over the past 50 years. In addition to studying the works of Ansel Adams, Robert Adams, Mary Mattingly, Trevor Paglen, there will be assigned readings by Elizabeth Kolbert and John McPhee. Students will also learn how to use the school’s digital and analog cameras to observe the man-altered landscape of this region of North America. Field trips scheduled throughout the term.

Women in Science: Ancient Greece to Enlightenment (HIS4110.01)

Long before the existence of a discipline we would recognize as “science,” there were women working with men in the pursuit of “scientia”. Scientia embraced a mixture of philosophy, medicine, religion, literature, and knowledge of the natural world – a mixture that would eventually devolve into the separate disciplines we know today. But who were these ancient Greek female philosophers, these medieval “doctoresses,” and these Enlightenment lady astronomers? How was it that they were so celebrated in their lifetimes, and yet they are so completely obscure today? What does that say about our understanding of the discourse and practice of “gender,” or — perhaps more importantly – our understanding of what we now deem to be the nature of scientific knowledge?

Simultaneous Occupancies (ARC4239.01)

This class will investigate architectural projects that posit simultaneous programs contained within a single envelope. We will look at various conditions under which varying, and even divergent interests are pursued by the building and its occupants, including the haunted house, the safe house, the “front”, and similar conditions where one use conceals or overlies another.

Studio projects will focus on the exploration and development of other conditions where this topology may be employed to create new opportunities for simultaneous occupancy. Spaces will be created to contain these programs in a way that explores how their parallel existences are imprinted on one another.

Distributed Systems (with Lab) (CS4280.01)

In this class, we will, as a group, build a working distributed system from scratch, such as a web search engine, distributed file system, blockchain/distributed ledger, or peer-to-peer network. By building such a system, students will learn about key theoretical and practical fundamentals related to distributed systems and software engineering, such as concurrency, replication, commit models, fault-expectancy, self-organization and management, load-balancing, capacity planning, network programming, containerization and microservices, and physical and environmental considerations. These key principles are what lie at the core of the designs of well-known systems such as those built by Google, Bing, Facebook, Yahoo, Twitter and others. The class will evolve from reading and discussing research and working on foundational programming projects, to working through the design of the system, developing it, planning its deployment, and releasing it into the wild. Includes lab.

Painterly Painters & Portraiture (AH4122.01)

According to art historical tradition, “painterly painters” are those whose work exhibits a gestural, often loose, facture that makes the viewer conscious of its painted quality through visible brushwork, inchoate, haptic, blotches and sometimes, heavy impasto. Portraits, like painterly painting, are thought to be largely concerned with fixing or situating individuality, particularity, figuration v. abstraction, and even identity construction, subjectivity, and self-awareness. Together this range of concerns will structure a selective study of the portrait painters (who should be) best known for their virtuosic coloring and painterliness including, but not limited to: Titian, Rubens, Van Dyck, Velázquez, Ribera, Reynolds, Carriera, Boucher, Goya, Manet, Sargent, Bacon, Guston, Rauschenberg, Whitten, Lewis, Basquiat, Saville, Richter, Simpson, Odutola, etc. Race, gender, nationalism, and close looking anchor our exploration.

Queer Renaissance (AH4114.01)

A developmental, periodizing, and heteronormatively inflected approach to idiosyncratic male artist-geniuses such as Michelangelo, Leonardo, Raphael, and Titian has dominated Renaissance art history. Yet given its cross-cultural, colonial origins, and paradoxical investment in both ‘pagan’ antiquity and Christian humanism, ‘pre-modern’ Renaissance visuality is anything but straightforward. In this circumscribed survey of sixteenth-century art, we will read scholarship invigorated by queer theory, feminist, post-colonial, and gender studies as well as primary sources by pioneering art historians and queer art writers, e.g. Vernon Lee and Walter Pater.

Class discussions and independent research will culminate in a research project and short presentation.

Differential Equations and Non-linear Dynamical Systems (MAT4108.01)

Differential equations are a powerful and pervasive mathematical tool in the sciences and are fundamental in pure mathematics as well. Almost every system whose components interact continuously over time can be modeled by a differential equation, and differential equation models and analyses of these systems are common in the literature in many fields including physics, ecology, biology, astronomy, and economics. For example, the following can all be modeled as a system of differential equations: planets, stars, electric circuits, predator and prey populations, epidemics, and economics. We will start by studying the classical theory of ordinary differential equations then will develop dynamical systems approaches to understanding more complex non-linear systems. The goal throughout the course will be to better understand the behavior of the system being studied.

Scene Painting (DRA2168.01)

This class will introduce students to the fundamentals of scenic art, including terminology, commonly used tools and techniques. Students will learn to create processes that will guide them from a rendering or scenic finish to a completed project. Skills we will develop include color mixing, surface preparation for soft goods and hard scenery, translating small renderings to fully realized pieces, analyzing and reproducing organic textures and architectural details.

Visual Arts Lecture Series Seminar (VA4218.01)

This discussion-animated, readings-based seminar provides art historical, cultural, and critical contexts for the Visual Arts Lecture Series (VALS). In addition to our ongoing interrogation of the public lecture as such, students present their own work (in any field) and analyze the technical and stylistic aspects of structuring an effective and engaging ‘talk.’ The course provides unique opportunities for interaction with visiting artists, curators, critics, and historians. Consistent participation and a formal presentation of work/research is required, as are visits to local and regional museums and archives. Please note: Students taking the seminar will not need to register for, and will not receive separate credit for VALS. However, attendance at all VALS lectures is a requirement of the course.

Reading Marx (PHI4106.01)

Marx’s ideas remain an important source of political and social science thought. This class requires students to engage in a close and critical reading of a number of Marx’s essays and to assess his work in the light of critical philosophical responses.

Topics in Applied Philosophy: Privacy (PHI2126.01)

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

The Human Condition: Hannah Arendt (PHI4101.01)

Hannah Arendt (1906-1975) was a major political theorist whose work has become increasingly influential in recent years. A student of Martin Heidegger and Karl Jaspers, her extensive writings cover such topics as the nature of power, the meaning of the political, and the problem of totalitariansim. This course is a critical exploration of some of her major works, including The Origins of Totalitariansim, The Human Condition, and Eichmann in Jerusalem: A Report on the Banality of Evil, as well as a assessment of the critical response to her work.

Traces, Mistakes, and Leftovers (DRW4237.01)

The role of drawing has changed over the history of art, from primitive recording to preliminary sketch, from documentation to works that function independently. How can we expand these notions to include the remnants of the making process. Can the research done before a project, the many mistakes made in process, or the discards left after completion of an artwork be considered acts of drawing? What happens in the moments when we think we aren’t working? Can we analyze our interactions with the world that lead to a certain way of making things? What is the necessity or value of ruins?

In this course students collect, analyze, and employ the physical and conceptual detritus surrounding their making process. Topics include: idea generation and development, the use of memory, teaching and learning, and drawing as a way of thinking. In-class activities and discussions are complemented by readings, writings, and the production of an individual body of work, including an elaborate commonplace book. Students are expected to be engaged in a concurrent 4000 level studio/making course.

Mary Lum
M 1:40-5:20 (first seven weeks)
This course is categorized as All courses, Drawing.

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.

Markmaking and Representation (DRW2149.01)

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

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

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.

Meisner Technique (DRA4268.01)

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

Corequisites: Dance and Drama Lab assignment

Bass Intensive (MIN4026.01)

Advanced studies in theory relating to performance.

Students must be enrolled in Bass with Bisio (MIN4417) simultaneously, no exceptions. This class is only for advanced students and by permission of instructor.

Stage Management (DRA2241.01)

The key role of the stage manager as both collaborative artist and manager in the production process is explored by students in this class. Readings, discussions, and projects on topics including scheduling, play breakdowns, prompt book preparation, blocking notation, ground plan and theatre layout, and the running of rehearsals and performances are included. The relationship of the stage manager to others involved in the process is also addressed. Many assignments are designed to develop broader event, production, and arts management artistry and skills. A significant and required part of the coursework is work as stage manager or assistant stage manager on a College production to gain first-hand knowledge and experience. This production component lasts from two to ten weeks, and includes attendance at all rehearsals held for the particular production. Most rehearsals are held on evenings and weekends; availability for rehearsals most weeknights is normally essential for successful project completion.

In the spring 2020 iteration of this course, students should expect to work as a stage manager or assistant stage manager on one of the student-written Bennington Plays and attend weekly drama production meetings on Mondays from 5:45-6:45 pm.

This course is recommended for those interested in directing, performing, and/or arts management, as well as anyone interested in knowing and experiencing what is involved in putting on a production.

Patternmaking and Garment Construction (DRA4119.01)

This course is designed to teach the student the many steps involved in creating a finished garment from a simple idea, piece of research or sketch. Students will learn the basics of draping, flat patterning, and fitting. Construction of final garment will allow them to explore and employ sewing skills beyond the fundamentals.

Film Adaptations of French Literature (FRE4492.01)

Since the very beginnings of cinema, French literature and film have reciprocally inspired one another. From the Surrealists to the New French Extremity movement, many directors have brought French literary works onto the screen. This course will offer students the opportunity to analyze literature and their film adaptations in terms of intermediality and intertextuality. Adaptations will include: La Princesse de Clèves (La Fayette/Delannoy, Oliveira, Sauder), The Nun (Diderot/Rivette), Madame Bovary (Flaubert/Chabrol), Les Misérables (Hugo/Lumière, Bernard,), La Noire de… (Sembène, Sembène), La Prisonnière (Proust/Akerman). Students will examine a variety of adaptations, focusing on the strategies used to turn a book into a film. Issues of adaptation theory will also be explored, as well as the underlying ideology behind the rediscovery of literary authors through cinema. Students will discuss notions such as “faithfulness” to a source text, the translation of thought, literary and film metaphors, and the different “language” of print text and film. Advanced. Conducted in French.

Corequisites: Language Series

Special Projects in Advanced Japanese (JPN4801.01)

This course is designed for students to research/ complete a project in their field of study/interest. In order to take this course, students are required to write a proposal of their project and be accepted by the instructor.

Corequisites: Language Series

Life and Death: Buddhism in Modern Japanese Films (JPN4401.01)

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

Corequisites: Language Series

Social Expectations for Japanese Children (JPN4224.01)

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

Corequisites: Language Series

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.

Art of the Sonnet: Conventions and Inventions (LIT4113.01)

The sonnet, from the Italian sonnetto, or little song, has a long and rich history as a poetic form, described by contemporary poet Laynie Browne as ʺa controlled measure of sound and space within which one can do anything. An invitation.ʺ This course, a literature seminar with a significant creative component, will invite you to study the sonnet in‐depth, both as a traditional form obsessively employed by William Shakespeare and the 14th‐century Italian poet Petrarch, and as an innovative, elastic lyric enjoying a surge in popularity among contemporary writers, some of whom have exploded the form in radical ways. The class will consider the work of such poets as Dante, Petrarch, Shakespeare, Wyatt, Keats, Gerard Manley Hopkins, Claude McKay, John Berryman, Ted Berrigan, Natasha Trethewey, Olena Kalytiak Davis, D.A. Powell, Hannah Sanghee Park, Terrance Hayes, Nikki Wallschlaeger, and Sandra Simonds. Students will write two critical papers, take a midterm exam on form and prosody, recite and memorize two sonnets, and, most weeks, submit for class critique a sonnet of their own.

Corequisite: Students are required to attend all Literature Evenings and Poetry at Bennington events, held most Wednesdays at 7pm.

Keats and Stevens (LIT2299.02)

This introductory seminar will consider and juxtapose the 19th century British Romantic poet John Keats and the 20th century American modernist poet Wallace Stevens, both of whom were rigorous craftsmen, provocative thinkers, and aesthetic theorists who argued fervently for the supremacy of the imagination, the interconnectedness of truth and beauty, and the importance of mystery and uncertainty in poetry. Alternating between Keats and Stevens, we will consider the poetry and critical prose of both writers and look for common threads, both in their writing and artistic sensibility. We will write two short critical essays and together engage in intensive close readings of each poet’s work.

A Voice from a Wound: Trauma and Memory in Hispanophone Literature (SPA4802.01)

This advanced Spanish course is a study of the paradox of trauma literature. Stories that compel their telling, yet are unassimilated and unspeakable, trauma narratives grow out of disaster and crisis on an individual and/or collective scale. To better understand Anne Whitehead’s assertion that “Novelists have frequently found that the impact of trauma can only adequately be represented by mimicking its forms and symptoms, so that temporality and chronology collapse, and narratives are characterized by repetition and indirection,” we first consider representative fictional narratives by contemporary Spanish authors including Juan Goytisolo, Juan Marsé, and Isaac Rosa Camacho. In order to develop an appropriate theoretical background, students also tackle major contributions by theorists such as Freud, Herman, Caruth, LaCapra, and Whitehead, whose ideas resonate deeply with our primary literary texts. Thereafter, students’ individual research questions will drive content choices, such that, depending on student interests, there will be ample opportunity to consider examples from any time and place in the Hispanophone world. Co-requisite: attendance at 2 language events. In Spanish. Advanced level.

Corequisites: Language Series

Regardez (FRE4496.01)

In this course, students will examine specific visual representations within the context of French culture. Through the reading of a wide variety of French images, including among other works Chartres cathedral’s stained glass, La Tour’s chiaroscuro paintings, Haitian art, as well as virtual reality experiments, students will hone their linguistic skills and enrich their understanding of French, economical, sociological, historical and artistic realities and values. Written assignments and oral presentations will develop students’ level of comprehension, mastery of grammar, in French, as well as their critical skills. Intermediate-high level. Conducted in French.