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Media Studies [clear]
Title | Offering | Standing | Credits | Credits | When | F | W | S | Su | Description | Preparatory | Faculty | Days | Multiple Standings | Start Quarters | Open Quarters |
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Amjad Faur, Eirik Steinhoff and Sarah Eltantawi
Signature Required:
Spring
|
Program | FR–SRFreshmen–Senior | 16 | 16 | Day | F 15 Fall | W 16Winter | S 16Spring | This program will focus on some of the most intractable and convoluted crises engulfing the Middle East and North Africa in order to better understand their root causes on behalf of identifying potential solutions. Revolution, counter-revolution, civil war, theocracy, dictatorship, corruption, torture, iconoclasm, imperialism, dispossession, terrorism, sanctions, invasions, occupations, insurgencies, counter-insurgencies, clash of civilizations, clash of ignorance: these are a few of the central terms used in the news to describe the recent present in the region. What do these words mean? What caused the actions and events they refer to? Who are the major players, the agents of stability and change --- for better or worse? How are we to determine what is better or worse? What material or conceptual structures (from countries to theories) do we need to comprehend before we attempt to answer these questions? How can we develop a nuanced analytical language that will allow us to describe these complex crises and their causes over and against the myths and slogans they are so frequently reduced to? How, in other words, can we better understand the history that underlies the news, and what futures might such an understanding make possible?In the fall and winter quarters, students can look forward to a dynamic mix of lecture, seminar, and workshop anchored in a constellation of intensive reading, responsive writing, and active looking. An oscillating relationship between theorizing, doing things with words, and making things visible will serve as the engine of our transdisciplinary inquiry, which seeks to uncover overlooked relationships in order to increase the overall power and scope of our analysis.Our interdisciplinary inquiry will be anchored in the methods of diagramming and diagnosis. We will begin, for instance, by plotting, on a massive sheet of paper, the myriad interrelationships between sectarian, religious and ethnic populations of the region, tracking, in particular, the evolution of their alliances and conflicts. Students will maintain and update this diagram throughout the three quarters, and reflect on the labyrinthine web that constitutes the region in all its complexity. This diagram will act as a template from which students will begin to look for the connective tissues that may help to resolve the current climate of conflict. We will diagnose these conflicts and their major players not only through the analytical frameworks of geography, history, comparative religion, and political science, but also in light of aesthetic practices, such as poetry and fiction, on the one hand, and image-making (and image-breaking) of all shapes and sizes, on the other. What can art teach us that theory overlooks? What are the limits of disciplinary approaches forged in Europe and the U.S. when it comes to describing the crises convulsing the Middle East and North Africa? What other kinds of diagnosis might our diagrammatic approach allow us to come up with?The program will closely examine the dramatic sequence of uprisings most often referred to as “The Arab Spring” that shifted the dynamics of power and resistance across the region and that led to some of the most visible and volatile events unfolding in the area today (such as the Syrian civil war, the emergence of ISIS, Kurdish autonomy, and so on). We will study this sequence in relation to the ongoing geopolitical processes (such as imperialism, self-determination, and resource extraction) that led to the founding of the countries in the region in the first place, our premise being that “there is no just way in which the past can be quarantined from the present” (as Edward Said has argued).In the spring, students will form large blocs to begin the process of negotiating and proposing actions designed to ameliorate the regional conflicts we have been studying. This process could follow the form of model legislative bodies such as the U.N. or the Arab League, on the one hand, or the form of more impromptu assemblies of the sort that have sprung up in Tahrir Square or in autonomous Kurdish territory, on the other. By the end of spring quarter, students will have completed a complex diagnostic diagram of the region, and faculty will collate student recommendations to send to the Arab League, the U.N., and other pertinent bodies. Students will also have the opportunity to produce and curate images that relate to a representation of the Middle East and North Africa. Students will learn to apply the complexities of visual analysis to the visual languages that have helped create and support colonial aspirations and the creation of identity across the spectrum of the region’s varied populations. | Amjad Faur Eirik Steinhoff Sarah Eltantawi | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall Winter Spring | |||
Julia Zay
|
Program | JR–SRJunior–Senior | 16 | 16 | Day | F 15 Fall | We are living in the archive. The 21st century, age of the digital and of infinite information horizons, offers particularly fertile conditions for future artists, writers, curators, and educators to meet, collaborate, and reinvent their identities as cultural workers, memory agents, and experimental pedagogues. This program is designed to support students in the arts and humanities who are interested in forging a practice that combines creative and critical engagement with questions of memory, the writing of history, the document and the object, the history of exhibition and display, the gallery, museum, and archive.We will investigate the ways that cultural institutions, including museums, ethnographic films, and documentary photography have written "official" histories; our own creative experiments will be directed toward critiquing and intervening in these visual narratives by working closely with archival materials. Our studios and laboratories will often be museums and archives; we will visit museums in Seattle and Portland, and we will spend time almost every week in a local archive, getting to know the Washington State Archives here in Olympia as artist-researchers.This is an advanced program for students who are looking to develop their own research-based artistic practice and who want to pursue small-scale individual or collaborative projects within the context of a program structured around supporting that work through lecture/screenings, presentations, weekly writing workshop and project critique, and seminars on common readings. Students will plan independent work for the quarter under faculty guidance. Students will also share in leading class sessions that may include regular work-in-progress presentations, seminar facilitation, and other presentations of research related to program themes. Projects supported: critical/creative writing (we will do our best to blur the line between these), non-traditional writing for the moving image and performance, video and film, photography, and other visual arts.Students interested pursuing an in-program internship as part of their academic work in the program should register first, then research their options and contact the faculty to discuss further. | Julia Zay | Junior JR Senior SR | Fall | Fall | |||||
Douglas Schuler
|
Program | SO–SRSophomore–Senior | 8, 12 | 08 12 | Evening and Weekend | F 15 Fall | W 16Winter | S 16Spring | 21st Century inhabitants of the earth find no shortage of complex problems that demand our attention. They run the gamut from pandemics to unsafe neighborhoods, economic collapse to unemployment, climate change to institutional racism. But why are some groups more likely than others to successfully address the issues they face? In this program we hypothesize that humankind must become "smarter" about its affairs if there is to be any chance of making social and environmental progress. Everywhere we see how money and power control how things are managed — or not. The playing field is not level, but positive change occur. Civic intelligence is the name for the type of collective intelligence that addresses significant shared problems effectively and equitably. Intelligence, whether in a single person or collectively, in classes, cities, nations or the world, is a complex ecosystem of interacting ideas, visions, perceptions, assertions, and questions. And intelligence is not just in the head: it is deeply intertwined with action — planning, evaluating, doing — and interacting with other people. We will explore civic intelligence through seminars, films, workshops, lectures and group projects throughout the program. But because civic intelligence is not enough — we also will learn about civic intelligence by it. Throughout the three quarters we will use the lens of a laboratory to employ and explore civic intelligence. We will read and other writings that focus on a problem-solving, experimental approach and that John Dewey and other authors advanced. We will strive to make our own program into a "lab" of sorts and collect data as we move forward. We plan to consciously leverage Evergreen's underlying philosophy as a non-traditional, experimental school that integrates theory and practice to explore how students can take a more active role in their education and in their interactions in the world. We will also work with one or more research and action efforts. Possibilities include an innovation network of people working in small to mid-sized cities, towns, or neighborhoods in Washington State; Evergreen's Center for Community Based Learning and Action (CCBLA), and a county-wide health initiative. The program will help students develop important skills in organizational and workshop design, collaboration, analysis and interpretation, written and oral communication, and critical thinking skills. | Douglas Schuler | Wed Sat | Sophomore SO Junior JR Senior SR | Fall | Fall Winter Spring | ||
Samuel Schrager and Caryn Cline
Signature Required:
Winter
|
Program | FR–SRFreshmen–Senior | 16 | 16 | Day | W 16Winter | Our inquiry explores the power of storytelling in literature and film to take fresh looks at experience. It is designed for students who are prepared to do a serious writing or media-making project in documentary, fictional or hybrid modes. You will study a series of stellar written and audiovisual texts, examine the methods these artists use to craft compelling narratives, and mine them for inspiration and guidance as you pursue your own original work. The aim is to discover a poetics and a continuum of techniques to feed your creative practices, now and in the future. For advanced students, this program is an ideal context for advanced projects; for intermediate students, a challenging opportunity to develop their craft.Your project can be collaborative or individual; faculty will provide sustained guidance at each stage of its development, and students will support and critique one another’s work. Texts will span documentary and fiction genres, with readings by authors such as Joan Didion, Ralph Ellison, Joseph Mitchell, Octavia Butler, Grace Paley, Junot Diaz, W.G. Sebald and D.F. Wallace, films by directors such as John Akomfrah, Claire Denis, Jean-Luc Godard, Errol Morris, Yasujiro Ozu, Jay Rosenblatt and Wim Wenders, and theory from critics such as Walter Benjamin and David Bordwell. The first weeks of the quarter will include instruction in fieldwork and self-reflection: ways of listening, observing, recalling, and recording to make truthful stories. Artists will come to talk with us about their work and creative process. The program will culminate in presentations of students’ compact, polished, finished pieces of writing or film/video/web-based media. | Samuel Schrager Caryn Cline | Mon Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Winter | Winter | ||||
Elizabeth Williamson
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Course | FR–SRFreshmen–Senior | 4 | 04 | Weekend | Su 16 Session II Summer | This course examines film through the lens of gender studies. Both film studies and gender studies will be covered at an introductory level, with additional support and opportunities provided to students with previous experience. We will focus primarily on female-identified performers, producers, and directors, but we will address their work through an intersectional lens, with attention paid to elements of race and sexuality, as well as to non-binary gender identities. There will be one screening with lecture every week; students will watch additional films at home and post weekly screening reports. More advanced students may pursue a research or screenwriting project in lieu of weekly reports. | Elizabeth Williamson | Sat | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
Susan Preciso and Mark Harrison
|
Program | FR–SRFreshmen–Senior | 8 | 08 | Evening and Weekend | W 16Winter | S 16Spring | Across time and cultures, humankind has struggled with taboos that obstruct the pursuit of knowledge deemed inappropriate or dangerous, but what is “forbidden” intrigues us all. In this humanities program, we will explore the ways that forbidden knowledge inspired artists throughout the ages. We will ask how the forbidden differs in the mythology of one culture to another. We will study some great works of art that have been inspired by forbidden knowledge. While powerful people and institutions have often dictated what is acceptable for us to know, the arts, literature, and mythology have been the chief mechanisms through which we have been able to explain or justify this fundamental human conflict. For example, in the creation stories of Genesis and Milton’s we encounter one of western culture’s most enduring mythic structures. and Mary Shelley's speak to a more modern dilemma about acquisition and use of knowledge.In this two quarter program we will explore this complex subject through visual art, music, poetry, film, theatre and literature. Roger Shattuck’s will provide one analysis of the stories, but we’ll read other critical approaches as well. During Winter quarter we will concentrate on the classical past; our readings will include Genesis, and In the Spring, we will turn our attention to the modern age. Our readings will include Christina Rossetti's , A.S. Byatt's , Tony Kushner's and Alan Ginsberg's . Students will be expected to read critically and well, take excellent reading notes, and write occasional critical essays on assigned topics. They will participate in seminar, lecture, workshop, and a possible field trip. This immersion in the humanities is especially suited for those students planning to teach in areas of literature or the arts. It is also for students who are curious about the ways in which artists and writers working in different genres push us to understand the world and our place in it.Credits will be awarded in literature and cultural studies. | Susan Preciso Mark Harrison | Wed Sat | Freshmen FR Sophomore SO Junior JR Senior SR | Winter | Winter Spring | |||
Stephanie Kozick and Tomoko Hirai Ulmer
Signature Required:
Winter
|
Program | FR–SOFreshmen–Sophomore | 12, 16 | 12 16 | Day | F 15 Fall | W 16Winter | This two-quarter Japanese studies program examines various Japanese art forms and how their essence was appropriated in Western culture. The ancient culture of Japan fashioned a multitude of impressions in American minds as the United States developed close economic and political relationships with Japan. This program’s curriculum incorporates Japanese literature, cinema and arts as well as comparative analyses of representations or “appropriations” of Japanese culture produced by non-Japanese writers, filmmakers, and artists. In the fall quarter we will focus on the study of Japanese literature and aesthetics. The literary and artistic works we will examine include: and from the 11 century Heian court, 16 -century tea gardens, 18 -century woodblock prints (which inspired the French Impressionist), and contemporary writers such as Murakami Haruki, Yohsimoto Banana along with artists, Isamu Noguchi and Yayoi Kusama. The films we will examine include works by Kurosawa Akira, Ozu Yasujiro and Miyazaki Hayao. In the winter quarter we will shift our focus to comparative studies, examining cultural assumptions and representations made by Western writers and artists as they appropriated elements of Japanese culture. We will study different images of Japan represented in the writing of Donald Richie and Pico Iyer, films by Doris Dörrie and Sophia Coppolla, and Impressionist art. By doing so, we will contrast perspectives from both Japan and the West, creating a format for observation, discussion and inquiry.Students may enroll for 12 credits and take an additional 4-credit Japanese language class taught by Tomoko Ulmer through Evening and Weekend Studies. Taking a Japanese class along with this program provides valuable insights into Japanese culture because of the remarkably image-oriented nature of the language. | Stephanie Kozick Tomoko Hirai Ulmer | Mon Wed Thu | Freshmen FR Sophomore SO | Fall | Fall Winter | |||
Laurie Meeker
Signature Required:
Fall Winter
|
Program | JR–SRJunior–Senior | 16 | 16 | Day | F 15 Fall | W 16Winter | S 16Spring | This advanced offering in the media arts is for students interested in working individually or collaboratively on yearlong media projects with the support of a learning community. The studio setting provides students with the opportunity to help shape one another's work through extensive critical review of ideas at each stage of production and through technical support on one another’s projects. Engagement with critical theory on representation informs each student’s creative approach to their media production work. The creative work produced over the year is research-based. Each media artist or collaborative team will engage in extensive research and writing to develop and support their creative ideas, including research papers, grant writing, script outlines, etc. A wide range of media projects and genres are possible, with a focus on creative nonfiction and documentary, as long as the media artist(s) demonstrate a strong foundation for potential success in that genre. Past participants have created participatory/interactive documentary, experimental film/video, autobiographical video, experimental narrative, essayistic video, animation, online documentary series, mixed media gallery installation, remix political satire, interactive Web installation, as well as standard documentary. Students are expected to build on existing skills developed in past academic work, developing advanced production skills rather than undertaking wholly new areas of media production. Participants work closely with one another throughout the year as co-learners and collaborators, collectively shaping the output of the studio and developing a program of shorts to be screened to the public at the end of spring quarter.An integrated approach to media history/theory and production is essential to the development of advanced media work. Students will explore strategies of representation through readings, screenings seminars, and research presentations, continuing to build their skills in critical thinking and critical analysis. Individual research projects will explore contemporary media artists who have made special contributions to the development of experimental media practice. Students will also conduct research into new and old media technologies, presenting their findings to the group. Students will continue to develop their production skills through workshops, exercises, and a collaborative project. Cinematography workshops will deepen student understanding of light, exposure, and image quality in the 16mm format and/or HD digital video. Audio production workshops will be offered to expand student expertise with sound design and technology.Fall quarter involves a period of reflection, research, and idea development, including a two- to three-day retreat for concentrated work. Students are asked to think broadly about their work, to research and explore a number of project ideas before settling on the final topic. During winter quarter, the focus will shift from idea development to the production phase, when students will acquire all their images and production materials. The critique process will be a central focus for the learning community during winter and spring, requiring students to participate regularly in the critical analysis of one another’s creative work. During spring, each student will complete post-production work, engage in extensive critique sessions, and participate in producing a public screening of their work. | Laurie Meeker | Junior JR Senior SR | Fall | Fall Winter | |||
Peter Randlette and Laurie Meeker
Signature Required:
Fall
|
Program | JR–SRJunior–Senior | 16 | 16 | Day | F 15 Fall | W 16Winter | S 16Spring | This academic program is the home for the Evergreen Electronic Media Internships (also known as Media Services Internships). The EM Internships provide advanced students opportunities to gain deep knowledge of specific media concepts and skills in the context of a tightly knit cohort who collaborate on developing academic and creative research agendas that parallel and are informed by their work as interns. Students will work 30-40 hours per week earning 12-14 credits as an intern in one of the following areas: Animation/Imaging, Audio, Media Loan, Multimedia Lab, Music Technology, Production, Video Production and Video Post-production. Each intern develops instructional, technical, research, organizational, leadership, communication and collaborative skills as they work with supervising staff associated with each of these areas to support instruction, maintenance and administration of facilities and to fulfill campus production needs.This program also involves a two-credit academic component in the fall and a four-credit academic component in winter and spring. Students will focus their academic work on individual research into the critical history/theory of specific media technologies with an emphasis on social, cultural and economic influences on their development and adoption by both mainstream and alternative producers. As they expand their practical and theoretical knowledge of media technologies interns will examine their own roles as producers, artists, teachers and leaders through Academic Statement work and other reflective writing. Students will have the opportunity to work both collaboratively and individually on creative projects involving media production. Interns meet weekly as a group with staff or faculty to share skills, seminar on readings or screenings, peer review writing, collaborate on projects, and work together on productions and cross-training in all Media Services areas. The EM Internship program requires a yearlong commitment from fall to spring quarters.For more details, including information about prerequisites for each specific internship and how to apply, please refer to . | Peter Randlette Laurie Meeker | Junior JR Senior SR | Fall | Fall | |||
Naima Lowe and Julie Russo
Signature Required:
Fall
|
Program | SO–SRSophomore–Senior | 16 | 16 | Day and Evening | F 15 Fall | W 16Winter | S 16Spring | What does it mean to make moving images in an age of omnipresent media, information overload, social inequality, and global capitalism? What's the relationship between aesthetic form and power across race, class, gender, and other axes of difference? How can we understand the interplay between popular media and experimental modes? How do we critically engage with the history and traditions of media practices while testing the boundaries of established forms? What responsibilities do media artists and producers have to their subjects and audiences? How can media makers represent or transform the “real” world? Students will engage with these questions as they gain skills in film/video/television history and theory, critical analysis, media production, collaboration, and critique.This full-time, yearlong program links media theory with practice. We will explore a variety of media modes and communication strategies, primarily interrogating representations of the "real” in media texts spanning the continuum between popular entertainment and artistic practice. As creative critics, we will gain fluency in methodologies including: close reading and formal analysis; mapping narrative and genre; unpacking power from feminist, critical race, decolonial, and anti-capitalist perspectives; and cultural, historical, and technological framing of commercial and independent media production. These analytical skills will help us understand strategies that artists have employed to challenge, mobilize, and re-appropriate mainstream media forms. As critical creators, we'll learn foundational production skills and experiment with alternative approaches, including nonfiction, video art, writing for and about media, autobiography, essay films, remix, installations, and performance. In addition to production assignments, program activities will encompass analysis and criticism through screenings, readings, seminars, research, and critical writing. We'll also spend significant time in critique sessions discussing our creative and critical work.In fall, students will explore ways of seeing, listening, and observing in various formats, focusing intensively on 16mm film production and completing both skill-building exercises and short projects. These collaborative exercises and projects will have thematic and technical guidelines consistent with the program curriculum. Our production work will be grounded in the study of concepts and methodologies from media history and theory, including significant critical reading, research, and writing. In hands-on workshops and assignments, we'll analyze images as communication and commodities and investigate how images create and contest meaning in art, politics, and consumer culture.In winter, students will delve deeply into field- and studio-based video/audio production and digital editing, using the CCAM studio and HD video technologies. We'll do this learning in conjunction with studying the social and technological history of television and video. Our production work will be primarily collaborative, though students will conclude the quarter by working on an independent project proposal.In spring, as a culmination of the conceptual, collaboration, and production skills developed in fall and winter, each student will create an independent project. Possible forms include video or film, installation, web-based projects, research projects, and internships. Technical workshops, screenings, research presentations, and critique discussions will support this emerging work. | Naima Lowe Julie Russo | Sophomore SO Junior JR Senior SR | Fall | Fall | |||
Peter Randlette
Signature Required:
Fall Winter Spring
|
Course | JR–SRJunior–Senior | 4 | 04 | Evening | F 15 Fall | W 16Winter | S 16Spring | Multitrack Composition is the study of audio technology and its role in changing the art of music composition and production. This three quarter long continuing class is concerned with the use of modern recording technologies as instrument. The use of signal processing, tape/computer based manipulation, and the structure of multitrack recorders and audio consoles allow a great number of techniques to be created on the fly to generate, modify, and document musical sound. Fall quarter will be spent reviewing operation, design and application of the campus facilities to gain common skill levels and technical knowledge, and complete proficiency in the Communications Building API1608 and Neve 5088 studios and associated facilities. The course is for musicians and engineers who want to develop compositional, technical and collaborative skills in modern production. This is a lab course with limited (20) positions available. Please make sure you complete an application and speak with the sponsor regarding your skills. If you have any questions, please contact the sponsor. | Peter Randlette | Tue | Junior JR Senior SR | Fall | Fall Winter Spring | ||
Arun Chandra
Signature Required:
Winter
|
Program | JR–SRJunior–Senior | 16 | 16 | Day | F 15 Fall | W 16Winter | S 16Spring | Western European music has had a long development of simultaneous complexity, from the introduction during Medieval times of independent voice leading, to the multi-voiced complexity of Gyorgi Ligeti's in the 1960s. is the presence of multiple, independent musical voices, where the differences of each voice emphasize the differences of the others. It is the opposite of , in which musical lines are hierarchically bound to one another, harmonically and metrically, as in a barbershop quartet. From the 1920s through the 1940s, the anthropologists Gregory Bateson and Margaret Mead studied the cultures of the South Pacific, as well as those of North America and Europe. They traced and articulated the differences between cultures, while noting the simultaneous shared properties held between them. In the 1940s, Bateson and Mead (along with Heinz von Foerster, W. Ross Ashby, and others) began what was later called cybernetics. In our program, we will be reading papers by Bateson, Mead, von Foerester, and others. We will study the mathematical theory of information and create compositions in sound that mirror and address the complexities that these scientists wrote about, by means of the musical techniques of polyphony and voice-misleading.We will also investigate and learn how to program in the C programming language under the Linux operating system, in an attempt to create acoustic events that might begin to match the complexity of our own times, using polyphony, and study the ideas of counterpoint as shown in the compositions of J. S. Bach, Arnold Schoenberg, Gyorgi Ligeti, and contemporary composers. During the first quarter, we'll study the basics of C programming, getting familiar with the fundamentals of digital synthesis and the Linux operating system. Projects will include the creation of single-channel sound files and learning about the fundamental waveforms, additive synthesis, mixing, and frequency modulation. By the second quarter, we'll expand the work to include two-channel sounds, algorithms for equal-power panning, filtering and granular synthesis. In the third quarter, students will create 8-channel compositions, study direct waveform synthesis, and utilize all the algorithms that we studied through the year. Throughout the year, students will also be expected to write and perform vocal exercises in musical counterpoint, which they will perform in groups.There will be regular listening sessions, musical projects, and writing assignments using the writings of cyberneticians as models. The program will attend concerts of music in Seattle and Portland and give a public concert of our final compositions. | Arun Chandra | Tue Tue Wed Thu Thu | Junior JR Senior SR | Fall | Fall Winter | ||
Anne de Marcken (Forbes) and Alejandro de Acosta
|
Program | JR–SRJunior–Senior | 16 | 16 | Day | F 15 Fall | In this program, students will interrogate and generate queer narratives by thinking through narrative aspects of queer concepts and theories and discovering what is (or can be) queer in various narrative forms.To take on this work we’ll engage with some foundational texts of queer theory as well as its contemporary articulations, addressing themes of sex and gender, queer and trans subjectivities, race and culture, drugs and technology, visibility and opacity, and many possible political articulations of a queer sort. In addition, a variety of critical, literary, lyrical, and cinematic texts that push and problematize conventions of narrative will serve as foci for inquiry and for inspiration.We’ll combine lectures, seminars, readings, screenings, and workshops to build a foundation in theoretical modes of reading, writing, and discussion as well as to develop technical skills in creative writing and media.Students will place their work in a critical context in order to consider whether queerness and narrative—both the body and the body of work—are “natural”, constructed, or something else entirely. | Anne de Marcken (Forbes) Alejandro de Acosta | Mon Mon Wed Thu Thu | Junior JR Senior SR | Fall | Fall | ||||
Joli Sandoz and Lori Blewett
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Program | SO–SRSophomore–Senior | 8 | 08 | Evening | S 16Spring | Add sound effects and music together with a voice speaking words, and there you have one of radio’s most popular features today: creative audio documentary. This program will focus on writing nonfiction documentaries and researched essays and bringing them alive with sound. Participants will learn how to write, record, perform, and edit creative and engaging nonfiction audio programs and podcasts. Radio programs themselves will be among our texts as we discover the variety of nonfiction currently airing. Online archives of audio essays will provide opportunity to analyze not only specific mixes of words and sound, but also the ways in which making meaning with words must be shaped to match radio’s one-time-only quality, with careful word choice and directness, brevity, rhythm, and pacing. Writing and speaking workshops will focus on developing effective skills for oral story-telling and description as these contribute to meaning-making in audio communication. Basic audio recording and editing workshops also will be provided. This program is especially well-suited to students who have some familiarity with audio technology and for those who have strong interest in a specific topic they'd like to share with others. Students may have the option of airing their work on community radio or through other public forums. | Joli Sandoz Lori Blewett | Wed Sat | Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
Lori Blewett
|
Program | FR–SRFreshmen–Senior | 8 | 08 | Day | Su 16 Session I Summer | is geared toward students who want to develop their oral communication and media skills as well as gain insight into the political economy of radio. No prior experience is needed. Our studies will focus on fundamental elements of radio production: writing, performing, recording, interviewing, editing, and broadcasting. Assignments will include live and edited broadcasts. Readings, films, and listening assignments will deepen students' understanding of the political economy of radio and contemporary radio aesthetics. Students will gain knowledge and skills needed to become potential hosts at KAOS Community Radio Station. Some lessons will be taught by KAOS General Manager, Ruth Brownstein. This program fulfills communication requirements for selected MIT endorsements. | Lori Blewett | Mon Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
Steven Hendricks, Brian Walter and Toska Olson
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Program | FR–SOFreshmen–Sophomore | 16 | 16 | Day | S 16Spring | In the film , Roddy Piper puts on a pair of sunglasses that reveal the subliminal messages in all art and advertising and the secret alien invasion behind it all. It's true: having a critical eye can take the joy out of mindless consumption. In this program, you'll develop your critical edge, by means of critical sociological studies of film, literary studies and creative writing as influenced by semiotics, and performance workshops that challenge you to activate your imagination in new ways—not least of all your capacity for spontaneity and collaborative storytelling. Such work will train you to see how filmic images, stories of all kinds, and social systems are assembled in ways that generate meaning and guide our thinking.Whole-program work will include three separate weeks dedicated to watching and discussing films—our own "film festivals." A critical approach to these films will be central to our shared examination and integration of program concepts and themes. Through discussion and writing about these films, you'll learn to deconstruct media messages about American culture with a special focus on gender, sexuality, race, and class. In addition, we will consider the potential for film and other creative activities to promote empowerment and social change.As a complement to our sociological study of film, students will join one of two focus areas (with limited space in each): improv performance or creative writing.In addition, everyone will participate in workshops in writing, improv, and sociology with the goal of collaborating with peers across focus areas in developing integrative projects that explore program themes of social identity, performance, social systems, dramaturgy, creative process, narrative form, representation, liberation, and empowerment. | Steven Hendricks Brian Walter Toska Olson | Tue Wed Thu Fri | Freshmen FR Sophomore SO | Spring | Spring | ||||
Gilda Sheppard and Carl Waluconis
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Program | FR–SRFreshmen–Senior | 8, 16 | 08 16 | Day and Evening | Su 16 Summer | This program will explore the role that movement, visual art, theater, music, and media can play in problem solving and in the resolution of internalized fear, conflicts, or blocks. Through a variety of hands-on activities, field trips, readings, films/video, and guest speakers, students will discover sources of imagery, sound, and movement as tools to awaken their creative problem solving from two perspectives—as creator and viewer. Students interested in human services, social sciences, media, humanities and education will find this course engaging. This course does not require any prerequisite art classes or training. Students may attend either day or evening sessions; first, second or full sessions for 8 or 16 credits accordingly. | Gilda Sheppard Carl Waluconis | Mon Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
Gilda Sheppard and Carl Waluconis
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Program | FR–SRFreshmen–Senior | 8, 16 | 08 16 | Day and Evening | Su 16 Summer | This program will explore the role that movement, visual art, theater, music, and media can play in problem solving and in the resolution of internalized fear, conflicts, or blocks. Through a variety of hands-on activities, field trips, readings, films/video, and guest speakers, students will discover sources of imagery, sound, and movement as tools to awaken their creative problem solving from two perspectives—as creator and viewer. Students interested in human services, social sciences, media, humanities and education will find this course engaging. This course does not require any prerequisite art classes or training. Students may attend either day or evening sessions; first, second or full sessions for 8 or 16 credits accordingly. | Gilda Sheppard Carl Waluconis | Mon Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
Naima Lowe, Anne de Marcken (Forbes), Shaw Osha (Flores) and Kathleen Eamon
Signature Required:
Fall Winter Spring
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Program | SO–SRSophomore–Senior | V | V | Day, Evening and Weekend | F 15 Fall | W 16Winter | S 16Spring | This is an opportunity for students to work on faculty-driven scholarly and creative projects. By working with faculty in a studio and research “apprentice” model, students will gain hands-on experience in visual arts studio practices, film/media production practices, the creative writing workshop focused on craft, critical research and writing, library and archival research practices, and much more. (creative writing and digital media) uses creative writing and digital media as methods of narrative inquiry into questions of presence and absence, disappearance and emergence, loss, survival, and memory. Her process-based work results in short stories, personal essays, moving image narratives, sometimes web environments, and often hybrids of these forms. Her current areas of inquiry include climate change, the interactions of place and identity, and the experience of survival. She is presently working on a multimedia narrative installation and a feature film. Students working with Anne will have opportunities to work on one or both of these projects. Depending upon project phase at the time of enrollment as well as individual students’ strengths and interests, activities may include research, installation design and construction, text-based work, and/or audio-video post production. (social and political philosophy, aesthetics, philosophy of art) has interests in German idealism (Kant and Hegel), historical materialism (Marx, 20th-century Marxists, and critical theory), and psychoanalysis (Freud and Lacan). She is currently working on an unorthodox project about Kant and Freud, under the working title, “States of Partial Undress: the Fantasy of Sociability.” Students working with Kathleen will have opportunities to join her in her inquiry, learn about and pursue research in the humanities, and critically respond to the project as it comes together. In addition to work in Kantian aesthetics and Freudian dream theory, the project will involve questions about futurity, individual wishes and fantasies, and the possibility of collective and progressive models of sociability and fantasy. (experimental media and performance art) creates films, videos, performances, and written works that explore issues of race, gender, and embodiment. The majority of her work includes an archival research element that explores historical social relationships and mythic identities. She is currently working on a series of short films and performances that explore racial identity in rural settings. Students working with Naima will have opportunities to learn media production and post-production skills (including storyboarding, scripting, 16mm and HD video shooting, location scouting, audio recording, audio/video editing, etc.) through working with a small crew comprised of students and professional artists. Students would also have opportunities to do archival and historical research on African-Americans living in rural settings, and on literature, film, and visual art that deals with similar themes. Students are generally best equipped for this option if they have taken at least one full year of studies in Media or Visual Arts in a program such as MediaWorks, NonFiction Media, or its equivalent. (visual art) works in painting, photography, drawing, writing, and video. She explores issues of visual representation, affect as a desire, social relationship, and the conditions that surround us. She is currently working on a project based on questions of soul in artwork. Students working with Shaw will have opportunities to learn about artistic research, critique, grant and statement writing, website design, studio work, and concerns in contemporary art making. | Naima Lowe Anne de Marcken (Forbes) Shaw Osha (Flores) Kathleen Eamon | Sophomore SO Junior JR Senior SR | Fall | Fall Winter Spring | |||
Anne de Marcken (Forbes)
Signature Required:
Fall Winter Spring
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Research | SO–SRSophomore–Senior | V | V | Day, Evening and Weekend | F 15 Fall | W 16Winter | S 16Spring | This is an opportunity for students to work with faculty from a diverse set of disciplines on creative and scholarly projects. Students will come away with invaluable skills in library and archival research practices, visual arts studio practices, laboratory practices, film/media production practices, critical research and writing, and much more. Critical and Creative Practices is comprised of a diverse group of artists, theorists, scientists, mathematicians, writers, filmmakers and other cultural workers whose interdisciplinary fields of study sit at the crossroads between critical theoretical studies and creative engagement. uses creative writing and digital media as methods of narrative inquiry into questions of presence and absence, disappearance and emergence, loss, survival, and memory. Her process-based work results in short stories, personal essays, moving image narratives, sometimes web environments, and often hybrids of these forms. Her current areas of inquiry include climate change, the interactions of place and identity, and the experience of survival. She is presently working on a multimedia narrative installation and a feature film. Students working with Anne will have opportunities to work on one or both of these projects. Depending upon project phase at the time of enrollment as well as individual students’ strengths and interests, activities may include research, installation design and construction, text-based work, and/or audio-video post production. | Anne de Marcken (Forbes) | Sophomore SO Junior JR Senior SR | Fall | Fall Winter Spring | |||
Naima Lowe
Signature Required:
Fall Winter Spring
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Research | SO–SRSophomore–Senior | V | V | Day, Evening and Weekend | F 15 Fall | W 16Winter | S 16Spring | This is an opportunity for students to work on faculty-driven scholarly and creative projects. By working with faculty in a studio and research “apprentice” model, students will gain hands-on experience in visual arts studio practices, film/media production practices, the creative writing workshop focused on craft, critical research and writing, library and archival research practices, and much more. (experimental media and performance art) creates films, videos, performances and written works that explore issues of race, gender, and embodiment. The majority of her work includes an archival research element that explores historical social relationships and mythic identities. She is currently working on a series of short films and performances that explore racial identity in rural settings. Students working with Naima would have opportunities to learn media production and post-production skills (including storyboarding, scripting, 16mm and HD video shooting, location scouting, audio recording, audio/video editing, etc) through working with a small crew comprised of students and professional artists. Students would also have opportunities to do archival and historical research on African-Americans living in rural settings, and on literature, film and visual art that deals with similar themes. Students are generally best equipped for this option if they have taken at least one full year of studies in Media or Visual Arts in a program such as MediaWorks, NonFiction Media, or its equivalent. | Naima Lowe | Sophomore SO Junior JR Senior SR | Fall | Fall Winter Spring | |||
Douglas Schuler
Signature Required:
Fall Winter Spring
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Research | SO–SRSophomore–Senior | 8 | 08 | Evening and Weekend | F 15 Fall | W 16Winter | S 16Spring | Civic intelligence attempts to understand how "smart" a society is in addressing the issues it faces and to think about – and initiate – practices that improve this capacity. It is an interdisciplinary area of inquiry that includes the sciences – social and otherwise – as well as the humanities. Visual art, music, and stories, are as critical to the enterprise as the ability to analyze and theorize about social and environmental issues.This learning opportunity is designed to allow students of various knowledge and skill levels to work with a high level of autonomy on the design and implementation of real-world research and action projects. Students will collaborate via issue-oriented "clusters" with students, faculty, and others inside and beyond Evergreen. The program will help students develop important skills in organizational and workshop design, collaboration, analysis and interpretation, written and oral communication, critical thinking skills, and interpersonal skills. We also expect to focus on the development of online services, information, and tools, including civic engagement games and online deliberation.Although there are many ways to engage in this research, all work will directly or indirectly support the work of the Civic Intelligence Research and Action Laboratory (CIRAL). These opportunities will include working with the "Home Office." The home office work will focus on developing the capacities of the lab, including engaging in research, media work, or tech development that will support the community partnerships. Other work can include direct collaboration outside the classroom, often on an ongoing basis. We are also hoping to support students who are interested in the development of online support for civic intelligence, particularly CIRAL. This includes the development of ongoing projects such as e-Liberate, a web-based tool that supports online meetings using Roberts Rules of Order, and Activist Mirror, a civic engagement game, as well as the requirements gathering and development of new capabilities for information interchange and collaboration. | Douglas Schuler | Wed | Sophomore SO Junior JR Senior SR | Fall | Fall Winter Spring | ||
Devon Damonte
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Program | FR–SRFreshmen–Senior | 8 | 08 | Day | Su 16 Session II Summer | In direct animation, a century-old camera-less form, artists use painting, scratching and myriad techniques not recommended by manufacturers to animate on motion picture film. It is an analog fine art offering experiential liberation from increasingly digital visual cultures. In this intensive hands-on class students practice numerous methods of direct animation including darkroom hand-processing, and invent their own techniques to create lots of footage in a short time, while studying genre masters like Len Lye, Norman McLaren, and Barbel Neubauer. Final culminating projects will explore analog and digital methods for publicly presenting students' work in celebratory projection performance extravaganzas on campus and in downtown Olympia. | Devon Damonte | Tue Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
Mark Harrison
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Program | SO–SRSophomore–Senior | 8 | 08 | Evening and Weekend | F 15 Fall | “When history is translated into myth, the complexities of social and historical experiences are simplified and compressed into the action of representative individuals or heroes." -Richard Slotkin, The Western is the richest and most enduring genre of American film. More myth than history, it is both formula film and a source of great innovation. Beginning with Reconstruction, this program will examine the important connections between the Western and the tale of expansion (economic, geographic, ecological, cultural) and violent conquest that is the American frontier myth. We will consider how the Western has evolved over the past century and what this evolution tells us about film, history and culture. We will analyze classic Westerns and the myriad sub-genres that exemplify this distinctly American art form. In addition to diverse short readings and a screenplay or two, primary texts for this program may include Richard Slotkin's James McPherson's , and , edited by Jim Kitses and Gregg Rickman. Home screenings will be required. Therefore, students will need access to a comprehensive source for DVD rentals, such as Netflix or Amazon Prime. A sampling of films under consideration includes: and . | Mark Harrison | Wed Sat | Sophomore SO Junior JR Senior SR | Fall | Fall |