Historical films often reveal more about contemporary culture than they do about history. And yet, as the writer Gore Vidal and many professional historians have observed, a majority of Americans derive their knowledge of history more from commercial films than from textbooks or teachers. This program will study this phenomenon. A film can be artistically pleasing and a commercial success, but historically inaccurate. Conversely, a film may be very accurate historically and yet unsatisfying and lacking in aesthetic value. We will screen and critically analyze several feature-length films for their aesthetic characteristics and historical authenticity. We will also explore a variety of topics relating to how popular culture, values, commercial pressures, aesthetics and technology affect the making of historical films.

The purpose of this course is to provide an overall view of the emergence of psychology as a field, its historical roots, its evolution with a broader sociocultural context, and philosophical currents running throughout this evolution. Attention will be paid to the interaction of the theory of development and the social milieu, the cultural biases within that theory and the effect of personal history on theoretical claims.

This four-credit course focuses on the powerful, lyrical, quirky, solemn and compassionate voices of men and women who produce what Mary Oliver calls "a few wild stanzas" in order to keep alive. We cover traditional poets like Whitman, Dickinson, Auden, Yeats, Frost and Levertov, and we also read and respond to more radical voices. Each student will write, present, craft poems and share ideas in a class publication about poetry and the world poetry saves.

This course will examine the profound changes that have affected individual, family, group, and organizational thought and behavior following the proliferation of technologies since the mid-1900s. We will view content from the perspective of many disciplines including medicine, education, psychology, communications, entertainment, etc. Guest speakers will assist us in examining the cost-benefit ratio of these developments.

The process of creating music has changed as computer technology adapts new resources for this activity. This course will explore the new tools available to the musician/composer/performer which exist as a result of the creation of the MIDI standard and the associated proliferation of instrument/computer devices. Students will attend workshops and lectures in the facilities, become proficient, and complete design exercises to become familiar with applications, instrument interfaces and sonic palettes. Students will maintain research and lab journals. This continuing course is intended for the student interested in exploring musical experimentation with computer applications. The course will combine specific technical information regarding hardware architecture, software and interface design, and creation of musical pieces which focus on the new options presented by this compositional environment. This is a lab course with a limited positions available. Please make sure you complete an application and speak with the sponsor regarding your skills. Applications will be available at the Spring Academic Fair or from the faculty. The class list will be posted during the week prior to Fall quarter. If you have any questions, please e-mail the faculty.

This continuing class will focus on building pieces from techniques of synthesis introduced fall quarter, and learning new production oriented controller, processor and production skills. StUudents will complete two projects which apply voices built in the lab composited with acoustic lines and realtime analog manipulation. New techniques will include use of the Kat percussion controller, voice editing, sample editing applications and signal processing editing. Students will attend the weekly lecture, lab and demonstration, maintain journals, use a minimum of two weekly independent studio times, and present work to the group for critique.

This continuing course will focus on building pieces from techniques of synthesis introduced winter quarter and learning new production oriented controller, processor, and production skills. Students will complete two projects which apply voices built in the lab composited with acoustic lines and realtime analog manipulation. New techniques will include use of the Kat percussion controller, MIDI-CV interface, and voice librarian, sample, and signal processing editing applications. Students will attend the weekly lectures, labs and demonstrations, maintain journals, use a minimum of two weekly independent studio times, and present work to the group for critique.