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Media Arts [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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Robert Schwenkler
Signature Required:
Fall Winter
|
Course | SO–SRSophomore - Senior | 4 | 04 | Evening | F 11 Fall | W 12Winter | This continuing course is designed to support students who are interested in recording music for various media and contexts. Making use of the college's 16-track recording facility, students will be taken on a path through contemporary practice in studio recording. Studio technology and artistry, song and mix composition, and fundamentals of audio electronics will all be covered. There will be a focus on both magnetic tape and analog mixing as well as computer-based digital recording and mixing. Processing fundamentals such as equalization, compression, and reverb will be treated alongside an overview of the many other signal processing options available in the modern recording studio. Audio electronics will be covered as it relates to general studio signal flow, troubleshooting, and DIY equipment construction. Time will be spent in the studios creating recorded pieces including pieces for the annual Evergreen Student Album project. Critical listening activities will accompany this process, using student work as well as work from outside sources. Both the techniques and the artistry of recording, mixing, and song composition will be examined and developed via the process of creation, analysis, and discussion. Work in the digital realm will focus on use of Pro Tools software and plugin effects while analog work will be based around the college’s 24-channel mixing console, 16-track tape machine, and a variety of outboard processing equipment. | Robert Schwenkler | Thu | Sophomore SO Junior JR Senior SR | Fall | Fall Winter | |||
|
Ruth Hayes, Kevin Francis and Amy Cook
Signature Required:
Winter
|
Program | FR–SRFreshmen - Senior | 16 | 16 | Day | F 11 Fall | W 12Winter | Humans have a complex, intricate, and paradoxical relationship with other species. We are animals and we define ourselves against them. We celebrate our kinship with animals and use them as laboratory specimens. We create animal characters and infuse them with human qualities. We befriend animals and we eat them. In this program, we will integrate perspectives from the arts, sciences and humanities to explore such seeming contradictions in our understanding, representation and treatment of animals. In fall quarter, we will study animal form, function and evolution. Students will practice observational approaches to learning about animals, including drawing, laboratory dissection and field study. They will also study animal morphology, comparative anatomy, and biomechanics as a foundation for animating the locomotion of different kinds of animals. Students will explore evolutionary biology as a framework for understanding the biological parallels between humans and animals. Finally, we will examine how artists and writers have represented animals in images, stories and films. In winter quarter, we will shift our focus to human and animal neurobiology, cognition, emotion, and behaviour. As we study these topics, we will investigate how scientists and artists anthropomorphize animals in their work and explore the implications of this practice. Consider the scientist who empathizes with a chimpanzee's elation or an elephant's sadness or a dog's pain. Does this empathy provide valuable insight into the experience of another species or simply reveal the ability to project one's own sentimental fancies onto another creature? And how do we test these intuitions? Or consider animators who create films populated with animal characters. Why do they select particular species to represent specific human qualities? And how do these fictional representations of animals affect how we treat real animals? In each of these cases, we risk putting ourselves in dialog with anthropomorphized versions of animals without recognizing the full extent of our own narcissism. During both quarters, students will participate in lectures, seminars, labs and writing workshops. They will learn how to analyze several types of media, including books and films, and will be expected to develop and improve their writing through a variety of assignments. This program will also encourage students to reflect on their own assumptions and attitudes about other species. During fall quarter, art workshops will emphasize the development of basic skills in drawing and animation. During winter quarter, students will continue developing these skills and will also explore their own scientific and/or creative approaches to representing animals. | art, animation, science and education. | Ruth Hayes Kevin Francis Amy Cook | Mon Wed Thu Fri | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall Winter | ||
|
Ruth Hayes and Anne de Marcken (Forbes)
|
Program | FR–SRFreshmen - Senior | 16 | 16 | Day | S 12Spring | Images of animals are the oldest known artworks; they are also some of the first images that children in western culture see and learn to recognize. From 35,000 year old cave paintings to Disney animations, from the fables of Aesop to the many thousands of animal videos uploaded to and viewed on YouTube, images and stories of the animals with whom we have evolved weave in and through western culture. The images proliferate as our experiences with actual animals become increasingly rare.Students will study how we see, understand and represent animals in an effort to learn about human relationships with animals as “other” and as mirrors of ourselves. They will engage in analyzing and deconstructing a variety of visual and written representations of animals to discover what these images and texts communicate about humans and their cultures, about the relationships between human and animals, and about animals themselves. Through a series of creative and technical assignments, students will interrogate their own consumption and creation of animal imagery and their own relationships with individual animals. As they execute these assignments, students will build skills in observation, research, critical thinking, conceptual design, writing, drawing and animation. | Ruth Hayes Anne de Marcken (Forbes) | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | |||||
|
Zenaida Vergara
Signature Required:
Fall Winter Spring
|
Course | SO–SRSophomore - Senior | 4 | 04 | Evening | F 11 Fall | W 12Winter | S 12Spring | This year-long sequence of courses introduces the subject of audio production and its relation to modern media. Fall quarter will focus on analog mixers and magnetic recording with some work in digital editing. Main topics will include field recording, digital audio editing, microphone design and application, analog multi-track recording, and audio console signal flow. Winter continues this work while starting to work with computer-based multitrack production. Additional topics will include acoustics, reverb, and digital effects processing. In spring, additional topics will include sound design for film with sync sound production for dialogue, Foley, sound effects, and music composition. There will also be an interview-style production meant for radio broadcast. In each quarter, students will have weekly reading assignments and weekly lab assignments outside of class time. | Zenaida Vergara | Wed | Sophomore SO Junior JR Senior SR | Fall | Fall Winter Spring | ||
|
Arun Chandra
|
Program | FR–SRFreshmen - Senior | 8 | 08 | Day | Su 12Summer Session I | This course will focus on using the computer to create and manipulate waveforms. Students will learn how to use the "C" programming language to synthesize waveforms, while learning about their mathematics. Students will create short compositions using FM, AM, granular, and other synthesis techniques. We will listen to contemporary and historical experiments in sound synthesis and composition, and students will be asked to write a short paper on synthesis techniques. Students will learn how to program in "C" under a Linux or OS X system. The overall emphasis of the class will be in learning how to address the computer in a spirit of play and experiment and find out what composition can become. There will be weekly readings in aesthetics, along with readings in synthesis techniques and programming. Students of all levels of experience are welcome. | Arun Chandra | Mon Tue Wed Thu Fri | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
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Walter Grodzik and Cynthia Kennedy
Signature Required:
Winter
|
Program | FR–SRFreshmen - Senior | 16 | 16 | Day | F 11 Fall | W 12Winter | This program will explore the interior spaces where performances begin and the exterior spaces where performances are realized. Students will begin with movement and theatre exercises that center and focus the mind and body in order to open oneself to creative possibilities and performance. Students will also study movement/dance and theatre as a means of physical and psychological focus and flexibility that enables them to more fully utilize their bodies and emotional selves in creating theatrical performance.Through the understanding and embodiment of somatic concepts such as awareness, intention, centering, authenticity, and the interplay of mind and body, students will have the opportunity to explore creative imagination as it expresses itself from their own life processes, rather than from externally imposed images, standards and expectations. How does imagination respond to the emotional self, the physiology of the body, and the psychology of the mind? How can we become more expressive and responsive to our inner selves? Students will be invited to explore and enjoy the dance already going on inside their bodies, to learn to perceive, interpret and trust the natural intelligence of intrinsic bodily sensations. The class will use experiential techniques derived from several traditions of somatic philosophy.In seminar, students will read a broad variety of texts about creativity, movement and dance history, and performance, performance history, and Western theatre history and dramatic literature. In particular, students will read Greek tragedy and comedy, the playwrights of the Elizabethan theater, such as Marlowe and Shakespeare, and the feminist comedies of the Restoration. The realism of the Nineteenth century will be seen through the plays of Ibsen and Chekhov and other realists, and students will study, discuss and perform the multicultural theatre of the Twentieth and Twenty-First century, including theatre, drama and performance art as found in the work of Thornton Wilder, David Mamet, Tony Kushner, Caryl Churchill, Henry David Hwang and Anna Devere Smith. The discussion of dramatic literature will be framed from many viewpoints, including structuralist, feminist, Marxist, post colonial and queer.The program will include weekly seminars, workshops in movement/dance and theatre, and film screenings of various dance and theatre productions. This is an all-level program that welcomes students of all abilities that bring their excitement, commitment, discipline and creativity to the performing arts. Regular on-time attendance is fundamental to students' development and continuance in the program. | teaching, theatre, expressive arts, dance and movement theory. | Walter Grodzik Cynthia Kennedy | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall Winter | |||
|
Ariel Goldberger
Signature Required:
Winter
|
Contract | SO–SRSophomore - Senior | 16 | 16 | Day and Weekend | W 12Winter | Individual study offers students the opportunity to develop self-direction, to learn how to manage a personal project, to focus on unique combinations of subjects, and to pursue original interdisciplinary projects without the constraints of an external structure. Students interested in a self-directed project, research or internship in the humanities, consciousness studies, or projects that include arts, travel or interdisciplinary pursuits are invited to present a proposal to Ariel Goldberger. Students with a lively sense of self-direction, discipline, and intellectual curiosity are strongly encouraged to apply. | humanities, arts, social sciences, interdisciplinary fields, and consciousness studies. | Ariel Goldberger | Sophomore SO Junior JR Senior SR | Winter | Winter | ||||
|
Walter Grodzik
Signature Required:
Winter
|
Contract | SO–SRSophomore - Senior | 16 | 16 | Day | W 12Winter | Individual study offers individual and groups of students the opportunity to develop self-direction, to learn how to manage a personal project, to focus on unique combinations of subjects, and to pursue original interdisciplinary projects without the constraints of an external structure. Individual and groups of students interested in a self-directed project, research or internships in Queer Studies or the Performing and Visual Arts should contact the faculty by email at | Walter Grodzik | Sophomore SO Junior JR Senior SR | Winter | Winter | |||||
|
Ariel Goldberger
Signature Required:
Spring
|
Contract | FR–SRFreshmen - Senior | 16 | 16 | Day | S 12Spring | Individual study offers students the opportunity to develop self-direction, to learn how to manage a personal project, to focus on unique combinations of subjects, and to pursue original interdisciplinary projects without the constraints of an external structure. Students interested in a self-directed project, research or internship in the humanities, consciousness studies, or projects that include arts, travel or interdisciplinary pursuits are invited to present a proposal to Ariel Goldberger.Students with a lively sense of self-direction, discipline, and intellectual curiosity are strongly encouraged to apply. | Ariel Goldberger | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | |||||
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EJ Zita and Mark Harrison
|
Program | FR–SRFreshmen - Senior | 16 | 16 | Day | S 12Spring | What motivates and facilitates creativity, discovery, and invention, in arts and in sciences? To what extent do scientists and artists work within traditional practices or bodies of knowledge, and how do they move beyond and expand standard models or forms to achieve true innovation?What are the roles of community, genius, luck, plain hard work, and being in the right place in the right time in history? Are certain resources prerequisite, or is creativity truly democratic? Can any patterns be discerned in revolutions in science? In art? What qualifies as a revolution or innovation? We will explore questions such as these by reading (and sometimes staging) plays, fiction, philosophy, and nonfiction about arts and sciences. We will learn about the advent and development of the moving image. Students may, individually or in teams, explore and present special cases of particular interest to them, as research projects. Students will write short, thoughtful essays and responses to peers’ essays. We will learn some classical and modern physics (from dynamics to quantum mechanics and/or cosmology) using mostly conceptual methods. | physics, performing and visual arts, teaching, sciences, and philosophy of science. | EJ Zita Mark Harrison | Mon Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | |||
|
Ben Kamen
|
Program | FR–SRFreshmen - Senior | 8 | 08 | Day | Su 12Summer Session I | In this program, students will learn to use the Max/MSP/Jitter visual programming environment to examine the control and expression of sound and video through numbers, simple mathematics, and logic. Students will learn to operate audio and video recording equipment and develop techniques for playing back and modifying materials through algorithmic processes. Students will develop strategies for interacting with source materials in real time, using sensory data from the Arduino micro-controller platform. Creative projects, guided by reading and collaborative activities, will the be primary goal of the technical work. | Ben Kamen | Mon Wed | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
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Eddy Brown and Marilyn Freeman
|
Program | FR–SRFreshmen - Senior | 16 | 16 | Day | F 11 Fall | W 12Winter | How do you distill the essence of a great story? How do you convey that essence across media boundaries? Is an adaptation a process of translation or creative destruction? How is a work rendered with an audience in mind? This two-quarter program will explore these questions by using 'adaptation' as a portal into creative writing, and literary and film analyses. Students will examine, analyze and critique a range of written works, both fiction and nonfiction, that have been adapted for the screen. We will study a variety of literary genres and art forms including: the short story, novel, biography, memoir, essay, screenplay, and film. We will follow each selected literary work from original text through screen adaptation in order to decipher and appreciate its singularity as a work of art and as a representative of its respective genre, its transformation into a cinematic production, and its relatedness to other narrations of the human experience. We will study the genesis, creative process, and presentation of each story on both the page and screen, including the consideration of its hypothetical, intended, and ideal audiences, and socio-cultural representations. In fall quarter, students will be introduced to fundamental aspects of narrative, to the principles of classical story design, and to exemplars of narrative adaptations across media. Skills will be developed in literary and film analyses through lectures, readings, screenings, seminars and critical writing assignments. Students will begin to build creative writing skills through a sequence of short-form assignments in fiction, creative nonfiction, and screenwriting, and through the practice of critiques and peer reviews. The quarter will conclude with collaborative student presentations of critiques of literary texts and their corresponding adapted films. In winter quarter studies will deepen in literary and film art and analyses in order to more fully understand the process of adapting the screenplay and the role of the screenwriter. Students will originate their own short-format projects in literary fiction or nonfiction, and develop adaptations through a series of progressive story design and writing assignments: controlling ideas, character bios, primary outlines, treatments, step-outlines, preliminary screenplays, revisions, synopses, loglines, and story reports. Students will conclude the program with staged readings of screenplay adaptations. This program is focused on literature, film, and creative writing. Students may be required to attend off-campus film screenings. Students are expected to participate fully in all program activities, and to work about 40 hours per week including class time. | literature, film, writing, and visual arts. | Eddy Brown Marilyn Freeman | Tue Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall Winter | ||
|
Laurie Meeker
Signature Required:
Fall Winter
|
Program | JR–SRJunior - Senior | 16 | 16 | Day | F 11 Fall | W 12Winter | S 12Spring | This is a program for advanced media students who want to continue to build their skills in media arts, history, theory and production with the support of a learning community. The focus is on the development of each student's personal style and creative approach to working with moving images and sound. This program is designed for students who have already developed some expertise in media production, are familiar with media history/theory and wish to do advanced production work that has developed out of previous academic projects or programs. Students who are interested in experimental film and digital video production, documentary, sound design, writing, photography, installation and contemporary media history/theory are invited to join this learning community of media artists. Experimental media work often requires a period of germination for new ideas, approaches and impulses to emerge. During fall, students will engage in a period of idea development and reflection, including a 2-3 day retreat for concentrated work. Each student or team of students will do extensive pre-production planning and research for a major film or digital project to be completed by the end of the academic year. One or two-quarter projects are also possible, but must include research, design, production and editing appropriate to the academic schedule. Students will be required to develop an Independent Study Plan that details the work they will complete each quarter. Fall quarter will also involve opportunities for students to expand their media skills through workshops, exercises and a collaborative project. A cinematography workshop will be offered for students to further explore and understand light, exposure and image quality in the 16mm format. Audio production workshops will be offered to expand student expertise with sound design and technology. Grant-writing workshops will result in student proposals for individual or collaborative projects. Blog and web design workshops will help students develop skills with new media technologies. Students will also work in teams of 3-4 to develop experimental projects that will enhance their collaborative skills and production experience. Students will develop two research projects during fall quarter, resulting in presentations for the learning community. Students will study contemporary media artists who have made special contributions to the development of experimental media practice and have attempted to push the technological as well conceptual boundaries of the moving image. Students will also conduct research into new and old media technologies. During winter quarter, the focus will shift from idea development to the production phase. Students will acquire all their images and production elements for their projects, which could involve production work off campus for an extended period. Students are encouraged to think creatively and broadly about their subject matter and will be able to propose media projects that may require travel. During spring quarter each student will complete post-production work, finalize their artist's portfolio, explore ways to sustain their work as media artists and participate in a public screening of their work. | media arts and digital communications. | Laurie Meeker | Junior JR Senior SR | Fall | Fall Winter | ||
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Naima Lowe and Julia Zay
Signature Required:
Fall
|
Contract | JR–SRJunior - Senior | 16 | 16 | Day | F 11 Fall | W 12Winter | S 12Spring | The Electronic Media internships provide opportunities for in-depth learning of a variety of media skills and concepts. They require a year-long commitment for fall, winter and spring quarters. Interns enroll for 12-16 credits per quarter with room for a 4-credit part-time class or other academic components. Interns work 30 to 40 hours a week and are paid 15 to 19 hours a week, depending on credit distribution. The intern's primary responsibilities are focused on supporting instruction, maintenance and administration for specific labs, facilities, and production needs under the supervision of the staff. The interns meet weekly as a group to share skills, collaborate on projects, and to facilitate working together on productions and cross training between areas. All interns will be working in the new Center for Creative and Applied Media, the rebuilt HD video and 5.1 surround audio production studios. For specific descriptions of the internships, please refer to . | media production, professional studio management, and computer applications in media art. | Naima Lowe Julia Zay | Mon Tue Wed Thu Fri | Junior JR Senior SR | Fall | Fall | |
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David Cramton
|
Program | FR–SRFreshmen - Senior | 12 | 12 | Day and Evening | Su 12Summer Full | In 10 weeks, we will learn what it takes to take an idea and turn it into a fully realized, finished, and delivered media production utilizing field and studio techniques. We will learn scripting, budgeting, scheduling, casting, locating, shooting, editing, and finishing video productions. In addition to lecture and seminar, we will do hands-on exercises in the field and in the Center for Creative and Applied Media, Evergreen’s state of the art media studio. We will bring in guest lecturers who are working professionals and experts in their fields to share tips, tricks, and techniques to aid us in the pursuit of storytelling power, and we will take field trips to see how it is done in the big leagues. The capstone of the program will be when the entire class forms the crew of a short film, entirely written, planned, directed, edited, and finished by students. The goals of the class are several: 1) to expose the student to the collaborative, team nature of larger scale production, 2) to empower the student with the skills and knowledge to produce their own media productions at a larger scale, and 3) for the student to experience part of the breadth of media production techniques and understand when and how to apply them in their own practice. | David Cramton | Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
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Julia Zay and Naima Lowe
Signature Required:
Fall
|
Program | SO–SRSophomore - Senior | 16 | 16 | Day | F 11 Fall | W 12Winter | What does it mean to make moving images in an age described as digital, informational, postmodern and even post-postmodern? 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? In this program, students will engage with these and other questions as they gain skills in film/video history and theory, critical analysis, media production, collaboration and critique.This is an intensive full-time, two-quarter program linking media theory with practice. We will explore a variety of media modes and communication strategies, emphasizing documentary and experimental forms the material properties of sound and moving image media, and the strategies artists and media producers have employed to challenge mainstream media forms. We will experiment with alternative approaches to production, including non-fiction, abstract film, video art, alternative scripting techniques, autobiography, essay films, installations and performance. Additionally students will develop skills in analysis and criticism through screenings, readings, seminars, research and critical writing. We will also spend significant time in critique sessions discussing our creative and critical work. This, like all program activities, is designed to emphasize the importance of collaboration in the production of media. In fall quarter students should expect to complete both short skill-building exercises and short projects. These exercises and projects will have thematic and technical guidelines that are consistent with the program curriculum, and students should expect to work collaboratively on most of them. In winter quarter students will continue to work on skill-building exercises and will complete both collaborative and solo short projects, again with guidelines that are consistent with the program curriculum. | media arts, visual arts, communications, and education. | Julia Zay Naima Lowe | Sophomore SO Junior JR Senior SR | Fall | Fall | |||
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Terry Setter
|
Program | FR–SRFreshmen - Senior | 16 | 16 | Day | Su 12Summer Full | This program provides instruction in the use of digital and analog recording studio equipment, microphone design and placement techniques, mixing console design, signal flow, monitoring techniques, room acoustics, and signal processing. There will be written assignments based upon readings in Huber's , and students will present research on topics related to audio production. Students will do at least 40 hours of recording and familiarization work in teams of two in addition to the in-class activities. We will record local musicians and produce finished mixes of the sessions. | Terry Setter | Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
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Lara Evans and Sarah Williams
Signature Required:
Winter Spring
|
Program | FR–SRFreshmen - Senior | 16 | 16 | Day | F 11 Fall | W 12Winter | S 12Spring | Do museums transform living, changing cultural objects into fixed, preserved, inviolate collections? What stories do museums tell? What stories do objects embody? And what stories do we, visitors, tell ourselves? How do objects housed in museums affect our sense of self-identity? What does it take to become aware of how stories we tell both frame and are framed by objects? Is it possible to heal culture and the self through the interactions of narratives and objects? What happens to historical ideas about human consciousness when we explore the mausoleum-like exhibitions of what this consciousness has exhibited as other? What happens to consciousness when it is framed by neuroscience or to the self when it encounters thinking as an evolutionary internalization of movement?We'll explore the power of narrative objects in a variety of exhibition spaces: museums, galleries, shopping malls, book/web pages. We'll identify curiosities about the relationship between art objects and self-representation, particularly shifts in cultural influences and identities as they relate to shifts between the museological and mausoleum-like aspects of exhibition spaces. A triptych is a narrative object that uses three pictorial panels to convey movement in time, space, and states of being. A triptych, of sorts, is the focus of our fall quarter work and the model for our winter field studies. Consider our left panel: in the lives and other virtual realities of William Gibson's , the effects of narrative objects range from creative to preservative to destructive. Equally significant is how these effects are framed in movements between exhibition spaces experienced as "bird-cages of the muses" and those encountered in computer generated Joseph Cornell-like bird boxes. In the center panel is the narrative power of an artwork in Sheri Tepper's science fiction novel, . Here, alien races experience the consequences when a fresco at the heart of their cultural identity has been violently misinterpreted for a millennium. Now, the right panel. Here, in Catherine Malabou's texts the shifting movement or adaptability of self is called neuroplasticity. Her analysis of Claude Levi-Strauss' fascination with two sides--graphic and plastic--of masks illustrates her definition of neuroplasticity. We'll read this post-Derridean theory of self and do fieldwork with masks available for viewing in collections in this region. During winter quarter faculty and students will explore narrative objects and self-representation through six weeks of fieldwork in museums of their choice. Museums can be exhibitions of art, history or science; even zoos and botanical gardens can be considered museums. Students will document their research on their museum and will return to compile a multi-media presentation of their research project. In studios and workshops during fall and winter quarters students can expect to learn audio recording, digital photography, drawing with color pastels, ethnographic fieldwork, mindfulness practices (yoga, meditation), creative non-fiction writing, blogging and public speaking. During spring quarter students will have the opportunity to integrate individual and peer-group projects into a core all-program curriculum. That is, in addition to the 8-credit all-program activities of seminar, lecture, visiting artists' lecture and film series, a retreat week, and related assignments (e.g., weekly seminar response essays, a theory as evocative object chapter, a mindmap and 3D triptych, and mid-term and final reflective and evaluative writing), each student will design an in-program individual or peer group project for 8 credits. These projects may include (but are not limited to) the curation and/or installation of an exhibition or collection, an internship, a studio-based artistic or technical practice, community-based learning in support of Paddle to Squaxin 2012 ( ; ), or a field-based museum-related study. Partially funded by TESC's Noosphere Award, week 7 retreat week activities will include a range of contemplative practices: 5 rhythm dance; yoga nidra; lectures with Seattle University philosopher and Zen priest, Dr. Jason Wirth; and a retreat day at SU's St. Ignatius Chapel. Students will document their individual or peer-based learning and create a multi-media presentation for week 10. | art history, art, cultural studies, writing, anthropology, feminist theory and contemplative education. | Lara Evans Sarah Williams | Mon Tue Tue Tue Wed Wed Wed Thu Fri | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall Winter Spring | |
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Steve Davis
Signature Required:
Spring
|
SOS | JR–SRJunior - Senior | 16 | 16 | Day and Evening | S 12Spring | This is an intentionally small, full time program intended for advanced and motivated photography students. Class sessions are expected to include workshops, lectures, field trips, and above all, rigorous critiques. Students will be expected to write and present at least one indepth research paper, present in-process work regularly, and finally, create a finished body of work, publicly exhibited. | photography, art | Steve Davis | Tue Thu | Junior JR Senior SR | Spring | Spring | |||
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Hugh Lentz
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Course | FR–SRFreshmen - Senior | 4 | 04 | Evening | F 11 Fall | This course emphasizes beginning-level skill development in camera function, exposure, and black-and-white film development and printing as well as an introduction to digital imaging. We will focus on photography's role in issues of the arts, cultural representation, and mass media. Students will have assignments, critiques, collaborations, and viewing of work by other photographers. Each student will complete a final project for the end of the quarter. | Hugh Lentz | Mon Wed | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall | ||||
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Steve Davis
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Course | FR–SRFreshmen - Senior | 4 | 04 | Evening | W 12Winter | This course emphasizes beginning-level skill development in camera use, lighting, exposure, b/w film and print processing. We will also briefly explore basic color printing and digital photography techniques. The essential elements of the class will include assignments, critiques and surveys of images by other photographers. Students of this class will develop a basic understanding of the language of photography, as a communications tool and a means for personal expression. Students must invest ample time outside of class to complete assignments. | Steve Davis | Tue Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Winter | Winter | ||||
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Hugh Lentz
Signature Required:
Winter
|
Course | FR–SRFreshmen - Senior | 4 | 04 | Evening | W 12Winter | In this course we'll be learning to print from color negatives, work with medium format cameras, photograph with electronic flash, and work in the studio environment. There will be assignments, critiques, and viewing the work of other photographers. All assignments and all work for this class will be in the studio with lighting set-ups. In addition to assignments, each student will be expected to produce a final project of their own choosing and turn in a portfolio at the end of the quarter. | Hugh Lentz | Mon Wed | Freshmen FR Sophomore SO Junior JR Senior SR | Winter | Winter | ||||
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Steve Davis
Signature Required:
Fall
|
Course | SO–SRSophomore - Senior | 4 | 04 | Evening | F 11 Fall | This course will introduce students to photographic practice through digital means. Building from students' existing photographic skills and vocabulary, we will explore image-making with both digital and film cameras and work with computers, scanners and inkjet printers. Students will create work as exhibition-quality prints, and also create a photographic portfolio for the Web. | Steve Davis | Tue Thu | Sophomore SO Junior JR Senior SR | Fall | Fall | ||||
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Steve Davis
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Program | FR–SRFreshmen - Senior | 8 | 08 | Day | Su 12Summer Session II | This class is an introduction to photographic expression using digital cameras, computers, and printers. Image-making will take the forms of digital prints and online portfolios. A brief introduction digital video, HD panoramas, and the black-and-white darkroom will also be included. You will have full access to the Digital Imaging Studio and to our darkroom facilities. Digital cameras are available. Class requirements include scheduled assignments and a final project consisting of new, photographically-derived, digital work. | Steve Davis | Mon Tue Wed | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
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Hugh Lentz
Signature Required:
Spring
|
Course | SO–SRSophomore - Senior | 4 | 04 | Evening | S 12Spring | This is an intermediate to advanced photography class where students will be using older methods and techniques of the medium. We’ll be spending a significant part of this class learning about and using 4x5 cameras. Additionally, we'll be working with UV printing, lith films, pinhole cameras, and more. There will be assignments based in these processes, and each student will produce a final project. We’ll also look at the work of contemporary and historical artists using these methods. | Hugh Lentz | Mon Wed | Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
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Peter Randlette
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Program | FR–SRFreshmen - Senior | 8 | 08 | Day | Su 12Summer Session I | Computers are a common tool for creative arts and music. This 5-week program will familiarize members with the use of sequencing and audio production software and synthesizers and will cover some of the technical 'mysteries' which are critical to comprehending use. This program is mostly about exploring the musical production process and finding ways to explore personal musical experimentation. The only prerequisites are interest in music, some keyboard and/or guitar skill, and curiosity. The class structure will consist of lecture/workshop sessions, individual studio times for trying the different functions of the software, and playback times to share work with other classmates. Members will be expected to spend a minimum of two 4-hour blocks in the studio per week. Consulting times will be scheduled to permit members to meet for individual or small group assistance in the studio. | Peter Randlette | Tue Wed | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
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Naima Lowe and Ben Kamen
Signature Required:
Spring
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Program | SO–SRSophomore - Senior | 16 | 16 | Day | S 12Spring | As an extension of the , and Programs (taught in Fall and Winter 2011 by Naima Lowe and Ben Kamen), students will have the opportunity to explore the shared histories, theories and practices of post-modern, conceptual, and experimental media and music. Our work will complicate the commonly perceived relationships between music and moving image (the music video or the movie soundtrack) by focusing on collaboration, interactivity, installation and performance. Thematically, we will also address issues of the how the development of particular technologies have influenced experimental media and music. The program will have three key components: 1) The execution of weekly collaborative group assignments that enhance and develop skills in media and music production, performance, installation, and interactivity. 2) The development of a quarter long independent project that combines concepts and practices from experimental media and music. This project will also include a research paper on an artist or art practice that relates to the creative work. 3) A weekly seminar will include readings and screenings oriented towards approaches to contemporary experimental music and media including performance, installation, collaboration, collectivism, and abstraction, while also studying the histories of media and musical technologies that have influenced work in these fields. We will also take occasional short field trips to local and regional venues showcasing experimental music and media. Program Applications will be available by February 2012. | Media production, electronic music, visual arts. | Naima Lowe Ben Kamen | Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
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Donald Foran and Marilyn Freeman
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Program | FR–SRFreshmen - Senior | 16 | 16 | Day | S 12Spring | “Awareness of the divine begins with wonder. It is the result of what man does with his higher incomprehension. The greatest hindrance to such awareness is our adjustment to conventional notions, to mental clichés. Wonder or radical amazement, the state of maladjustment to words and notions, is therefore a prerequisite for an authentic awareness of that which is.” From Abraham Heschel’s How do we cultivate a disciplined sense of wonder?We invest a lot of personal energy in certainty—being certain of what we know, of how we feel, of what we think, and, of course, of what others think of us. Heschel’s quote suggests that there are many ways to enter into not knowing, to be surprised anew, to experience wonder and amazement. In order to challenge conventional notions productively we might need to cultivate a healthy maladjustment. But, it’s difficult to subvert the dominant paradigm.How might we as writers and media artists use poetry and video essay to intensify our awareness of everyday experience, to explore our experience, and to express our findings artfully while keeping an audience in mind?The purpose of this program is to heighten our curiosity and to foster the possibility for amazement in the everyday by developing interrogative strategies rooted in the creative practices of writing poetry and personal essays, and of crafting video essays.The program will include creative writing intensives in poetry and creative nonfiction as well as a series of electronic media workshops in which students will gain basic competencies in alternative audio/visual scriptwriting, audio recording and editing, photography, and multimedia editing. Lectures, screenings, and guest writers and artists will address or engage formal, historical, and conceptual concerns in poetry, creative nonfiction literature, film and video essay, and will relate to issues of dominant paradigms, heresy, imagination, reflexivity, the everyday, representations of the self and other, auteur theory, and collaboration. Through weekly seminar papers and discussions students will reflect in more depth on the program’s themes, issues, activities, and texts.A rigorous collaborative midterm electronic media project will require students to interrogate everyday experience in a shared way while negotiating issues of authorship, voice, collectivism, project management, and accountability. Students will exercise creative writing skills and electronic media competencies in this comprehensive midterm assignment, blending their literary works with audio and images in video essays that are crafted collaboratively.Finally, each student will individually craft a video essay that demonstrates a disciplined sense of wonder by drawing on the program’s creative practices and that takes up our thematic concern with radical amazement. The quarter will conclude with student presentations of final projects. | Donald Foran Marilyn Freeman | Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
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Sally Cloninger
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Program | SO–SRSophomore - Senior | 16 | 16 | Day | S 12Spring | This program is designed primarily for students interested in exploring visual literacy, television production, performance and media criticism. Students will be introduced to both media deconstruction and media production skills through a series of lecture/screenings, workshops and design problems that focus primarily on collaborative multi-camera studio production. No prior media production experience is required. We will take a critical, performative and historical approach as we examine and even emulate the production style and lessons from the early history of 20th century live television. Students will be expected to perform in front of as well as behind the camera and will explore the logistics and aesthetics of multi-camera direction and design. We will investigate the aesthetics and implications of live performance and multi-camera production for new media as well. This program will also examine the politics of representation, i.e., who gets the camera, who appears on the screen, and who has the power. Therefore, students who choose to enroll should be vitally and sincerely interested in the issues and ideas concerning the representation of gender, race, ethnicity, class and sexual orientation in the media. Activities will include training in the CCAM, a multi-camera TV studio facility, instruction in basic performance and writing for television, and a survey of visual design principles. In addition to a series of studio exercises, students will complete a collaborative final project that combines media analysis, research, performance and production about broadcast content and ideology. | media arts, humanities, social sciences and mass communications. | Sally Cloninger | Wed Thu Fri | Sophomore SO Junior JR Senior SR | Spring | Spring | |||
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Artee Young, Frances Solomon, Arlen Speights, Barbara Laners, Erin Ceragioli, Dorothy Anderson, Peter Bacho, Lin Nelson, Tyrus Smith, Gilda Sheppard and Paul McCreary
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Program | JR–SRJunior - Senior | 16 | 16 | Day and Evening | F 11 Fall | W 12Winter | S 12Spring | This year's program is designed to help students discover new understandings of leadership and the various issues associated with effective leadership. We will focus on individual and community capacity building and the role that humanities, social sciences, mathematics, science, media and technological illiteracies play in informing our understandings of the world around us. A major emphasis of this program will be the examination of internal and external factors that influence one's ability to access, overcome and excel in spite of personal and institutional barriers. The expectation is that students will be able to demonstrate understanding, action and leadership in their areas of interest. This program takes a holistic approach to systemic change at the community level. For example, one area we will address is that of math, science and writing phobia. Communities need citizens who can advocate for their children, parents who can navigate and understand the law and caregivers and teachers who can assist our youth in understanding subject matter presented to them in the classrooms. Evergreen students who anticipate careers in education will be provided with a solid grounding in the humanities, science and math. This grounding will allow them to obtain endorsements for further studies in education and prerequisites for graduate school. Students will also have an opportunity to work with an award winning and nationally recognized after school youth program. During quarter, students will study historical notions of leadership, leadership theories, leadership styles and contemporary views of leaders and followers. Students will also focus on their personal experiences and the world around them in order to understand those inner and external factors that have limited or encouraged them to achieve, take on leadership roles and civic engagement. During quarter, based upon work done in the fall, students will identify, develop and explore models of educational leadership that have led to capacity building and systemic change. Students will enhance their knowledge of contemporary leadership theory and work actively toward the application of leadership principles through collaborative research projects. In quarter, students will bridge the gap between theory and practice. To that end, they will utilize a variety of expansive methods, from writing to media, in order to demonstrate and communicate their perceptions and findings to a wider audience. Students will present their collaborative research projects publicly. The information presented will be directed toward benefiting individual and community capacity as well as communicating a wider understanding of their findings to enhance their own lives, the lives of those in their community, and the world that we all share. | community development, organizational development, law and public policy, education, social and human services, public administration, communication and media arts, environmental studies and public health. | Artee Young Frances Solomon Arlen Speights Barbara Laners Erin Ceragioli Dorothy Anderson Peter Bacho Lin Nelson Tyrus Smith Gilda Sheppard Paul McCreary | Mon Tue Wed Thu | Junior JR Senior SR | Fall | Fall Winter Spring | |
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Zenaida Vergara
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Program | FR–SRFreshmen - Senior | 8 | 08 | Day | Su 12Summer Session II | This program will cover the fundamental elements of producing, recording, designing, and editing sound for film. Students will learn the basics of multi-track sound design specifically for the moving image. Topics to be covered include microphone techniques, field and studio recording, and Foley techniques. Students will collaborate in creating and performing music compositions, sync sound effects, and sync sound dialogue recording. We will also be studying historical and present-day techniques in sync sound production. | Zenaida Vergara | Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
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Stephanie Kozick
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SOS | FR–SRFreshmen - Senior | 16 | 16 | Day | W 12Winter | This SOS is intended for: individual students who have designed a learning project focused on community development; groups of students interested in working together on a community based project; and students who have an interest in working as an intern in a community agency, organization, or school setting. Interested students should attend the Academic Fair on to meet the faculty, Stephanie Kozick and the Director of the Center of Community Based Learning and Action, Ellen Shortt Sanchez. Stephanie Kozick can also be contacted through her e-mail ( ). Project proposal form can be obtained at the Academic Fair, or an electronic copy found at . Student Originated Studies (S.O.S.): Community Based Learning and Action is a component of Evergreen's Center for Community Based Learning and Action (CCBLA), which supports learning about, engaging with, and contributing to community life in the region. As such, this S.O.S. offers the opportunity for goal oriented, responsible, and self-motivated students to design a project, research study, or community internship or apprenticeship that furthers their understanding of the concept of “community.” The range of academic and community work in the program includes: working with one or several community members to learn about a special line of work or skill that enriches the community as a whole— elders, mentors , artists, teachers, skilled laborers, community organizers all contribute uniquely to the broader community; working in an official capacity as an intern with defined duties at a community agency, organization, or school; or designing a community action plan aimed at problem solving particular community needs. Prior to the beginning of winter quarter, interested students or student groups must have a draft plan in place. Projects will then be further developed with input from the faculty. Students will meet in a weekly seminar setting to share progress reports, discuss the larger context of their projects in terms of community asset building and wellbeing, and discuss readings selected by program students that illuminate the essence of their projects. Small interest groups will meet with the faculty to discuss issues related to their group projects. | Stephanie Kozick | Freshmen FR Sophomore SO Junior JR Senior SR | Winter | Winter | |||||
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Kabby Mitchell
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SOS | SO–SRSophomore - Senior | 16 | 16 | Day | F 11 Fall | W 12Winter | This is an opportunity for well-prepared students to do authentic, significant, independent work in dance, theatre, music or film production. Students enrolling in this program should have one or more potential project ideas before the start of fall quarter. Please contact the faculty with any questions regarding your specific ideas. Participants will meet weekly to discuss their projects and to collaboratively work in small groups. Students will be expected to give progress updates, outline challenges, and share ideas for increasing the quality of the work that they are doing throughout the quarter. Specific descriptions of learning goals and activities will be developed individually between the student and faculty to insure quality work. At the end of the quarter students will present their projects to their peers in the most suitable manner for their particular project. | performance art, dance, theater, music, and cultural studies. | Kabby Mitchell | Wed Wed | Sophomore SO Junior JR Senior SR | Fall | Fall Winter | ||
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Anne Fischel, Yul Gamboa, David Phillips and Peter Bohmer
Signature Required:
Fall
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Program | SO–SRSophomore - Senior | 16 | 16 | Day | F 11 Fall | W 12Winter | S 12Spring | Venezuela is spearheading a movement to create alternatives to the neo-liberal model of development and representative democracy championed by the U.S. Venezuela's president, Hugo Chávez, has called for "socialism for the 21st century." This process affects every aspect of Venezuelan life, including health care, media, education, housing, governance, land ownership and agriculture. Venezuela is exploring alternative economic structures, including worker-owned factories, cooperatives, nationalized industries, and regional economic planning and trade. Calling for a "multi-polar world" Venezuela is also creating new alliances to redistribute global power and influence.Our program will learn from and about Venezuela's political and economic transformation. Working with perspectives from political economy, community studies and popular education, we will study and document both national policies and the experiences of ordinary people participating in a popular movement to redistribute power and wealth. We will develop in-depth understanding of efforts to construct a system that meets peoples' needs for food, health, shelter, education, employment and political participation. We will learn about struggles for indigenous rights and racial and gender equality, and consider advantages and contradictions of Venezuela's reliance on oil. Finally, we will study the colonization and neo-colonization of Latin America, and anti-colonial struggles, historically and today. Possible texts include: Galeano's Wilpert's , Harnecker's Martinez, Fox and Farrell's and Freire and Horton's We Questions we will address are: What are the political, economic and environmental implications of Venezuela's model of development? What are its strengths and weaknesses? Is it creating popular participation, power and prosperity? Is this model applicable to other nations? In fall we will study Advanced Beginning or Intermediate Spanish, political economy of Latin America (international political economy, comparative social systems), and Venezuelan history and politics. We will learn about popular education and collaborative approaches to community work. We will study Venezuela's struggle for political and economic independence, culminating in the election of Hugo Chávez. We will also develop documentation skills using writing, video and audio recording.Students will choose a research focus--Venezuelan agriculture, education, the economy, culture, cooperatives, media, gender, youth and health are possible areas. Students will practice video and audio skills by documenting a local organization; this work will be shared with our Venezuelan partners.In winter most of us will go to Venezuela for 8-9 weeks. We'll travel to the states of Lara or Merida to visit organizations and communities, work with cooperatives, community centers and schools, and live with families. There may be opportunities for language exchange or Spanish instruction. Students who don't travel to Venezuela can rejoin the program in spring.In spring we will return to Evergreen to continue our studies of Venezuela and Spanish and develop educational presentations for the community.One project we hope to produce is a documentary video about our experiences.Admission to the winter travel component requires successful completion of all fall quarter work. Students who travel to Venezuela are expected to remain in the program in spring and participate in our collective project of educating our local community. | Latin American studies, community education or organizing, non-governmental or non-profit organization, journalism and media. | Anne Fischel Yul Gamboa David Phillips Peter Bohmer | Tue Wed Fri | Sophomore SO Junior JR Senior SR | Fall | Fall | |
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Anne de Marcken (Forbes)
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Program | FR–SRFreshmen - Senior | 8 | 08 | Day | Su 12Summer Session II | Philosopher Theodor Adorno, wrote, “The essay’s innermost formal law is heresy.” And heresy rules the video essay—a defiant mix of text, sound, and image confounding the boundaries of literature and time-based art. In this program we’ll study video essays by contemporary writers and filmmakers who are redefining the essay as an emergent form of creative nonfiction media art. We’ll also study—through lectures, screenings, and readings—the video essay’s origins in literature and film. Finally, through progressive workshops and assignments in writing, scripting, audio recording, photography, and editing, students will craft their own video essays. Please visit - . | Anne de Marcken (Forbes) | Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
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Hirsh Diamant
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Course | FR–SRFreshmen - Senior | 4 | 04 | Evening | S 12Spring | Visual literacy skills enhance communication, advance learning, and expand thinking. They are essential for effectively navigating today's social and cultural environment. In this course we will explore Western and non-Western art while focusing on how we see, how we learn, and how visual information can be used generally in communication and specifically in education. Our study will be enhanced by weekly art and media workshops which will include work with digital photography, video, iMovie, and presentation software. | Hirsh Diamant | Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
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Arlen Speights
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Course | FR–SRFreshmen - Senior | 4 | 04 | Evening | Su 12Summer Session II | This is an introductory course in web design. We'll write HTML and CSS code to control the look and feel of a web page, with a visual designer's priorities. We also get comfortable with best practices for accessibility and generated-content web sites. | Arlen Speights | Tue Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer |
